““Tear the Roof off the Tear the Roof off the Sucker”Sucker”

Funk MusicFunk Music

Funk MusicFunk Music

Funk music and its commercial Funk music and its commercial offspring, disco, brought the focus offspring, disco, brought the focus on dancing back into the pop on dancing back into the pop mainstream.mainstream.

– Most album-oriented rock music was Most album-oriented rock music was aimed at a predominantly white male aimed at a predominantly white male audience and was designed for audience and was designed for listening rather than dancing.listening rather than dancing.

The Term “Funky”The Term “Funky”

Probably derived from the (central Probably derived from the (central African) BaKongo term “funki,” meaning African) BaKongo term “funki,” meaning “healthy sweat”“healthy sweat”

Already in wide use by New Orleans jazz Already in wide use by New Orleans jazz musicians during the first decade of the musicians during the first decade of the twentieth centurytwentieth century

Today, “funky” carries the same Today, “funky” carries the same ambivalent meaning that it did a century ambivalent meaning that it did a century ago—strong body odors and a quality of ago—strong body odors and a quality of earthiness and authenticity, earthiness and authenticity, quintessentially expressed in music.quintessentially expressed in music.

FunkFunk

By the early 1970s, the term “funk” By the early 1970s, the term “funk” was being used as a label for a genre was being used as a label for a genre of popular music characterized byof popular music characterized by

– strong, dance-oriented rhythms,strong, dance-oriented rhythms,– catchy melodies, catchy melodies, – call-and-response exchanges between call-and-response exchanges between

voices and instruments, andvoices and instruments, and– heavy reliance on repeated, heavy reliance on repeated,

rhythmically interlocking patterns.rhythmically interlocking patterns.

James BrownJames Brown

One of the prime inspirations for One of the prime inspirations for funk musicians. funk musicians.

– During the early 1970s, Brown During the early 1970s, Brown continued to score successes with continued to score successes with dance-oriented songs.dance-oriented songs.

– Brown’s ranking on the pop charts Brown’s ranking on the pop charts declined gradually throughout this declined gradually throughout this period.period.

The Core of Funk Music The Core of Funk Music

Funk centered on Funk centered on the creation of a strong rhythmic the creation of a strong rhythmic

momentum or groove,momentum or groove, the electric bass and bass drum often the electric bass and bass drum often

playing on all four main beats of the playing on all four main beats of the measure,measure,

the snare drum and other instruments the snare drum and other instruments playing equally strongly on the second and playing equally strongly on the second and fourth beats (the backbeats), andfourth beats (the backbeats), and

interlocking ostinato patterns distributed interlocking ostinato patterns distributed among other instruments.among other instruments.

Sly and the Family StoneSly and the Family Stone Interracial “psychedelic soul” band whose Interracial “psychedelic soul” band whose

recordings bridged the gap between rock recordings bridged the gap between rock music and soul music. music and soul music.

Sly Stone (Sylvester Stewart) Sly Stone (Sylvester Stewart) – Born in Dallas in 1944, moved to San Francisco Born in Dallas in 1944, moved to San Francisco

with his family in the 1950s with his family in the 1950s Began his musical career at age four as a Began his musical career at age four as a

gospel singergospel singer Went on to study trumpet, music theory, Went on to study trumpet, music theory,

and composition in collegeand composition in college Later worked as a disc jockey at both R&B Later worked as a disc jockey at both R&B

and rock-oriented radio stations in the San and rock-oriented radio stations in the San Francisco Bay AreaFrancisco Bay Area

Sly and the Family StoneSly and the Family Stone Between 1968 and 1971, Sly and the Between 1968 and 1971, Sly and the

Family Stone recorded a series of albums Family Stone recorded a series of albums and singles that reached the top of both and singles that reached the top of both the pop and soul charts: the pop and soul charts:

– ““Dance to the Music” (1968)Dance to the Music” (1968)– ““Everyday People”/”Sing a Simple Song” Everyday People”/”Sing a Simple Song”

(1969)(1969)– ““Thank You (Falletinme Be Mice Elf Thank You (Falletinme Be Mice Elf

