Parliament Funkadelic Quotes

In Detroit, it was an average night to go and hear the Stooges, Parliament-Funkadelic and the MC5 on the same show. We were all into the 'Free Jazz' movement, the musics of Ornette Coleman and Sun Ra; and experimenting with guitar sounds, and trying different beats, and pushing the rhythm farther...

George Clinton's group(s) Parliament-Funkadelic outlined the all-out war they were waging via a metaphorical villain, 'Sir Nose D'Void of Funk,' who had been 'pimplifying (the people's) instincts' until they were 'fat, horny, and strung out.' Parliament, building on Sun Ra's sci-fi vision, explained that funkateers were pitted in a cosmic battle against unfunky forces who use 'the placebo effect' to put people in the 'nose-zone' of 'zero funkativity'. Clinton explained in 'Mothership Connection' that Dr. Funkenstein's champion 'Star Child' would use his bop-gun to spread 'funkentelechy.' an antidote to consumerism and alienation.

I'm adventurous and I'll eat anything. I eat a fair amount of junk food, but not junky junk food. Nothin' colorful. I mean, there's junk food, then there's colorful junk food. Stuff in cheap little packages. I never eat nothin' pink. I'll do the occasional jelly sandwich, but when I eat junk food I'll balance it out with prune juice so it don't stay around long. I drink a quart of prune juice every other day. Some chicks can't stand the sight of it, but I'd rather lose a little pussy than be stuffed with shit.

Think...it ain't illegal...yet.

In 1982 Mojo relocated from WGPR to WJLB, another legacy radio station, broadcasting urban contemporary and Quiet Storm14 to a growing African American middle class from the top of the eighth tallest building in the world, Detroit's Penobscot Building. The elevated vantage point inspired the new, on-air studio concept of the “Mothership,” in connection to George Clinton's assemblage of the Motown-inspired Parliament–Funkadelic (P-Funk) ensembles. Building on

18 “Cybotron coincided with the birth of a sound known as ‘electro,’ presumably a shortening of ‘electronic funk.’ Electro was one of the great dance music developments of the early 1980s that was neither a derivation nor an extension of disco. Instead, it was a ‘switched-on’ funk variant, exaggerating the electronic sounds that Midwestern groups like Parliament-Funkadelic had perfected in the studio and brought onstage. Most critics point to New York, however, for the genre's watershed moment.” Dan Sicko, Techno Rebels: The Renegades of Electronic Funk [1999] (Detroit: Wayne State University Press, 2010), 45.

prior. In 1982, George Clinton, a former Motown songwriter and engineer,68 signed a record deal with Capitol Records for his first solo album, Computer Games, backed by the Parliament-Funkadelic band. Plagued by legal and financial troubles due to copyright and royalty agreements, Clinton was eager to experiment in the studio with plans to chart his own contribution to the future-music arms race. “The psychedelia in Atkins's music came through his love of George Clinton's Parliament-Funkadelic, which he had seen perform a number of times while growing up,” journalist Dan Sicko explains. “In fact, Aaron Atkins believes that his brother picked up his guitar less