Funk Song Quotes

And I'm not saying it's a bad song, you know, or anything like that. All I'm saying is that if you get, I don't know, a broom, say, and dip it in some brake fluid, put the other end up my arse, stick me on a trampoline in a moving lift, and I would write a better song on the walls. That's all I'm saying.

The heart was a weak, changeable thing, bent on nothing but love, and there could be no more fatal mistake than to make it your master. Reason must be in charge. It comforted you for the heart's foolishness, it sang mocking songs about love, derided it as a whim of nature, transient as flowers. So why did she still keep following her heart?

The rain pummeled the old Dragon bones as though to provide the rhythm to the song of their mortality, but death was not what they had on their minds—or wasn’t love sometimes called the small death?

I lie in a bathtub of cold water, still sweating and singing love songs to myself. I put the gun to my head and cock it. I think of my Grandma and remember that old feeling of being so in love that nothing matters except seeing and being seen by her. I drop the gun to my chest. I'm so sad and I can't really see a way out of what I'm feeling but I'm leaning on memory for help. Faster. Slower. I think I want to hurt myself more than I'm already hurting. I'm not the smartest boy in the world by a long shot, but even in my funk I know that easy remedies like eating your way out of sad, or fucking your way out of sad, or lying your way out of sad, or slanging your way out of sad, or robbing your way out of sad, or gambling your way out of sad, or shooting your way out of sad, are just slower, more acceptable ways for desperate folks, and especially paroled black boys in our country, to kill ourselves and others close to us in America.

The poem you brought yesterday,’ said Balbulus in a bored voice as he bent over his work again, ‘it was good. You ought to write such things more often, but I know you prefer writing stories for children or songs for the Motley Folk. And why? Just for the wind to sing your words? The spoken word is nothing, it hardly lives longer than an insect! Only the written word is eternal!’ ‘Eternal?’ Fenoglio made the word sound as if there could be nothing more ridiculous in the world. ‘Nothing is eternal- and what happier fate could words have than to be sung by minstrels? Yes, of course they change the words, they sing them slightly differently every time, but isn’t that in itself wonderful? A story wearing another dress every time you hear it- what could be better? A story that grows and puts out flowers like a living thing! But look at the stories people press in books! They may last longer, yes, but they breathe only when someone opens the book. They are sound pressed between the pages, and only a voice can bring them back to life! Then they throw off sparks, Balbulus! Then they go free as birds flying out into the world. Perhaps you’re right, and the paper makes them immortal. But why should I care? Will I live on, neatly pressed between the pages with my words? Nonsense! We’re none of us immortal; even the finest words don’t change that, do they?

The song’s advice said, “Play that funky music, white boy.” So, I took up the xylophone.

Probably your biggest mistake was doing funk-dance to Unchained Melody,” the dog offered earnestly. “It’s a ballad, Alf, and to be honest, it’s one of the slowest songs I can think of. You’d have been better off doing a slow waltz to something with that tempo. The other factor may have been the large amount of beer you consumed beforehand.

And 1,000 song later, little Prince - the great mixer of funk, rock, and pop - showed the world that life is not meant to be back or white, but a beautiful rainbow of color…free from limits.

They touched their faces, put their fingers in their mouths, tugged on their ears and stomped the ground, their bodies moving and creating a new rhythm that the men had to change their claps to fit, the claps now being determined by the dancers moving, while the men got to stomping and shouting joyfully, syncopating their palms to the women and children and if the men got off beat they fixed that by paying close attention to the feet blurring and kicking and stomping near the fire so they laid down their instruments and played a song with their bodies and their heads got to nodding and hips to rocking to gyrating to the claps pulsating around them changing changing changing and their mouths open and the funk of the body let loose the sweat the stink all in the hair until somebody hollered something beyond a word and they kept on hollering it the sound leading into another sound into a new sound loud from the mouth like a spirit trying to answer the bodies or the bodies trying to answer the spirit that wouldn’t be contained as their legs kicked and their heads rolled until their movements spoke in Tongues and the throat got to letting out a moan here and a groan there and the sound of pain left their flesh while their muscular bodies and their thin bodies and their fat bodies and their sickly bodies glistened in the fire and every child screamed as they jumped and spun and every man clapped moaned and testified with their feet to what sounded like it hurt so bad must have hurt them so bad coming up out the body out the burning well of the throat out the wet of their spit wailing lifting up from the bodies now contortion-flexed and contracting on the ground eyes fluttering in their heads the body creating a new way of being a new way of thinking creating a new knowledge that belonged to them—then Saint stopped moving and stood up; her body shook and shined.