Again)”/”Everybody is a Star” (1970)Again)”/”Everybody is a Star” (1970)– ““Family Affair” (1971)Family Affair” (1971)

The sound of the Family Stone The sound of the Family Stone – Anchored by the electric bass of Larry GrahamAnchored by the electric bass of Larry Graham– Approach to arranging that made the whole Approach to arranging that made the whole

band, including the horn section, into a band, including the horn section, into a collective rhythm sectioncollective rhythm section

Funk Music Funk Music By 1973, funk music had burst onto the pop By 1973, funk music had burst onto the pop

music scenemusic scene Crossover gold records were played constantly Crossover gold records were played constantly

on AM radio and in nightclubs and discotheques. on AM radio and in nightclubs and discotheques. – Kool and the Gang’s “Jungle Boogie” and “Hollywood Kool and the Gang’s “Jungle Boogie” and “Hollywood

Swinging” Swinging” – The Ohio Players’ “Fire” and “Love Rollercoaster”The Ohio Players’ “Fire” and “Love Rollercoaster”– The multimillion-selling “Play That Funky Music” by the The multimillion-selling “Play That Funky Music” by the

white band Wild Cherry white band Wild Cherry These bands kept the spirit and style of James These bands kept the spirit and style of James

Brown and Sly Stone alive, albeit in a Brown and Sly Stone alive, albeit in a commercialized and decidedly nonpolitical commercialized and decidedly nonpolitical manner. manner.

George ClintonGeorge Clinton Loose aggregate of around forty musicians Loose aggregate of around forty musicians

(variously called Parliament or Funkadelic), led (variously called Parliament or Funkadelic), led by George Clinton (a.k.a. Dr. Funkenstein) by George Clinton (a.k.a. Dr. Funkenstein)

George Clinton (b. 1940) George Clinton (b. 1940) – An ex-R&B vocal group leader and songwriterAn ex-R&B vocal group leader and songwriter

Developed a mixture of compelling Developed a mixture of compelling polyrhythms, psychedelic guitar solos, jazz-polyrhythms, psychedelic guitar solos, jazz-influenced horn arrangements, and R&B vocal influenced horn arrangements, and R&B vocal harmonies harmonies

Enlisted some former members of James Enlisted some former members of James Brown’s bandBrown’s band

– Bassist William “Bootsy” CollinsBassist William “Bootsy” Collins– Saxophone players Maceo Parker and Fred WesleySaxophone players Maceo Parker and Fred Wesley

““Give Up the Funk (Tear the Give Up the Funk (Tear the Roof off the Sucker)”Roof off the Sucker)”

From the million-selling LP From the million-selling LP Mothership Mothership ConnectionConnection, was Parliament’s biggest crossover , was Parliament’s biggest crossover single (Number Five R&B, Number Fifteen pop in single (Number Five R&B, Number Fifteen pop in 1976)1976)

Exemplifies the band’s approach to ensemble Exemplifies the band’s approach to ensemble style, known to fans as “P-Funk”: style, known to fans as “P-Funk”:

– Heavy, syncopated electric bass linesHeavy, syncopated electric bass lines– Interlocking rhythms underlain by a strong pulse on Interlocking rhythms underlain by a strong pulse on

each beat of each measureeach beat of each measure– Long, multisectioned arrangements featuring call-and-Long, multisectioned arrangements featuring call-and-

response patterns between the horn sections and response patterns between the horn sections and keyboard synthesizerkeyboard synthesizer

– R&B-styled vocal harmoniesR&B-styled vocal harmonies– Verbal mottoes designed to be chanted by fans (Verbal mottoes designed to be chanted by fans (We We

want the funk, give up the funk; We need the funk, we want the funk, give up the funk; We need the funk, we gotta have the funkgotta have the funk). ).

