Editing Funk

{{Short description|Music genre}}
{{hatgrp|
{{Redirect|Funky|other uses|Funk (disambiguation)}}
{{distinguish|phonk}}
}}
{{Technical reasons|Funk #49|the song|Funk 49}}
{{Use mdy dates|date=October 2018}}
{{Infobox music genre <!-- See Wikipedia:WikiProject_Music_genres -->
| name              = Funk
| image             = James-Brown 1973.jpg
| stylistic_origins = {{hlist|[[Soul music|Soul]]|[[rhythm and blues]]|[[jazz]]|[[Black gospel music|gospel]]}}
| cultural_origins  = Mid-1960s,<ref name=encyclopedia/> United States
| derivatives       = {{hlist|[[Disco]]|[[hip-hop]]|[[post-punk]]|[[dance-punk]]|[[boogie music|boogie]]|[[contemporary R&B]]|[[electro music|electro]]|[[techno]]|[[breakbeat]]|[[new jack swing]]|[[oldschool jungle]]|[[neurofunk]]|[[liquid funk]]|[[krautrock]]|[[funkstep]]}}
| subgenres         = {{hlist|[[Deep funk]]|[[go-go]]}}
| fusiongenres      = {{hlist|[[Acid jazz]]|[[afrobeat]]|[[avant-funk]]|[[Brit funk]]|[[free funk]]|[[funk metal]]|[[funk rock]]|[[funky house]]|[[G-funk]]|[[jazz-funk]]|[[samba funk]]|[[psychedelic funk]]|[[skweee]]|[[swamp rock]]<ref>{{cite web |url=https://www.liveabout.com/what-is-swamp-rock-2522008 |title=What Is Swamp Rock? A look at this Southern mix of country, funk, and soul |last=Fontenot |first=Robert |date=February 24, 2019 |publisher=Liveabout |access-date=November 9, 2022}}</ref>|[[UK funky]]}}
| other_topics      = {{hlist|[[List of funk musicians|Musicians]]|[[psychedelic soul]]|[[African-American music]]}}
| caption           = [[James Brown]], a pioneer of funk, in 1973
| subgenrelist      = 
}}

'''Funk''' is a [[music genre]] that originated in [[African-American]] communities in the mid-1960s when musicians created a [[rhythm]]ic, [[dance]]able new form of music through a mixture of various music genres that were popular among African-Americans in the mid-20th century. It deemphasizes [[melody]] and [[chord progressions]] and focuses on a strong rhythmic [[groove (music)|groove]] of a [[bassline]] played by an [[electric bass]]ist and a drum part played by a [[drum kit|percussionist]], often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with [[Rhythm section|rhythm instruments]] playing interlocking grooves that create a "hypnotic" and "danceable" feel.<ref name="stewart1">{{cite web |url=https://www.soundonsound.com/techniques/top-brass-part-2 |title=Top Brass: Part 2 Arranging For Brass |last=Stewart |first=Dave |date=July 2015 |website=soundonsound.com |publisher=Sound on Sound |access-date=18 April 2019 }}</ref> It uses the same richly colored [[extended chord]]s found in [[bebop]] jazz, such as [[minor chord]]s with added sevenths and elevenths, and [[dominant seventh]] chords with altered ninths and thirteenths.

Funk originated in the mid-1960s, with [[James Brown]]'s development of a signature groove that emphasized the [[Beat (music)#Downbeat|downbeat]]—with a heavy emphasis on the first beat of every [[Bar (music)|measure]] ("The One"), and the application of swung [[16th note]]s  and [[syncopation]] on all basslines, drum patterns, and guitar riffs.<ref name="Slutsky, Allan 1997">Slutsky, Allan, Chuck Silverman (1997). ''The Funkmasters-the Great James Brown Rhythm Sections''. {{ISBN|1-57623-443-6}}</ref> Rock- and [[psychedelia]]-influenced musicians [[Sly and the Family Stone]] and [[Parliament-Funkadelic]] fostered more eclectic examples of the genre beginning in the late 1960s.<ref name=RhythmOneFunk>Explore: "[https://www.allmusic.com/style/funk-ma0000002606/albums Funk]." Rhythmne. Retrieved 2020-09-16.</ref> Other musical groups developed Brown's innovations during the 1970s and the 1980s, including [[Kool and the Gang]],<ref>{{cite web |url=https://njhalloffame.org/hall-of-famers/2015-inductees/kool-and-the-gang/ |title=KOOL & THE GANG |publisher=[[New Jersey Hall of Fame]] |website=njhalloffame.org|date=June 26, 2015 }}</ref> [[Ohio Players]], [[Fatback Band]], [[Jimmy Castor]] Bunch, [[Earth, Wind & Fire]], [[B.T. Express]], [[Shalamar]],<ref>[https://www.allmusic.com/artist/hamilton-bohannon-mn0000664093/biography  Bohannon Biography]  AllMusic. Retrieved 14 March 2023</ref> One Way, [[Lakeside (band)|Lakeside]], [[Dazz Band]], [[The Gap Band]], [[Slave (band)|Slave]], [[Aurra]], [[Roger Troutman]] & [[Zapp (band)|Zapp]], [[Con Funk Shun]], [[Cameo (band)|Cameo]], [[Bar-Kays]], [[The Brothers Johnson]] and [[Chic (band)|Chic]]. 

Funk derivatives include [[avant-funk]], an [[avant-garde music|avant-garde]] strain of funk; [[boogie (genre)|boogie]], a hybrid of electronic music and funk; [[funk metal]]; [[G-funk]], a mix of [[gangsta rap]] and [[psychedelic funk]]; [[Timba]], a form of funky Cuban dance music; and funk jam. It is also the main influence of Washington [[go-go]], a funk subgenre.<ref>{{cite book|last=Vincent|first=Rickey|url=https://books.google.com/books?id=Tb-FBAAAQBAJ|title=Funk: The Music, the People, and the Rhythm of the One|publisher=St. Martin's Press|year=1996|isbn=978-0-312-13499-0|location=New York|pages=293–297}}</ref> Funk [[sampling (music)|samples]] and [[breakbeat]]s have been used extensively in [[hip hop music|hip hop]] and [[electronic dance music]].

