Clinton explicitly acknowledges and connects this practice of wordplay to contemporary urban centers and prior Black musical genres. In his autobiography, Clinton writes:. Most of all, that kind of punning was in keeping with the temper of the times: slang was increasingly popular because of drugs and Black Power and inner-city talk…the stars of the early seventies took it in another direction.
Listening to Sly Stone was like taking a master class in brilliant nonsense…Sly, of course, was building on an old tradition of hepcats and jazz speak, going all the way back to Cab Calloway and continuing through Lord Buckley, but was doing it in the early seventies, when Black America was onstage in a different way.
Wordplay provided Clinton a lyrical freedom that made his P-Funk mythology seem far out, while still being in tune with historical practices of Black cultural production, with Black life. Like referencing practices of Black cultural production to create a sense of kinetic freedom, Clinton would also directly reference prior Black cultural forms and use them to instantiate spatial and kinetic relationships.
Indeed, the song opens with a nested reference to Black American musical tradition, namely spirituals and soul music. Here, the phrase takes on an indeterminate spatial quality. The lyrics do not only offer dancing as a way to freedom; the music of the song demands dancing. The groove is predominately made up of synth bass and drums. The kick of the drums follows the rhythm of the bass, while syncopated cymbal bell and tom hits round out the percussion.
The guitar hangs out on the right side of the track. The titular single from Cosmic Slop would specifically address Black urban life, while still drawing on notions of dancing and otherworldliness. Indeed, this fusion takes place around the figure of a Black woman and the commodified circulation of her sexuality. Notably, the act of prostitution, the sale of her body for economic relief, is articulated in the lyrics:. Then the devil sang: Would you like to dance with me?
Puns, female sexuality, and overt reference to funk music coalesce in outer space to make an aesthetic of movement heard in women voices. War ship Touchante You have invaded the domain of the protectors. Do not move You have violated the rhythmic movements of times and spaces. You are hereby under mental and physical arrest. The ultimatum, the ultimate ultimatum, is to funk or walk! May we board you? Dancing, dancing, dancing, dancing. Reinforcing the science-fiction feel of the song is the heavy use of synthesizers, played by Worrell.
For instance, as the war ships are invading, Worrell produces a sonic texture of zapping laser sounds. Twinkling sample-and-hold-filter bleeps fill the background of the song, echoing an image of outer space, and pulsing synthetic sounds parallel the bass and vocals, while a brass sound comes in and out.
In doing so, P-Funk forcefully demonstrates within the genre of funk a desire for movement, so much so that it was willing to leave the Earth. And when P-Funk did come back to Earth, it offered a message of freedom and movement through funk.
To articulate this message, lyrics would often turn to the figure of the Black woman and the circulation of her sexuality. But other funk bands stayed on earth and produced an aesthetic of movement against dwindling social and economic mobility. While Dr. This is neither to say that funk musicians were not originally from Northern cities nor that funk bands did not emerge in the South.
But at risk of stating the obvious, the Great Migrations brought constellation of musicians together that might not have happened otherwise. The movements of these musicians and their families index the larger migration patterns of the movement of Black people during the Great Migrations. This migration has had a lasting effect on the demographic make-up of various regions of the United States. While both Migrations saw Black people leaving the South in staggering numbers, there are key distinctions between them.
The first Migration, dated from to , largely saw Black people leave rural areas for northern and midwestern cities: New York City, Chicago, Detroit, and Philadelphia. Urban-to-urban migration was more common during this period, though large percentages still came from nonmetropolitan areas. The Black population who had moved to the North and West prior to the s was by and large met with a beneficial labor market, one in search of workers, but during the s jobs in non-Southern states began to decline.
Urban centers that once promised economic opportunity and freedom were now becoming places of economic stagnation and limited social mobility. Black Americans were confronted by a rearrangement of labor in the US. Automation lessened the demand for factory and manufacturing jobs, blue-collar jobs decreased as white-collar and service-industry jobs boomed, and the expansion of the highway system drew businesses, jobs, and revenue out of cities into the suburbs, which were growing and facilitating White flight.