“ “Rapper’s Delight”: The Rapper’s Delight”: The Origins of Hip-HopOrigins of Hip-Hop

Rap musicRap music– Has spurred more vigorous popular debate Has spurred more vigorous popular debate

than any other genre of popular music than any other genre of popular music – Based on principles ultimately derived from Based on principles ultimately derived from

African musical and verbal traditions African musical and verbal traditions Emphasis on rhythmic momentum and creativityEmphasis on rhythmic momentum and creativity Preference for complex tone colors and dense Preference for complex tone colors and dense

texturestextures Keen appreciation of improvisational skillKeen appreciation of improvisational skill Incorporative, innovative approach to musical Incorporative, innovative approach to musical

technologiestechnologies

Rap and Hip-Hop Rap and Hip-Hop Rap emerged during the 1970s as one Rap emerged during the 1970s as one

part of a cultural complex called hip-hop. part of a cultural complex called hip-hop. Hip-hop culture was forged by African Hip-hop culture was forged by African

American and Caribbean American youth American and Caribbean American youth in New York City:in New York City:

Visual art (graffiti)Visual art (graffiti) Dance (an acrobatic solo style called Dance (an acrobatic solo style called

“breakdancing” and an energetic couple dance “breakdancing” and an energetic couple dance called “the freak”)called “the freak”)

Music, dress, and speech Music, dress, and speech Hip-hop was at first a local phenomenon, Hip-hop was at first a local phenomenon,

centered in certain neighborhoods in the centered in certain neighborhoods in the Bronx, the most economically devastated Bronx, the most economically devastated area of New York City.area of New York City.

Hip-Hop Music Hip-Hop Music

Rejection of mainstream dance music Rejection of mainstream dance music by black and Puerto Rican listenersby black and Puerto Rican listeners

– Profoundly shaped by the techniques of Profoundly shaped by the techniques of disco DJsdisco DJs Kool Herc (Clive Campbell, b. 1955 in Kool Herc (Clive Campbell, b. 1955 in

Jamaica)Jamaica) Grandmaster Flash (Joseph Saddler, b. 1958 Grandmaster Flash (Joseph Saddler, b. 1958

in Barbados)in Barbados) Afrika Bambaataa (Kevin Donovan, b. 1960 in Afrika Bambaataa (Kevin Donovan, b. 1960 in

the Bronx)the Bronx)

Kool HercKool Herc

Migrated from Kingston, Jamaica, to New Migrated from Kingston, Jamaica, to New York City at age twelveYork City at age twelve

Isolated the breaks of certain popular Isolated the breaks of certain popular records—such as James Brown’s “Get on records—such as James Brown’s “Get on the Good Foot”—and mixed them into the Good Foot”—and mixed them into the middle of other dance recordsthe middle of other dance records

These rhythmic sound collages came to These rhythmic sound collages came to be known as “breakbeat” music, a term be known as “breakbeat” music, a term subsequently transferred to subsequently transferred to breakdancing. breakdancing.

Kool HercKool Herc

Sometime in the mid-1970s, Kool Herc Sometime in the mid-1970s, Kool Herc began to put two copies of the same began to put two copies of the same record on his turntables. record on his turntables.

Switching back and forth between the Switching back and forth between the turntables, Herc found that he could turntables, Herc found that he could “backspin” one disc while the other “backspin” one disc while the other continued to play over the loudspeakers. continued to play over the loudspeakers.

This enabled him to repeat a given break This enabled him to repeat a given break over and over, by switching back and forth over and over, by switching back and forth between the two discs and backspinning between the two discs and backspinning to the beginning of the break.to the beginning of the break.

Grandmaster FlashGrandmaster Flash

Using headphones, Flash could Using headphones, Flash could more precisely pinpoint the more precisely pinpoint the beginning of a break. beginning of a break.

Flash gained local fame for his Flash gained local fame for his ability to “punch in” brief, machine ability to “punch in” brief, machine gun–like segments of sound. gun–like segments of sound.

A new technique called “scratching” A new technique called “scratching” was developed by Flash’s young was developed by Flash’s young protégé, Theodore.protégé, Theodore.

RapsRaps

Although all DJs used microphones to Although all DJs used microphones to make announcements, Kool Herc was make announcements, Kool Herc was also one of the first DJs to recite rhyming also one of the first DJs to recite rhyming phrases over the breakbeats produced phrases over the breakbeats produced on his turntables. on his turntables.

Some of Herc’s “raps” were based on a Some of Herc’s “raps” were based on a tradition of verbal performance called tradition of verbal performance called “toasting,” a form of poetic storytelling “toasting,” a form of poetic storytelling with roots in the trickster tales of West with roots in the trickster tales of West Africa.Africa.