== Etymology ==
{{Wiktionary|funk}}
The word ''funk'' initially referred (and still refers) to a strong odor. It is originally derived from [[Latin]] {{lang|la|fumigare}} (which means "to smoke") via [[Old French]] {{lang|fro|fungiere}} and, in this sense, it was first documented in English in 1620. In 1784, ''funky'' meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt".<ref>{{cite web|url=http://www.etymonline.com/index.php?term=funk|title=Online Etymology Dictionary – Funk|website=Etymonline.com|language=en|access-date=January 20, 2017}}</ref><ref>{{cite web|url=http://www.worldwidewords.org/qa/qa-fun2.htm|title=World Wide Words: Funk|last=Quinion|first=Michael|date=October 27, 2001|website=World Wide Words|language=en-gb|access-date=January 20, 2017}}</ref> Even though in white culture, the term ''funk'' can have negative connotations of odor or being in a bad mood (''in a funk''), in African communities, the term ''funk'', while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance.<ref name="autogenerated80">Thompson, Gordon E. ''Black Music, Black Poetry: Blues and Jazz's Impact on African American Versification''. Routledge, Apr. 15, 2016. p. 80.</ref>

In early [[jam session]]s, musicians would encourage one another to "[[get down]]" by telling one another, "Now, put some ''stank'' on it!" At least as early as 1907, [[jazz]] songs carried titles such as ''Funky''. The first example is an unrecorded number by [[Buddy Bolden]], remembered as either "Funky Butt" or "Buddy Bolden's Blues", with improvised lyrics that were, according to Donald M. Marquis, either "comical and light" or "crude and downright obscene" but, in one way or another, referring to the sweaty atmosphere at dances where Bolden's band played.<ref>Donald M. Marquis: In Search of Buddy Bolden, Louisiana State University Press, 2005, pp. 108–111 {{ISBN |978-0-8071-3093-3 }}</ref><ref name=RealMusicForum>[http://www.realmusicforum.com/history/who-started-funk-music/2008122356/ Who Started Funk Music] {{Webarchive|url= https://web.archive.org/web/20091009054718/http://www.realmusicforum.com/history/who-started-funk-music/2008122356/ |date=October 9, 2009 }}, ''Real Music Forum''</ref> As late as the 1950s and early 1960s, when ''funk'' and ''funky'' were used increasingly in the context of [[jazz music]], the terms still were considered indelicate and inappropriate for use in polite company. According to one source, [[New Orleans]]-born drummer [[Earl Palmer]] "was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable."<ref name=Guardian>{{cite news|url = https://www.theguardian.com/music/2008/sep/23/popandrock.usa |title = Obituary: Earl Palmer|work = [[The Guardian]] |first = Pierre|last = Perrone|date = 22 September 2008}}</ref> The style later evolved into a rather hard-driving, insistent rhythm, implying a more ''carnal quality''. This early form of the music set the pattern for later musicians.<ref>Merriam-Webster, Inc, [https://archive.org/details/merriamwebsterne00merr/page/175 <!-- quote=funk origins of word. --> ''The Merriam-Webster New Book of Word Histories''] (Merriam-Webster, 1991), {{ISBN|0-87779-603-3}}, p. 175.</ref> The music was identified as slow, sexy, loose, [[riff]]-oriented and danceable.{{citation needed|date=January 2017}}

The meaning of ''funk'' continues to captivate the genre of black music, feeling, and knowledge. Recent scholarship in black studies has taken the term ''funk'' in its many iterations to consider the range of black movement and culture. In particular, L.H. Stallings's ''Funk the Erotic: Transaesthetics and Black Sexual Cultures'' explores these multiple meanings of ''funk'' as a way to theorize sexuality, culture, and western hegemony within the many locations of ''funk'': "street parties, drama/theater, strippers and strip clubs, pornography, and self-published fiction."<ref>Stallings, L. H. ''Funk the Erotic: Transaesthetics and Black Sexual Cultures'', U Of Illinois Press, 2015, pp. 1–29.</ref>

== Characteristics ==

=== Rhythm and tempo===
[[File:Meters Wikepedia.jpg|thumb|right|upright=1.1|The [[rhythm section]] of a funk band—the electric bass, drums, electric guitar and keyboards—is the heartbeat of the funk sound. Pictured here are [[the Meters]].]]
Like soul, funk is based on [[dance music]], so it has a strong "rhythmic role".<ref name=Learn254>Learn Guitar: From Beginner to Pro. Book Sales, 2017. p. 254</ref> The sound of funk is as much based on the "spaces between the notes" as the notes that are played; as such, rests between notes are important.<ref name=Gress>{{cite web |url=https://www.guitarplayer.com/technique/10-ways-to-play-like-prince |title=10 Ways to Play Guitar Like Prince |last=Gress |first=Jesse |date=21 April 2016 |website=guitarplayer.com |publisher=Guitar Player |access-date=13 April 2019 }}</ref> While there are rhythmic similarities between funk and [[disco]], funk has a "central dance beat that's slower, sexier and more syncopated than disco", and funk rhythm section musicians add more "subtextures", complexity and "personality" onto the main beat than a programmed synth-based disco ensemble.<ref name= Himes>{{cite news |url=https://www.washingtonpost.com/archive/lifestyle/1979/08/01/on-the-difference-between-funk-and-disco/25fcc5c6-1a13-4d64-9e99-a67dbd004b9a/?noredirect=on |title=On the Difference Between Funk and Disco |last=Himes |first=Geoffrey |date=1 August 1979 |newspaper=[[The Washington Post]] |access-date=13 April 2019 }}</ref>

Before funk, most [[pop music]] was based on sequences of eighth notes, because the fast tempos made further subdivisions of the beat infeasible.<ref name="stewart1"/> The innovation of funk was that by using slower tempos (surely influenced by the revival of blues in the early 1960s), funk "created space for further rhythmic subdivision, so a bar of 4/4 could now accommodate possible 16  note  placements."<ref name="stewart1"/>  Specifically, by having the guitar and drums play in "motoring" sixteenth-note rhythms, it created the opportunity for the other instruments to play "more syncopated, broken-up style", which facilitated a move to more "liberated" basslines. Together, these "interlocking parts" created a "hypnotic" and "danceable feel".<ref name="stewart1"/>

A great deal of funk is rhythmically based on a two-[[cell (music)|celled]] onbeat/offbeat structure, which originated in [[sub-Saharan African music traditions]]. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, and made it its own.<ref name="autogenerated1979">Palmer, Robert (1979: 14), ''A Tale of Two Cities: Memphis Rock and New Orleans Roll''. Brooklyn.</ref> New Orleans funk, as it was called, gained international acclaim largely because James Brown's rhythm section used it to great effect.<ref name = pp>Stewart, Alexander (2000: 293), "Funky Drummer: New Orleans, James Brown and the Rhythmic Transformation of American Popular Music", ''Popular Music'', v. 19, n. 3, October 2000, pp.&nbsp;293–318.</ref>

[[File:Funk.tiff|thumb|center|upright=1.8|Simple kick and snare funk motif. The kick first sounds two onbeats, which are then answered by two offbeats. The snare sounds the backbeat.]]

=== Harmony ===
[[File:Thirteenth chord collapsed.png|thumb|A [[thirteenth chord]] (E 13, which also contains a flat 7th and a 9th) {{Audio|Thirteenth chord collapsed.mid|Play}}]]
Funk uses the same richly colored [[extended chord]]s found in [[bebop]] jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. Some examples of chords used in funk are minor eleventh chords (e.g., F minor 11th); dominant seventh with added sharp ninth and a suspended fourth (e.g., C7 (#9) sus 4); dominant ninth chords (e.g., F9); and minor sixth chords (e.g., C minor 6).<ref name=Gress/> The six-ninth chord is used in funk (e.g., F 6/9); it is a major chord with an added sixth and ninth.<ref name=Gress/> In funk, minor seventh chords are more common than minor triads because minor triads were found to be too thin-sounding.<ref>Studley, Greg. ''Essentials of Rhythm Guitar: Complete Guide''. Jun. 21, 2016.</ref> Some of the best known and most skillful soloists in funk have [[jazz]] backgrounds. Trombonist [[Fred Wesley]] and saxophonists [[Pee Wee Ellis]] and [[Maceo Parker]] are among the most notable musicians in the funk music genre, having worked with [[James Brown (musician)|James Brown]], [[George Clinton (funk musician)|George Clinton]] and [[Prince (musician)|Prince]].