Automation and the expansion of the transportation system left Black populations under- and unemployed. Indeed, this period saw the unemployment of Black men nearly double relative to their White counterparts. All of these factors affected the economic prosperity of Black urban communities. Furthermore, through racist zoning practices, the construction of the highway system not only damaged cities economically; it also carved up and displaced Black communities.
The vast circulatory system being built in the postwar period became a key factor in the constriction of Black American life during that time. What was being sold in the White US imagination as an avenue to more free time, more spatial freedom, and overall greater family bliss was, for large groups of Black Americans, a further social and spatial constraint.
The construction of this highway, along with others that divided up the lower side of Detroit, devastated businesses and the local economy and displaced Black people. Such displacement of populations and the reduction of available housing further cramped urban environments. Men and women in the music industry come from all walks of life and bring various musical talents to the table.
One could argue that the lack of opportunities for more women in the music industry might be a conscious decision by the music companies and key players in the sector.
Perhaps it is something that happens subconsciously. Maybe it is both. The men not wanting to compete with women believe they already dominate the airwaves and would lose out.
Some men tend to think that they already know the rules of the game. They do not realise that the music industry is changing and attracting more females every day.
In a few years, they will have to admit that they have been wrong. The music industry is missing out on more female involvement. They hire the same calibre of musicians and producers.
According to the Audio Engineering Society findings, women make up only 5 to 7 per cent of producers and audio engineers. Some organisations report lower numbers. It is not the people that make the music that is the problem. The problem is the industry itself. The music industry has been plagued by a lack of diversity in its ranks, with women, people of colour, and LGBTQ people making up a small percentage of its workforce. It is crucial to ensure that the voices of those who are underrepresented are heard.
This is a great opportunity for the industry to step up and take a stand considering the movement for change and inclusivity in recent times. If they were to add more women to their workforce, it would drastically change the music's dynamic. If women cannot break into the music business, the type of music they make will die out. That would be a bad thing. Women have been making records for as long as there has been music.
In recent years, they have begun to get more recognition from people and deservedly so. A welcome development is that women make more records than ever, but they are still a minority. The trend of more women entering the music industry is not going to end anytime soon. The reason for a potential change lies within the increasing sophistication of modern technology.
In fact, most musicians today do not even need a record label at all anymore. You can sell your songs directly through iTunes, Amazon, or any other digital store, such as Bandcamp. The industry is dominated by men because they are the ones that promote it. This is a huge mistake.
Statista reveals that in , Comparing to more recent years, this number plunged to The music industry's problem is that men are conquering the sector. What is being advertised and dispersed to society is determined by men. Several individuals who make money in the music industry will agree that the music industry is "a boys' club," which needs to be brought to light. This will help ensure that true change opportunities are rightfully addressed.
If a change occurs, then more women will be attracted to the industry. The industry needs to take a stand on gender inequality in the industry as a problem that must be addressed.
Scrutinising the data of female versus male professionals in the industry can at first be discouraging. Nevertheless, female pioneers in the music industry are a source of motivation and determination for other women who would like to discover their place in the industry and help develop possibilities for future women and a newer generation. There is a need to promote more women in the music industry.
It is important to ensure that women are not just seen as a source of income but as part of the creative process. It is crucial to have a diverse range of voices in music. There is a need for different voices to be heard, different music styles, and that is something that the music industry should be proud of. Throughout the years, a wide variety of companies were established to promote women in the music industry.
Organisations such as the ones noted are designed for female empowerment and acknowledge female artists and producers. Despite being underrepresented in the music sector, women have a lot of assistance from all the establishments and those who stand together with gender equality. Other ways have indeed been made to encourage female representation, including female-led music festivals and more youthful generations who connect with female pioneers in the industry.
The music industry being male-dominated has just impeded the development of this industry and women's success in the industry. My life is funk. Funk is empowering on many levels for Machado who initially was hesitant to tell people about her involvement in funk for fear of facing the stigma that exists against African art forms in Brazil. Still, as Mayara Rodrigues explained, there is much that needs to be done before funk can be considered a true equalizer.
Many women on the panel had had experiences of male audience members verbally harassing them after a performance. A recurring theme of the evening was the importance of uniting women within the funk community. I think you have to feel good and show your personality. There are people who sell sexuality. I started selling sexuality because I started as a dancer.
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