FUNK – REGGAE – DISCO - PUNK

1. FUNK – REGGAE – DISCO - PUNK The Late 1970s

2. Funk Funk is from African American Culture. By the early 70, Funk had come to identify a particularly rhythmic strain of black music. Funk and Funky came into popular music through jazz. Funky is a foul and unpleasant person who neglected to battle for several days usually gave off a funky odor. Overtime it acquired another meaning : hip. Stylish clothes were “funky threads”. J.Brown sang “Ain't It Funky Now”. He was the father of Funk, the Godfather of Soul and Grandfather of Rap.

3. Sly and Family Stone Sylvester Stewart created Sly and Family Stone band. He was a disc jockey, turned producer and band leader. They became popular after the assassination of Martin Luther King, after backlash from the civil nights movement. Sly and Family Stone played a role in transition from soul to funk. The group preached integration. It was not an usual group. Black and white people were in the bad as men and women. They created an exuberant new sound “Thank you”, which was in the top of chart in 70. Their songs delivered political and social messages. They sense that the music is the buffer between the band and society, a restraint against violent activism. Their music is similar to J.Brown but their song were much denser and active with, what is now called, 16-beat-rhythm : analogous to two-beat, four beat and eight beat rhythms.

4. G.Clinton was the mastermind behind two important funk bands : Parliament and Funkadelic • Teenager he formed Parliaments as doo-wop group which sign with Motown in 1964. When he left Motown, he changed the group name to Funkadelic. • Funkadelic represented a major change of direction. The band brought funk and psychadelic work. • In 1974, Clinton regained control of Parliament name, he used two name for the same band. • Clinton enjoyed being provocative and playing with words, darker messages inside humourous packages set to a good-time groove. George Clinton

5. Reggae • Jamaica’sbest-known music around 1970. • Second home in United Kingdom by mid-decade. • Spoken to and for Jamaicans of African descent. • Most powerful messages reverberated with legacy of colonialism following political independence. • Distinctive sound due in large part to Rastafarianism, rhythm and blues

6. Rastafarianism • Important consequence of Marcus Gavey’scrusade to elevate the status of people of African descent. • Garvey is born in Jamaica, he agitated for black power in United States. • Rastafarianism promote a certain images, smells, and sounds: dreadlocks, ganja ( marijuana, which they ingest as part of their religious practice), and music.

7. Rhythm, Blues and Jamaican Popular Music • Influence of rhythm and blues on Jamaican music is in part a matter of geography. • For many young Jamaicans rhythm and blues replaced mento( = Jamaican popular music of the early fifties.) • Ska (= new jamaican music). By the end of 50’s, Jamaican musicians had begun to absorb rhythm,blues and transform it into a new kind of music. • Ska= first new style, emerged around 60, it would remain the dominant Jamaican sound through the first part of the decade. It’s strong afterbeat, a strong crisp chunk on the letter part of each beat.

8. From Ska to Reggae • As ska evolved into rock steadyin the later half of 60s, musicians added a backbeat layer over the afterbeats, this created a core rhythm of after beats at 2 speeds, slow and fast. The characteristic offbeat KA-CHUN-KA rhythm of reggae because the bass had no role in establishing and maintaining this rhythm, bass players were free to create their own lines.

9. Bob Marley and 1970’s • Bob Marley (1945-1981) • His recording career in the early 1960, he took off in 1964 after he formed the Wailer. • By the early 1970’she was extremely popular in Jamaica. • He was recording contract with Island records proppelled him to global stardom. • «  In this Love  » and « Get up Stand up » are two examples of his best songs.

10. Influence • Jamaican music influenced African American music in two differents way. Black pop musicians used the rhythmic texture of reggae to further liberate the bass from a timekeeping and beyond advances of Motown and the Philadelphia sound because reggae embedded the pulse of the song in its distinctive midrange rhythms, bass players were free to roam at will largely independent of a specific rhythmic or harmonic role.

11. Continues • Toasting is an other source of influence by Jamaicans streets parties between songs, Dj’sdelivered a steady stream of patter. • Much of it was topical or even personal; they would pick out and sometimes pick on people in the crowd that had gathered around. • It’sa direct forerumer of rap. • Kool Herc is a Jamaican men who brought toasting from Kingston to the streets of N.4, where it quickly evolved into hip-hop.

12. Discois short for discothèque. It’s a French meaning « record library ». It came into use during World War II, first as the name of nightclub Le Discothèque then as a code word for underground nighblubs where jazz records were played. Because of the German occupation, these clubs were run like American speakeasis during the Prohibition era. • Discothèques began to open in United States around 1960. • A new fads dance appeared by the end of the sixties which provided the soudtrack : Sly and the Family, Funkadelic, Stevie Wonder, Marvin Gaye, Curtis Mayfield, Barry White and above Philadelphia acts. • Clubbers included not only blacks but also Latinos, working-class women and gays for whom clubbing become a welcome chance. Disco

13. A new element in the music there was the innovative use of synthesizers to create dance tracks. • Kraftwerk, a two-person German group, and Giorgio Moroder were the most important musicians in this domaine Disco and Electronics

14. She grew up in the Boston area and moved to Europe to pursive a carrer musical in theatre and light opera. • Her first international hit : «Love to love you baby». It is a seductive song which was released in 1975. • Her next hit was «I feel Love» which explores the erotic dimension of love. • Donna’s songs are characterize by electronic sound and beat marking in electronic bass drum, low synthesizer riff produces relentless timekeeping at three levels. Donna Summer