Unlike bebop jazz, with its complex, rapid-fire chord changes, funk often uses a static single-chord or two-chord [[vamp (music)|vamp]] (often alternating a minor seventh chord and a related dominant seventh chord, such as A minor to D7) during all or part of a song, with [[Traditional sub-Saharan African harmony|melodo-harmonic movement]] and a complex, driving rhythmic feel. Even though some funk songs are mainly one-chord vamps, the rhythm section musicians may embellish this chord by moving it up or down a semitone or a tone to create chromatic passing chords. For example, the verse section of "[[Play That Funky Music]]" (by [[Wild Cherry (band)|Wild Cherry]]) mainly uses an E ninth chord, but it also uses F#9 and F9.<ref>Serna, Desi. ''Guitar Theory For Dummies: Book + Online Video & Audio Instruction''. John Wiley & Sons, Sep. 24, 2013. p. 156</ref>

The chords used in funk songs typically imply a [[Dorian mode|Dorian]] or [[Mixolydian mode]], as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the [[blues scale]]. In the 1970s, jazz music drew upon funk to create a new subgenre of [[jazz-funk]], which can be heard in recordings by [[Miles Davis]] (''[[Live-Evil (Miles Davis album)|Live-Evil]]'', ''[[On the Corner]]''), and [[Herbie Hancock]] (''[[Head Hunters]]'').

===Improvisation===
Funk continues the African musical tradition of [[improvisation]], in that in a funk band, the group would typically "feel" when to change, by "jamming" and "grooving", even in the studio recording stage, which might only be based on the skeleton framework for each song.<ref>Vincent, Rickey. ''Funk: The Music, The People, and The Rhythm of The One''. St. Martin's Press, Nov. 4, 2014; p. 18</ref> Funk uses "collective improvisation", in which musicians at rehearsals would have what was metaphorically a musical "conversation", an approach which extended to the onstage performances.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. pp. 51–52</ref>

===Instruments===
====Bass guitar====
[[File:Bootsy Collins-04.jpg|thumb|left|200px|Bootsy Collins performing in 1996 with a star-shaped bass]]
Funk creates an intense [[Groove (popular music)|groove]] by using strong guitar riffs and [[bassline]]s played on [[electric bass]]. Like [[Motown]] recordings, funk songs use basslines as the centerpiece of songs. Indeed, funk has been called the style in which the bassline is most prominent in the songs,<ref>{{cite book|last = Archard|first = Chuck |title = Building Bass Lines|publisher = Alfred Music Publishing|date = 1998|isbn = 9780882849218}}</ref> with the bass playing the "hook" of the song.<ref name=Boomer25>Boomer, Tim; Berry, Mick. ''The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco''. See Sharp Press, Jul. 1, 2009. p. 25</ref> Early funk basslines used syncopation (typically syncopated eighth notes), but with the addition of more of a "driving feel" than in New Orleans funk, and they used [[blues scale]] notes along with the major third above the root.<ref>Boomer, Tim; Berry, Mick. ''The Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco''. See Sharp Press, Jul. 1, 2009. p. 22</ref> Later funk basslines use sixteenth note syncopation, blues scales, and repetitive patterns, often with leaps of an octave or a larger interval.<ref name=Boomer25/>
[[File:Funky Slap Bass line.ogg|thumb|right|200px|This funky bassline includes percussive slapping, rhythmic ghost notes, and glissando effects.]]
Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and [[Slapping (music)|slap and popping]] bass. Slapping and popping uses a mixture of thumb-slapped low notes (also called "thumped") and finger "popped" (or plucked) high notes, allowing the bass to have a drum-like rhythmic role, which became a distinctive element of funk. Notable slap and funky players include [[Bernard Edwards]] ([[Chic (band)|Chic]]), [[Robert "Kool" Bell]], Mark Adams ([[Slave (band)|Slave]]), Johnny Flippin ([[Fatback Band|Fatback]])<ref>{{Cite web|url=https://www.allmusic.com/artist/johnny-flippin-mn0001326101|title=Johnny Flippin &#124; Credits|website=[[AllMusic]]|accessdate=February 25, 2021}}</ref> and [[Bootsy Collins]].<ref name=Overthrow>Overthrow, David. ''Complete Electric Bass Method: Mastering Electric Bass''. Alfred Music</ref> While slap and funky is important, some influential bassists who play funk, such as [[Rocco Prestia]] (from [[Tower of Power]]), did not use the approach, and instead used a typical fingerstyle method based on [[James Jamerson]]'s [[Motown]] playing style.<ref name=Overthrow/> [[Larry Graham]] from [[Sly and the Family Stone]] is an influential bassist.<ref name=Dickens>Dickens, Bill "the Buddha"; Rock, Bobby. ''Funk Bass and Beyond''. Alfred Music Publishing, 2003</ref>

Funk bass has an "earthy, percussive kind of feel", in part due to the use of muted, rhythmic [[ghost note]]s<ref name=Dickens/> (also called "dead notes").<ref name=Overthrow/> Some funk bass players use electronic [[effects unit]]s to alter the tone of their instrument, such as "envelope filters" (an [[auto-wah]] effect that creates a "gooey, slurpy, quacky, and syrupy" sound)<ref>{{cite web |url=https://www.premierguitar.com/articles/how-to-funk-up-your-bass-1 |title=How to Funk Up Your Bass |last=Berkowitz |first=Dan |date=14 January 2008 |website=premierguitar.com |publisher=Premier Guitar |access-date=9 April 2019 }}</ref> and imitate keyboard synthesizer bass tones<ref>{{cite web |url=https://www.dummies.com/art-center/music/bass-guitar/effects-pedals-for-your-bass-guitar/ |title=Effects Pedals for Your Bass Guitar |last=Pfeiffer |first=Patrick |website=dummies.com |publisher=Dummies |access-date=9 April 2019 }}</ref> (e.g., the [[Mutron]] envelope filter)<ref name=Boomer25/> and overdriven [[fuzz bass]] effects, which are used to create the "classic fuzz tone that sounds like old school Funk records".<ref>{{cite web |url=https://www.guitarinteractivemagazine.com/issues/issue-50/reviews/electro-harmonix-bass-blogger-bass-metaphors-and-bass-micro-synthesizer/ |title=Electro-Harmonix Bass Blogger, Bass Metaphors and Bass Micro Synthesizer |last=Veall |first=Dan |work=Guitar Interactive Magazine |access-date=9 April 2019 |archive-date=August 1, 2020 |archive-url=https://web.archive.org/web/20200801000238/https://www.guitarinteractivemagazine.com/issues/issue-50/reviews/electro-harmonix-bass-blogger-bass-metaphors-and-bass-micro-synthesizer/ |url-status=dead }}</ref> Other effects that are used include the [[flanger]] and [[bass chorus]].<ref name=Boomer25/> Collins also used a [[Mu-Tron#Mu-tron Octave Divider|Mu-Tron Octave Divider]], an octave pedal that, like the Octavia pedal popularized by [[Jimi Hendrix|Hendrix]], can double a note an octave above and below to create a "futuristic and fat low-end sound".<ref name="dearcangelis1">{{cite web |url=https://reverb.com/ca/news/the-essential-gear-of-parliament-slash-funkadelic |title=The Essential Gear of Parliament/Funkadelic |last=DeArcangelis |first=Christopher |date=6 January 2017 |website=reverb.com |publisher=Reverb |access-date=4 May 2019 }}</ref>

