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.