Funk music as genre: Black aesthetics, apocalyptic thinking and urban protest in post-1965 African-American pop

Matthew P. Brown

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Music History and Culture Musicology and Musical Analysis Race, History, and American Society

Abstract

But I never try to express what I actually did. I wouldn't try to do that, cause definition's such a funny thing. What's put together to make my music — it's something which has real power. It can stir people up and involve 'em. But it's just something I came to hear. Funk was not a project … It happened as part of my ongoing thing. In 1965, I changed from the upbeat to the downbeat. Simple as that, really. I wasn't going for some known sound, I was aimin' for what I could hear. ‘James Brown Anticipation’ I'd call it. You see, the thing was ahead. (James Brown, quoted in C. Rose, 1990: 46, 59) There's no business Like Blow business Like Bomb business Like BOOM. (George Clinton, 1982)

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References

1989Contingency, Irony, and Solidarity 201558. Contingency, Irony and Solidarity 1988The Signifying Monkey: A Theory of African-American Literary Criticism 1987'There ain't no black in the Union Jack' : the cultural politics of race and nation 1982The Political Unconscious: Narrative as a Socially Symbolic Act 1982The Political Unconscious. Narrative as a Socially Symbolic Act.1988Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist 1987Heavenly Bodies: Film Stars and Society

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2010Language in Action: Funk Music as the Critical Voice of a Post–Civil Rights Movement Counterculture 2000The Emotional and Intellectual Aspects of Protest Music 2010The Jazz Image 2024Embodied Expression in Popular Music 2005Spectacle, Masculinity, and Music in Blaxploitation Cinema 2009“When I Count to Four …”: James Brown, Kraftwerk, and the Practice of Musical Time Keeping before Techno

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