====Drums====
Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of [[Swing music|swing]] feel in some songs (e.g., "Cissy Strut" by [[The Meters]] and "I'll Take You There" by [[The Staple Singers]], which have a half-swung feel), and less use of [[fill (music)|fills]] (as they can lessen the groove).<ref name=Schlueter>{{cite web |url=https://reverb.com/ca/news/10-old-school-funk-grooves-every-drummer-should-know |title=10 Old School Funk Grooves Every Drummer Should Know |last=Schlueter |first=Brad |date=13 May 2016 |website=reverb.com |publisher=Reverb |access-date=9 April 2019 }}</ref> Drum fills are "few and economical", to ensure that the drumming stays "in the pocket", with a steady tempo and groove.<ref>Burns, Roy; Farris, Joey. ''Studio Funk Drumming: A Professional Workbook''. Alfred Music, 1981. p. 6</ref> These playing techniques are supplemented by a set-up for the drum kit that often includes muffled [[bass drum]]s and toms and tightly tuned snare drums.<ref name=Schlueter/> [[Double bass drumming]] sounds are often done by funk drummers with a single pedal, an approach which "accents the second note... [and] deadens the drumhead's resonance", which gives a short, muffled bass drum sound.<ref name=Schlueter/>
[[File:Cissy Strut drum groove.jpg|thumb|right|300px|The drum groove from "[[Cissy Strut]]"]]

James Brown used two drummers such as Clyde Stubblefield and John 'Jabo' Starks in recording and soul shows.<ref name="autogenerated53">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 53</ref> By using two drummers, the JB band was able to maintain a "solid syncopated" rhythmic sound, which contributed to the band's distinctive "Funky Drummer" rhythm.<ref name="autogenerated53"/>

In [[Tower of Power]] drummer [[David Garibaldi (musician)|David Garibaldi]]'s playing, there are many [[ghost note]]s and [[rim shot]]s.<ref name=Schlueter/> A key part of the funk drumming style is using the hi-hat, with opening and closing the hi-hats during playing (to create "splash" accent effects) being an important approach.<ref>Burns, Roy; Farris, Joey. ''Studio Funk Drumming: A Professional Workbook''. Alfred Music, 1981. pp. 5–6</ref> Two-handed sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk.<ref name=Schlueter/>

Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music, [[ostinato]]s, that are repeated "with only slight variations", an approach which he says causes the "mesmerizing" nature of funk.<ref name="autogenerated7">Payne, Jim. ''Complete Funk Drumming Book''. Mel Bay Publications, Feb. 9, 2011. p. 7-8</ref> Payne states that funk can be thought of as "rock played in a more syncopated manner", particularly with the bass drum, which plays syncopated eighth-note and sixteenth-note patterns that were innovated by drummer Clive Williams (with [[Joe Tex]]); [[George Brown (musician)|George Brown]] (with [[Kool & the Gang]]) and James "Diamond" Williams (with [[The Ohio Players]]).<ref>Payne, Jim. ''Complete Funk Drumming Book''. Mel Bay Publications, Feb. 9, 2011. p. 8</ref> As with rock, the snare provides [[backbeat]]s in most funk (albeit with additional soft ghost notes).<ref name="autogenerated7"/>

====Electric guitar====
In funk, guitarists often mix playing chords of a short duration (nicknamed "stabs") with faster rhythms and riffs.<ref name=Learn254/> Guitarists playing rhythmic parts often play sixteenth notes, including with percussive ghost notes.<ref name=Learn254/> Chord extensions are favored, such as ninth chords.<ref name=Learn254/> Typically, funk uses "two interlocking [electric] guitar parts", with a [[rhythm guitar]]ist and a "tenor guitarist" who plays single notes. The two guitarists trade off their lines to create a "[[Call and response (music)|call-and-response]], intertwined pocket."<ref name=Bortnick>{{cite web |url=https://www.premierguitar.com/articles/Rhythm_Rules_Call_and_Response_Funk_Guitar |title=Rhythm Rules: Call-and-Response Funk Guitar |last=Bortnick |first=Avi |date=12 March 2013 |website=premierguitar.com |publisher=Premier Guitar |access-date=13 April 2019 }}</ref> If a band only has one guitarist, this effect may be recreated by [[overdubbing]] in the studio, or, in a live show, by having a single guitarist play both parts, to the degree that this is possible.<ref name=Bortnick/>

In funk bands, guitarists typically play in a percussive style, using a style of picking called the "chank" or "chicken scratch",  in which the guitar strings are pressed lightly against the [[fingerboard]] and then quickly released just enough to get a muted "scratching" sound that is produced by rapid rhythmic strumming of the opposite hand near the [[Bridge (instrument)|bridge]].<ref>{{cite news|url=https://www.musical-u.com/learn/the-funky-ones-what-makes-funk-guitar-what-it-is/|title=The Funky Ones — What Makes Funk Guitar What It Is - Musical U|date=August 15, 2016|newspaper=Musical U|access-date=October 24, 2018}}</ref> Early examples of that technique used on rhythm and blues are heard on the [[Johnny Otis]] song "[[Willie and the Hand Jive]]" in 1957, with future James Brown band guitar player [[Jimmy Nolen]]. The technique can be broken down into three approaches: the "chika", the "chank" and the "choke". With the "chika" comes a muted sound of strings being hit against the fingerboard; "chank" is a staccato attack done by releasing the chord with the fretting hand after strumming it; and "choking" generally uses all the strings being strummed and heavily muted.<ref name=Gress/> 
[[File:NileRodgers2012.png|thumb|left|200px|Guitarist [[Nile Rodgers]] is best known for his performances with [[Chic (band)|Chic]].]]