Bernard and I always believed that most pop music fits into the board category called rock and roll. Rock and roll was ever changing, and this art form had different genres of classification for the benefit of consumers, like sections in a library or bookstore. Once any genre-folk, soul, rock or even some jazz-reaches a certain position on the pop charts, it does what’s known in the music business as crossing over, and gets played on the Top Forty stations. That’s the reason so many of us own songs by artists from genre’s we normally wouldn't-their hit songs crossed over into the pop Top Forty mainstream. When a genre repeatedly crosses over and comes to dominate the Top Forty, what had originated as an insurgency becomes the new ruling class. This was the path disco had taken-from the margins where it started, a weird combination of underground gay culture and funk and gospel-singing techniques and, in the case of Chic, Jazz-inflected groovy soul. But it was basically all rock and roll, historically speaking, as far as we were concerned. But the media and the industry pitted us against the Knack-the disco kings in their buppie uniforms verses the scrappy white boys. But we never saw it that way. We thought we were all on the same team, even if our voices and songs followed different idioms. Boy, were we naïve. And boy, did things change.

Goblins burrowed in the earth, elves sang songs in the trees: those were the obvious wonders of reading, but behind them lay the fundamental marvel that, in stories, words could command things to be. Francis Spufford, The Child That Books Built

Everyone reading this must believe me when I say Prince possessed genius. Unprecedented genius. Think back to Elvis, the cat some folk say invented rock and roll. Elvis was cool. Elvis had a look. He sang. Worked his pelvis. Drove the girls crazy. Would never dis Elvis for borrowing from black music 'cause he publicly acknowledged his masters. He loved him some B.B. King. He respected Ray Charles. He covered Ray's songs. But if they call Elvis the King, they're gonna have to call Prince the World Emperor. I say that cause, unlike Prince, Elvis did not write. Elvis did not arrange. Elvis did not play killer guitar. And when I say that Prince wrote and arranged, I mean he wrote and arranged literally thousands of songs under so many different names that he forgot half of them. And when I say Prince played guitar, I mean he blended the styles of all the guitar gurus and then added a fantastic flair all his own. He did more than arrange. He created a sound that, nearly half a century later, sounds as fresh as it did when Grand Central was tearing the roofs of every school auditorium in the Twin Cities.

It was the middle of the night, and Bingo couldn’t sleep. The ground was hard, but he was used to that… . His blanket was dirty and smelled disgusting, but he was used to that too. A tune kept going through his head, and he couldn’t get it out of his mind. It was the Wendels’ victory song. Michael de Larrabeiti, The Borribles Go for Broke

I’m so fucking grateful for his existence, for being my brother, my true family. Now’s not the place in my story for this but shit, damnit, fuckit, when he started writing lyrics over my bass lines his artistry gave me new life. My heart grew a couple of sizes. The color of his words, the sharp sound of the syllables cracking together. Both his lyrics and my bass lines pulsed together, same as the heartbeat of our friendship. It was the conversation we’d started in the Fairfax gymnasium translated into music. When his words met my grooves they flowed together unconsciously, like they’d always been together, like baby wolf twins bursting out of the dark den of their infancy, joyfully embracing the infinite light of the outside world for the first time. When he wrote “Green Heaven,” a long and dynamic rap narrative over our hard funk, I was on the phone for hours, trembling with emotion, calling everyone I knew and excitedly reciting the entire song.

...you better be careful, baby, and look both ways before you cross my mind...Bootsy Collins, from the song, "Isolation" by Kali Uchi, Tyler the Creator, featuring Bootsy

It did not interest Baldassare Rinaldi in the slightest, what anyone else except himself thought or felt. He was of course unaware that it was exactly this attitude that made his songs so bad.