““Rapper’s Delight”Rapper’s Delight” Until 1979, hip-hop music remained a primarily Until 1979, hip-hop music remained a primarily

local phenomenon.local phenomenon. ““Rapper’s Delight” was the first indication of the Rapper’s Delight” was the first indication of the

genre’s broader commercial potential.genre’s broader commercial potential.– Twelve-inch dance singleTwelve-inch dance single– Recorded by the Sugarhill Gang, a crew based in Recorded by the Sugarhill Gang, a crew based in

HarlemHarlem This record, which popularized the use of the This record, which popularized the use of the

term “rapper” as an equivalent for MC, term “rapper” as an equivalent for MC, established Sugar Hill Records—a black-owned established Sugar Hill Records—a black-owned independent label based in New Jersey—as the independent label based in New Jersey—as the predominant institutional force in rap music predominant institutional force in rap music during the early 1980s. during the early 1980s.

““Rapper’s Delight”Rapper’s Delight”

The recording recycled the rhythm section The recording recycled the rhythm section track from Chic’s “Good Times,” played in track from Chic’s “Good Times,” played in the studio by session musicians usually the studio by session musicians usually hired by Sugar Hill to back R&B singers. hired by Sugar Hill to back R&B singers.

The three rappers—Michael “Wonder Mike” The three rappers—Michael “Wonder Mike” Wright, Guy “Master Gee” O’Brien, and Wright, Guy “Master Gee” O’Brien, and Henry “Big Bank Hank” Jackson—recited a Henry “Big Bank Hank” Jackson—recited a rapid-fire succession of rhymes, typical of rapid-fire succession of rhymes, typical of the performances of MCs at hip-hop the performances of MCs at hip-hop dances.dances.

““Rapper’s Delight”Rapper’s Delight”

Well it’s on-n-on-n-on-on-n-onWell it’s on-n-on-n-on-on-n-onThe beat don’t stop until the break of The beat don’t stop until the break of

dawndawnI said M-A-S, T-E-R, a G with a double EI said M-A-S, T-E-R, a G with a double EI said I go by the unforgettable nameI said I go by the unforgettable nameOf the man they call the Master GeeOf the man they call the Master GeeWell, my name is known all over the worldWell, my name is known all over the worldBy all the foxy ladies and the pretty girlsBy all the foxy ladies and the pretty girlsI’m goin’ down in historyI’m goin’ down in historyAs the baddest rapper there could ever beAs the baddest rapper there could ever be

““Rapper’s Delight”Rapper’s Delight”

– The unexpected success of “Rapper’s The unexpected success of “Rapper’s Delight” ushered in a series of million-Delight” ushered in a series of million-selling twelve-inch singles by New York selling twelve-inch singles by New York rappersrappers Kurtis Blow’s “The Breaks” (Number Four Kurtis Blow’s “The Breaks” (Number Four

R&B, Number Eighty-seven pop in 1980)R&B, Number Eighty-seven pop in 1980) ““Planet Rock,” by Afrika Bambaataa and Planet Rock,” by Afrika Bambaataa and

the Soul Sonic Force (Number Four R&B, the Soul Sonic Force (Number Four R&B, Number Forty-eight pop in 1982)Number Forty-eight pop in 1982)

““The Message”, by Grandmaster Flash and The Message”, by Grandmaster Flash and the Furious Five (Number Four R&B, the Furious Five (Number Four R&B, Number Sixty-two pop in 1982)Number Sixty-two pop in 1982)

““The Message”The Message”

Established a new (and, in the end, Established a new (and, in the end, profoundly influential) trend in rap music: profoundly influential) trend in rap music: social realism social realism

Grim, almost cinematic portrait of life in Grim, almost cinematic portrait of life in the South Bronx the South Bronx

A whole stream within the subsequent A whole stream within the subsequent history of rap music can be traced from history of rap music can be traced from this gritty record. this gritty record.

“ “The Message” helped establish canons The Message” helped establish canons of realness and street credibility that are of realness and street credibility that are still vital to rap musicians and audiences.still vital to rap musicians and audiences.