The result of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the [[Bass guitar|electric bass]] and the cutting tone of the [[Snare drum|snare]] and [[hi-hat]]s, with a rhythmically melodic feel that fell deep in the pocket. Guitarist [[Jimmy Nolen]], longtime guitarist for James Brown, developed this technique. On Brown's "[[Give It Up or Turnit a Loose]]" (1969), however, Jimmy Nolen's guitar part has a bare bones tonal structure. The pattern of attack-points is the emphasis, not the pattern of pitches. The guitar is used the way that an African drum, or idiophone would be used. Nolen created a "clean, trebly tone" by using "hollow-body [[jazz guitar]]s with single-coil P-90 pickups" plugged into a [[Fender Twin]] Reverb amp with the mid turned down low and the treble turned up high.<ref name="bogdal1">{{cite web |url=https://www.stringjoy.com/funk-guitar-history-techniques-gear/  |title=Funk Guitar: The History, Techniques and Gear Behind the Groove |last=Bogdal |first=John |date=20 July 2017 |website=stringjoy.com|publisher=StringJoy |access-date=19 April 2019 }}</ref>

Funk guitarists playing rhythm guitar generally avoid [[distortion (music)|distortion]] effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound, [[Fender Stratocaster]]s and [[Fender Telecaster|Telecasters]] were widely used for their cutting treble tone.<ref name="bogdal1"/> The mids are often cut by guitarists to help the guitar sound different from the [[horn section]], keyboards and other instruments.<ref name="bogdal1"/> Given the focus on providing a rhythmic groove, and the lack of emphasis on instrumental guitar melodies and [[guitar solo]]s, sustain is not sought out by funk rhythm guitarists.<ref name="bogdal1"/> Funk rhythm guitarists use [[Dynamic range compression|compressor]] volume-control effects to enhance the sound of muted notes, which boosts the "clucking" sound and adds "percussive excitement to funk rhythms" (an approach used by [[Nile Rodgers]]).<ref>{{cite web |url=https://www.guitarplayer.com/technique/licks-tricks-and-riffs-for-a-variety-of-effects |title=Licks, Tricks and Riffs for a Variety of Effects |last=Kolb |first=Tom |date=20 March 2019 |website=guitarplayer.com |publisher=Guitar Player |access-date=19 April 2019 |archive-date=April 19, 2019 |archive-url=https://web.archive.org/web/20190419234724/https://www.guitarplayer.com/technique/licks-tricks-and-riffs-for-a-variety-of-effects |url-status=dead }}</ref>

Guitarist [[Eddie Hazel]] from [[Funkadelic]] is notable for his solo improvisation (particularly for the solo on "[[Maggot Brain]]") and guitar riffs, the tone of which was shaped by a [[Maestro FZ-1 Fuzz-Tone]] pedal.<ref name="dearcangelis1"/> Hazel, along with guitarist [[Ernie Isley]] of [[the Isley Brothers]], was influenced by [[Jimi Hendrix]]'s improvised, wah-wah infused solos. Ernie Isley was tutored at an early age by Hendrix, when Hendrix was a part of the Isley Brothers backing band and temporarily lived in the Isleys' household. Funk guitarists use the [[Wah-wah pedal|wah-wah]] sound effect along with muting the notes to create a percussive sound for their guitar riffs. The [[phaser (effect)|phaser]] effect is often used in funk and R&B guitar playing for its filter sweeping sound effect, an example being the [[Isley Brothers]]' song "[[Who's That Lady]]".<ref>{{cite web |url=https://flypaper.soundfly.com/play/guitar-pedal-tone/ |title=Finding Your Ideal Guitar Tone: Guitar Pedals |last=Anbar   |first=Elyadeen|date=10 October 2015 |website=flypaper.soundfly.com |publisher=Flypaper |access-date=19 April 2015 }}</ref> [[Michael Hampton]], another P-Funk guitarist, was able to play Hazel's virtuosic solo on "Maggot Brain", using a solo approach that added in string bends and Hendrix-style [[feedback (music)|feedback]].<ref name="dearcangelis1"/>

====Keyboards====
[[File:Isaac hayes 1973.jpg|thumb|right|170px|[[Isaac Hayes]] playing keyboards in 1973]]
A range of keyboard instruments are used in funk. Acoustic piano is used in funk, including in "September" by [[Earth Wind & Fire]] and "[[Will It Go Round in Circles]]" by [[Billy Preston]]. The electric piano is used on songs such as [[Herbie Hancock]]'s "Chameleon" (a [[Fender Rhodes]]) and "Mercy, Mercy, Mercy" by [[Joe Zawinul]] (a [[Wurlitzer]]). The [[clavinet]] is used for its percussive tone, and it can be heard in songs such as [[Stevie Wonder]]'s "[[Superstition (song)|Superstition]]" and "[[Higher Ground (Stevie Wonder song)|Higher Ground]]" and Bill Withers' "[[Use Me (Bill Withers song)|Use Me]]". The [[Hammond B-3 organ]] is used in funk, in songs such as "Cissy Strut" by [[The Meters]] and "Love the One You're With" (with Aretha Franklin singing and Billy Preston on keyboards).

[[Bernie Worrell]]'s range of keyboards from his recordings with [[Parliament Funkadelic]] demonstrate the wide range of keyboards used in funk, as they include the Hammond organ ("Funky Woman", "Hit It and Quit It", "Wars of Armageddon"); [[Rocky Mount Instruments|RMI electric piano]] ("I Wanna Know If It's Good to You?", "[[Free Your Mind... and Your Ass Will Follow|Free Your Mind]]", "Loose Booty"); acoustic piano ("Funky Dollar Bill", "Jimmy's Got a Little Bit of Bitch in Him"); clavinet ("Joyful Process", "Up for the Down Stroke", "Red Hot Mama"); [[Minimoog]] synthesizer ("Atmosphere", "[[Flash Light (song)|Flash Light]]", "Aqua Boogie", "Knee Deep", "Let's Take It to the Stage"); and ARP string ensemble synth ("[[Chocolate City (album)|Chocolate City]]", "[[Give Up the Funk (Tear the Roof off the Sucker)]]", "Undisco Kidd").

Synthesizers were used in funk both to add to the deep sound of the electric bass, or even to replace the electric bass altogether in some songs.<ref name="autogenerated51">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 51</ref> Funk synthesizer bass, most often a [[Minimoog]], was used because it could create layered sounds and new electronic tones that were not feasible on electric bass.<ref name="autogenerated51"/>

===Vocals and lyrics===
In the 1970s, funk used many of the same vocal styles that were used in African-American music in the 1960s, including singing influences from blues, gospel, jazz and doo-wop.<ref name="autogenerated53"/> Like these other African-American styles, funk used "[y]ells, shouts, hollers, moans, humming, and melodic riffs", along with styles such as [[Call and response (music)|call and response]] and narration of stories (like the African oral tradition approach).<ref>Lacy, Travis K., "Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 48</ref> The call and response in funk can be between the lead singer and the band members who act as [[backup vocal]]ists.<ref name="autogenerated75">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 75</ref>

As funk emerged from soul, the vocals in funk share soul's approach; however, funk vocals tend to be "more punctuated, energetic, rhythmically percussive[,] and less embellished" with ornaments, and the vocal lines tend to resemble horn parts and have "pushed" rhythms.<ref>Harrison, Scott D.; O'Bryan, Jessica. ''Teaching Singing in the 21st Century''. Springer, May 14, 2014. p. 49</ref> Funk bands such as [[Earth, Wind & Fire]] have [[harmony vocal]] parts.<ref name=Himes/> Songs like "[[Super Bad (song)|Super Bad]]" by James Brown included "double-voice" along with "yells, shouts and screams".<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 21</ref> Funk singers used a "black aesthetic" to perform that made use of "colorful and lively exchange of gestures, facial expressions, body posture, and vocal phrases" to create an engaging performance.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 65</ref>
[[File:Charlie Wilson-photo-by-raymond-boyd.jpg|thumb|right|200px|Singer [[Charlie Wilson (singer)|Charlie Wilson]]]]
The lyrics in funk music addressed issues faced by the African American community in the United States during the 1970s, which arose due to the move away from an industrial, working-class economy to an information economy, which harmed the Black working class.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for
AUC Robert W. Woodruff Library. Paper 22. p. 5</ref> Funk songs by The Ohio Players, Earth, Wind & Fire, and James Brown raised issues faced by lower-income Blacks in their song lyrics, such as poor "economic conditions and themes of poor inner-city life in the black communities".<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for
AUC Robert W. Woodruff Library. Paper 22. p. 6</ref>