15. It was the brainchild of Jacques, a French producer who lived in New York. • The public image of The Village People was 6 guys dressed up as macho stereotypes among gays: the indian, the leather man, the construction worker, the policeman, the cowboy and the soldier. • «Y.M.C.A» was their biggest hit. It is quintessential disco with the beat marked by the bass drum, active rhythms, catchy chorus melody, electronic instruments and repetitive harmony. • «Macho man» was another succees. The Village People

16. Most disco artists came and went. • For many people disco became a lifestyle. It was hedonistic : dancing was simply a prelude to more intimate forms of contact. It was exhibitionistic : fake Afro wigs, skin-tight, revealing clothes, flamboyant accessories, plat form shoes and everything glittering. Then it was drig-ridden : disco and cocaïne. • Many people was against disco, especially homophob people. For example, S.Dahl invent a game the «Disco sucks ». • After disco disappeared, all the major dance fads in 20 century have had short life spans: the Charleston, the Black Bottom, the Jitterbugging, the Lindy hopping, the Twist and others rock and roll dances. Disco: Culture, Reception and Influence

17. Punk • Punk: was extreme form of a wave of new music emerged in the mid 70's. • Reactionary movementcounterrevolution against what its adherents saw as the growing commercialism of mainstream rockgive new direction in rock, whcih continues to the present. • Punk is to rock and roll what heroin is to opiumThe power of punk is in the music, it's the sounds and the rhythms of punk that most strongly convey its energy and attitude."Pure" punk songs are short they say what they have to say quickly and move on Punk gives songs that identify the dangerous aspects of rock and roll: volume, sounds, rhythms. • Punk is loud, it's full-bore from beginning to the end. Punk is noise: guitarists, bassists routinely use heavy distortion. • Punk is fast: tempos typically exceed the pace of normally energetic movement ( walking, marching, disco dancing) but the most compelling feature of punk is its approach to rock rhythm.

18. The Power of Punk • Punk is to rock and roll what heroin is to opium. • The power of punk is in the music, it's the sounds and the rhythms of punk that most strongly convey its energy and attitude. • "Pure" punk songs are short they say what they have to say quickly and move on Punk gives songs that identify the dangerous aspects of rock and roll: volume, sounds, rhythms. • Punk is loud, it's full-bore from beginning to the end. • Punk is noise: guitarists, bassists routinely use heavy distortion. • Punk is fast: tempos typically exceed the pace of normally energetic movement ( walking, marching, disco dancing) but the most compelling feature of punk is its approach to rock rhythm.

19. Satured Rock Rhythm • Punk restored the essence and power of rock rhythm by isolating it, saturating the rhythmic texture with it and speeding it up. • In punk "the default" way of playing the rock rhytmic layer was simply to repeat a note, a chord, or a drum stroke over and over at rock-beat speed. • Punk made "purer" form of rock rhythm stand out through a two-part strategy: • 1- the entire rhythm section typically reinforced it: guitar,bass, and drums all hammer it out .Indeed, depending on the speed of the song and the skill of the drummer, the reinforcement could be heard on the bass drum as well as the drums or cymbals • 2-it favored explicit timekeeping over syncopation and other forms of rhythmic play. This reverses the prevailing direction of the evolution of rock rhythm, which was toward greater rhythmic complexity- more syncopation, more activity, more implicit timekeeping.

20. The Sex Pistols • Malcolm McLaren made the Sex Pistol: vocalist Johnny Rotten (John Lydon), guitarist Steve Jones, bassists Glen Matlock and Sid Vicious (John Ritchie), and drummer Paul Cook. • None of the 4 have much musical skills at the time they formed the band. • The Sex Pistols acquired more of a reputation for outrageous conduct than for musicianship. • Word spread about the group though word of mouth, newspaper reviews, and subculture fanzines. • They found their musical direction after hearing the Ramones and learning the basics of their instruments. • They have the ability to schock,provoke,confront, and incite to riot. • The two of their best-known songs: " God save the queen " and "Anarchy in the UK".

21. The Sex Pistols • In "God Save the Queen" guitar and bass move in tandem to hammer out a relentless rock rhythm almost all the way through. the drummer reinforces this rock rhythm by pounding it out on the bass drum and either a tom-tom or hi-hat. The power of the song comes from its stylistic coherence. Every aspect of the song, the lycris, the vocal style, the absence of melody, simple power chords, the heavily distorted sounds, and the relentless, fast-placed beat. • The message of the Sex Pistols resonated throughout the UK. • They separed in 1978, they were enormous influential. They embodied the essence of punk in every aspect. No one projected its sense of outrage and its outrageousness more badly.

22. The Clash and the Evolution of Punk • New wave term used to identify the music that emerged in small clubs, mainly in NY and London during the mid 70's. • Clash released the double album London Calling , it 's the only album to make the Top 10 of Rolling Stone's list of the 500. • Formed with Joe Strummer and Mick Jones, bassist Paul Simonon and drummer Topper Headon. • They are fast, loud and crude. • "Death Glory" a track from the album.

23. The Reverbation of Punk • Punk and new wave restored the soul of rock and roll. In punk the message is primary, whether it is expressed directly and obliquely.This help account for the relative simplicity of the musical materials, presented as a sound or with imagination. If the musical setting were too elaborate, it would deflect attention away from the underlying intent of the song.

24. Looking back, Looking ahead • Funk, reggae, disco and punk were very influential through the eighties and beyond.There is a new approach to rhythm.Rock rhythm got a makeover with punk ; 16 beat rhythms became the dominant style beat.