The Funkadelic song "[[One Nation Under A Groove]]" (1978) is about the challenges that Blacks overcame during the 1960s civil rights movement, and it includes an exhortation for Blacks in the 1970s to capitalize on the new "social and political opportunities" that had become available in the 1970s.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 26</ref> The [[Isley Brothers]] song "Fight the Power" (1975) has a political message.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 57</ref> Parliament's song "Chocolate City" (1975) metaphorically refers to Washington, D.C., and other US cities that have a mainly Black population, and it draws attention to the potential power that Black voters wield and suggests that a Black President be considered in the future.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 29</ref>

The political themes of funk songs and the aiming of the messages to a Black audience echoed the new image of Blacks that was created in [[Blaxploitation]] films, which depicted "African-American men and women standing their ground and fighting for what was right".<ref name="autogenerated36">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 36</ref> Both funk and Blaxploitation films addressed issues faced by Blacks and told stories from a Black perspective.<ref name="autogenerated36"/> Another link between 1970s funk and Blaxploitation films is that many of these films used funk soundtracks (e.g., [[Curtis Mayfield]] for ''[[Super Fly (1972 film)|Superfly]]''; James Brown and Fred Wesley for ''[[Black Caesar (film)|Black Caesar]]'' and [[War (American band)|War]] for ''[[Youngblood (1978 film)|Youngblood]]'').<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. pp. 55–56</ref>

Funk songs included metaphorical language that was understood best by listeners who were "familiar with the black aesthetic and [black] vernacular".<ref name="autogenerated66">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 66</ref> For example, funk songs included expressions such as "shake your money maker", "funk yourself right out" and "move your boogie body".<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 72</ref> Another example is the use of "bad" in the song "Super Bad" (1970), which black listeners knew meant "good" or "great".<ref name="autogenerated75"/>

In the 1970s, to get around radio obscenity restrictions, funk artists would use words that sounded like non-allowed words and [[double entendre]]s to get around these restrictions.<ref name="citypages1">{{cite web |url=http://www.citypages.com/music/funks-five-most-ridiculous-lyrics-6629603 |title=Funk's five most ridiculous lyrics |publisher=City Pages |access-date=20 April 2019 }}</ref> For example, [[The Ohio Players]] had a song entitled "Fopp" which referred to "Fopp me right, don't you fopp me wrong/We'll be foppin' all night long...".<ref name="citypages1"/> Some funk songs used made-up words which suggested that they were "writing lyrics in a constant haze of marijuana smoke", such as Parliament's "[[Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)]]", which includes words such as "bioaquadoloop".<ref name="citypages1" /> The mainstream white listener base was often not able to understand funk's lyrical messages, which contributed to funk's lack of popular music chart success with white audiences during the 1970s.<ref>Lacy, Travis K., "Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 56-57</ref>

===Other instruments===
[[Horn section]] arrangements with groups of brass instruments are often used in funk songs.<ref name=Himes/> Funk horn sections could include saxophone (often tenor sax), trumpet, trombone, and for larger horn sections, such as quintets and sextets, a baritone sax.<ref name="stewart1"/> Horn sections played "rhythmic and syncopated" parts, often with "offbeat phrases" that emphasize "rhythmic displacement".<ref name="stewart1"/> Funk song introductions are an important place for horn arrangements.<ref name="stewart1"/>

[[File:Earth Wind and Fire.jpg|thumb|left|270px|Funk [[horn section]]s typically include saxophones and trumpets. Larger horn sections often add a second instrument for one of the saxes or trumpets, and a trombone or bari sax may also be used. Pictured is the Earth, Wind and Fire horn section.]]

Funk horn sections performed in a "rhythmic percussive style" that mimicked the approach used by funk rhythm guitarists.<ref name="autogenerated48">Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 48</ref> Horn sections would "punctuate" the lyrics by playing in the spaces between vocals, using "short staccato rhythmic blast[s]".<ref name="autogenerated48"/> Notable funk horn players included [[Alfred "Pee Wee" Ellis|Alfred "PeeWee" Ellis]], trombonist [[Fred Wesley]], and alto sax player [[Maceo Parker]].<ref name="autogenerated48"/> Notable funk horn sections including the Phoenix Horns (with Earth, Wind & Fire), the Horny Horns (with Parliament), the Memphis Horns (with [[Isaac Hayes]]), and MFSB (with [[Curtis Mayfield]]).<ref name="autogenerated48"/>

The instruments in funk horn sections varied. If there were two horn players, it could be trumpet and sax, trumpet and trombone, or two saxes.<ref name="stewart1"/>  A standard horn trio would consist of trumpet, sax, and trombone, but trios of one trumpet with two saxes, or two trumpets with one sax, were also fairly common.<ref name="stewart1"/> A quartet would be set up the same as a standard horn trio, but with an extra trumpet, sax, or (less frequently) trombone player. Quintets would either be a trio of saxes (typically alto/tenor/baritone, or tenor/tenor/baritone) with a trumpet and a trombone, or a pair each of trumpets and saxes with one trombone. With six instruments, the horn section would usually be two trumpets, three saxes, and a trombone.<ref name="stewart1"/> 

Notable songs with funk horn sections include:
* "[[Cold Sweat]]" (James Brown & the Famous Flames), 1967
* "Superstition" (Stevie Wonder), 1972
* "Funky Stuff" (Kool & The Gang), 1973
* "What Is Hip?" (Tower of Power), 1973
* "[[Pick Up the Pieces (Average White Band song)|Pick Up the Pieces]]" (Average White Band)
* "[[Up For The Down Stroke]]" (Parliament), 1974
* "Hair" (Graham Central Station), 1974
* "[[Too Hot to Stop]]" (The Bar-Kays), 1976
* "[[Getaway (Earth, Wind & Fire song)|Getaway]]" (Earth, Wind & Fire), 1976

In bands or shows where hiring a horn section is not feasible, a keyboardist can play the horn parts on a synthesizer with brass patches; however, choosing an authentic-sounding synthesizer and brass patch is important.<ref name="stewart1"/> In the 2010s, with micro-MIDI synths, it may even have been possible to have another instrumentalist play the keyboard brass parts, thus enabling the keyboardist to continue to comp throughout the song.<ref name="stewart1"/>

===Costumes and style===
Funk bands in the 1970s adopted Afro-American fashion and style, including "[[Bell-bottoms|Bell-bottom pants]], platform shoes, hoop earring[s], Afros [hairstyles], leather vests,... beaded necklaces",<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 62</ref> [[dashiki]] shirts, jumpsuits and boots.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 68</ref> In contrast to earlier bands such as [[The Temptations]], which wore "matching suits" and "neat haircuts" to appeal to white mainstream audiences, funk bands adopted an "African spirit" in their outfits and style.<ref name="autogenerated66"/> [[George Clinton (funk musician)|George Clinton]] and Parliament are known for their imaginative costumes and "freedom of dress", which included bedsheets acting as robes and capes.<ref>Lacy, Travis K., ""Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s" (2008). ETD Collection for AUC Robert W. Woodruff Library. Paper 22. p. 69</ref>

== History ==
Funk was formed through a mixture of various music genres that were popular among African Americans in the mid-20th century. Musicologist Anne Danielsen wrote that funk might be placed in the lineage of rhythm and blues, jazz, and soul.<ref name=anne1>{{cite book|last=Danielsen|first=Anne|date=2006|title=Presence and pleasure: the funk grooves of James Brown and Parliament|publisher=Wesleyan University Press|pages=3–4}}</ref> Sociologist Darby E. Southgate wrote that funk is "an amalgam of gospel, soul, jazz fusion, rhythm and blues, and black rock."<ref name=encyclopedia>{{cite book |first1=Tammy L.|last1=Kernodle|first2=Horace|last2=Maxile|first3=Emmett G. III|last3=Price|date=2010 |title=Encyclopedia of African American Music |publisher=Greenwood |page=337}}</ref>

The distinctive characteristics of [[African-American music]]al expression are rooted in [[sub-Saharan African music traditions]], and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel, blues, and "body rhythms" ([[Juba dance|hambone]], [[patting juba]], and [[ring shout]] clapping and stomping patterns).

Like other styles of African-American musical expression including jazz, soul music and R&B, funk music accompanied many protest movements during and after the [[Civil Rights Movement]]. 

=== New Orleans ===
[[Gerhard Kubik]] notes that with the exception of [[New Orleans]], early blues lacked complex [[polyrhythm]]s, and there was a "very specific absence of asymmetric time-line patterns ([[bell pattern|key patterns]]) in virtually all early twentieth century African-American music&nbsp;... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in the same way as African time lines."<ref>Kubik (1999: 51). Africa and the Blues. Jackson, MS: [[University Press of Mississippi]].</ref>

In the late 1940s this changed somewhat when the two-celled time line structure was brought into [[New Orleans blues]]. New Orleans musicians were especially receptive to [[Afro-Cuban]] influences precisely at the time when R&B was first forming.<ref>"Rhythm and blues influenced by Afro-Cuban music first surfaced in New Orleans." Campbell, Michael, and James Brody (2007: 83). ''Rock and Roll: An Introduction''. Schirmer. {{ISBN|0-534-64295-0}}</ref> [[Dave Bartholomew]] and [[Professor Longhair]] (Henry Roeland Byrd) incorporated Afro-Cuban instruments, as well as the [[clave (rhythm)|clave]] pattern and related two-celled figures in songs such as "Carnival Day" (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). [[Robert Palmer (American writer)|Robert Palmer]] reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of [[Perez Prado]]'s [[mambo (music)|mambo]] records."<ref name="autogenerated1979"/> Professor Longhair's particular style was known locally as ''rumba-boogie''.<ref name="pp" />

One of Longhair's great contributions was his particular approach of adopting two-celled, clave-based patterns into [[New Orleans rhythm and blues]] (R&B). Longhair's rhythmic approach became a basic template of funk. According to [[Dr. John]] (Malcolm John "Mac" Rebennack Jr.), the Professor "put funk into music&nbsp;... Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans."<ref>Dr. John quoted by Stewart (2000: 297).</ref> In his "Mardi Gras in New Orleans", the pianist employs the [[clave (rhythm)|2-3 clave]] onbeat/offbeat motif in a rumba-boogie "[[guajeo]]".<ref>Kevin Moore: "There are two common ways that the three-side [of clave] is expressed in Cuban popular music. The first to come into regular use, which David Peñalosa calls 'clave motif,' is based on the decorated version of the three-side of the clave rhythm. By the 1940s [there was] a trend toward the use of what Peñalosa calls the 'offbeat/onbeat motif.' Today, the offbeat/onbeat motif method is much more common." Moore (2011). ''Understanding Clave and Clave Changes'' p. 32. Santa Cruz, CA: Moore Music/Timba.com. {{ISBN|1466462302}}</ref>

The syncopated, but straight subdivision feel of Cuban music (as opposed to [[Swing (jazz performance style)|swung]] subdivisions) took root in New Orleans R&B during this time. Alexander Stewart states: "Eventually, musicians from outside of New Orleans began to learn some of the rhythmic practices [of the Crescent City]. Most important of these were James Brown and the drummers and arrangers he employed. Brown's early repertoire had used mostly shuffle rhythms, and some of his most successful songs were 12/8 ballads (e.g. "Please, Please, Please" (1956), "Bewildered" (1961), "I Don't Mind" (1961)). Brown's change to a funkier brand of soul required 4/4 metre and a different style of drumming."<ref>Stewart (2000: 302).</ref> Stewart makes the point: "The singular style of rhythm & blues that emerged from New Orleans in the years after World {{nowrap|War II}} played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes."<ref name="Stewart2000-293">Stewart (2000: 293).</ref>

=== 1960s ===
====James Brown====
[[File:JamesBrown.jpg|thumb|right|James Brown, a progenitor of funk music]]
James Brown credited [[Little Richard]]'s 1950s R&B road band, [[The Upsetters (American band)|The Upsetters]] from New Orleans, as "the first to put the funk into the rhythm" of [[rock and roll]].<ref>{{Cite magazine|title=Little Richard: 20 Essential Songs|url=https://www.rollingstone.com/music/music-lists/little-richard-20-essential-songs-15792/|last1=Harris|first1= Keith|last2=Erlewine|first2=Stephen Thomas|date=2020-05-09|magazine=Rolling Stone|language=en-US|access-date=2020-05-15 }}</ref> Following his temporary exit from secular music to become an evangelist in 1957, some of Little Richard's band members joined Brown and [[the Famous Flames]], beginning a long string of hits for them in 1958. By the mid-1960s, [[James Brown]] had developed his signature groove that emphasized the [[Beat (music)#Downbeat|downbeat]]—with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the [[backbeat]] that typified African-American music.<ref>[http://www.anisman.com/steve/samd02.htm Lessons in listening – Concepts section: Fantasy, Earth Wind & Fire, The Best of Earth Wind & Fire Volume I, Freddie White.] (January 1998). ''Modern Drummer Magazine'', pp. 146–152. Retrieved January 21, 2007.</ref> Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-'''''two'''''-three-'''''four''''' backbeat of traditional soul music to the '''''one'''''-two-three-four downbeat – but with an even-note [[Syncopation|syncopated]] guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy [[Swung note|swing]]. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "[[Out of Sight (song)|Out of Sight]]" and his 1965 hits, "[[Papa's Got a Brand New Bag]]" and "[[I Got You (I Feel Good)]]".

Brown's style of funk was based on interlocking, contrapuntal parts: syncopated [[bassline]]s, 16th beat drum patterns, and syncopated guitar riffs.<ref name="Slutsky, Allan 1997"/> The main guitar ostinatos for "Ain't it Funky" (c. late 1960s) are an example of Brown's refinement of New Orleans funk— an irresistibly danceable riff, stripped down to its rhythmic essence. On "Ain't it Funky" the tonal structure is barebones. Brown's innovations led to him and his band becoming the seminal funk act; they also pushed the funk music style further to the forefront with releases such as "[[Cold Sweat]]" (1967), "[[Mother Popcorn]]" (1969) and "[[Get Up (I Feel Like Being A) Sex Machine]]" (1970), discarding even the twelve-bar blues featured in his earlier music. Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns&nbsp;... [resembling] [[West African]] polyrhythms" – a tradition evident in African-American work songs and chants.<ref name=jbmusicstyle>Collins, W. (January 29, 2002). [http://arquivo.pt/wayback/20090628140121/http://findarticles.com/p/articles/mi_g1epc/is_bio/ai_2419200141 James Brown.] ''St. James Encyclopedia of Popular Culture''. Retrieved January 12, 2007.</ref> Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.<ref name=jbmusicstyle/>

{{external media
| float  = right
| width  = 200px
| video1 = [https://www.youtube.com/watch?v=Z3xSXc1vy5I Watch: "Clyde Stubblefield/ Funky Drummer"] on [[YouTube]]
}}

After 1965, Brown's bandleader and arranger was [[Alfred "Pee Wee" Ellis]]. Ellis credits [[Clyde Stubblefield]]'s adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a studio, you said 'play it funky' that could imply almost anything. But 'give me a New Orleans beat' – you got exactly what you wanted. And Clyde Stubblefield was just the epitome of this funky drumming."<ref>Alfred "Pee Wee" Ellis quoted by Stewart (2000: 303).</ref> Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s."<ref name="Stewart2000-293"/> Concerning the various funk motifs, Stewart states that this model "...is different from a [[bell pattern|time line]] (such as clave and [[tresillo (rhythm)|tresillo]]) in that it is not an exact pattern, but more of a loose organizing principle."<ref>Stewart (2000: 306).</ref>

In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat&nbsp;... Simple as that, really."<ref name=nytimes>Pareles, J. (December 26, 2006). [https://www.nytimes.com/2006/12/26/arts/music/26brown.html?pagewanted=2&en=aef74e8250526096&ei=5087&ex=1182920400&excamp=GGGNjamesbrown James Brown, the "Godfather of Soul" dies at 73.] ''The New York Times''. Retrieved January 31, 2007.</ref> According to [[Maceo Parker]], Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.<ref name=fa_maceo>Gross, T. (1989). [https://www.npr.org/templates/story/story.php?storyId=6676990 Musician Maceo Parker (Fresh Air WHYY-FM audio interview).] National Public Radio. Retrieved January 22, 2007.</ref>

==== Parliament-Funkadelic ====
{{Main|P-Funk}}
[[File:George Clinton 2006.jpg|thumb|left|upright=1.15|[[George Clinton (funk musician)|George Clinton]] and [[Parliament Funkadelic]] in 2006]]
A new group of musicians began to further develop the "funk rock" approach.  Innovations were prominently made by [[George Clinton (funk musician)|George Clinton]], with his bands [[Parliament (band)|Parliament]] and [[Funkadelic]]. Together, they produced a new kind of funk sound heavily influenced by [[jazz]] and [[psychedelic rock]].  The two groups shared members and are often referred to collectively as "Parliament-Funkadelic". The breakout popularity of Parliament-Funkadelic gave rise to the term "[[P-Funk]]", which referred to the music by George Clinton's bands, and defined a new subgenre. Clinton played a principal role in several other bands, including [[Parlet]], the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate. "P-funk" also came to mean something in its quintessence, of superior quality, or ''[[sui generis]]''.

Following the work of Jimi Hendrix in the late 1960s, artists such as Sly and the Family Stone combined the psychedelic rock of Hendrix with funk, borrowing [[wah pedal]]s, [[fuzz box]]es, [[echo chamber]]s, and vocal distorters from the former, as well as [[blues rock]] and [[jazz]].<ref name="Scott">{{cite book|first=Portia K.|last=Maultsby|chapter=Dayton Street Funk: The Layering of Musical Identities|url={{GBurl|id=eL37scDf0PMC|q=psychedelic+funk+genre}}|editor-last1=Scott|editor-first1=Derek B.|title=The Ashgate Research Companion to Popular Musicology|year=2009|access-date=November 25, 2016|page=275|publisher=Ashgate Publishing |isbn=978-0-7546-6476-5}}</ref> In the following years, groups such as Clinton's Parliament-Funkadelic continued this sensibility, employing synthesizers and rock-oriented guitar work.<ref name="Scott"/>

=== Late 1960s – early 1970s ===
Other musical groups picked up on the rhythms and vocal style developed by [[James Brown]] and his band, and the funk style began to grow. [[Dyke and the Blazers]], based in [[Phoenix, Arizona]], released "[[Funky Broadway]]" in 1967, perhaps the first record of the [[soul music]] era to have the word "funky" in the title. In 1969 [[Jimmy McGriff]] released ''[[Electric Funk]]'', featuring his distinctive organ over a blazing horn section.  Meanwhile, on the [[West Coast of the United States|West Coast]], [[Charles Wright & the Watts 103rd Street Rhythm Band]] was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1971. Also from the West Coast area, more specifically [[Oakland, California]], came the band [[Tower of Power]] (TOP), which formed in 1968. Their debut album, ''[[East Bay Grease]]'', released 1970, is considered a milestone in funk. Throughout the 1970s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.

In 1970, [[Sly & the Family Stone]]'s "[[Thank You (Falettinme Be Mice Elf Agin)]]" reached #1 on the charts, as did "[[Family Affair (Sly & the Family Stone song)|Family Affair]]" in 1971.  Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. [[The Meters]] defined funk in [[New Orleans, Louisiana|New Orleans]], starting with their top ten R&B hits "Sophisticated Cissy" and "[[Cissy Strut]]" in 1969. Another group who defined funk around this time were [[the Isley Brothers]], whose funky 1969 #1 R&B hit, "[[It's Your Thing]]", signaled a breakthrough in African-American music, bridging the gaps of the jazzy sounds of Brown, the [[psychedelic rock]] of [[Jimi Hendrix]], and the upbeat soul of Sly & the Family Stone and [[Mother's Finest]]. [[The Temptations]], who had previously helped to define the "[[Motown]] Sound" – a distinct blend of pop-soul – adopted this new [[psychedelic soul|psychedelic]] sound towards the end of the 1960s as well. Their producer, [[Norman Whitfield]], became an innovator in the field of psychedelic soul, creating hits with a newer, funkier sound for many [[Motown]] acts, including "[[War (Edwin Star song)|War]]" by [[Edwin Starr]], "[[Smiling Faces Sometimes]]" by [[the Undisputed Truth]] and "[[Papa Was A Rollin' Stone]]" by the Temptations. Motown producers [[Frank Wilson (musician)|Frank Wilson]] ("[[Keep on Truckin' (song)|Keep On Truckin']]") and [[Hal Davis]] ("[[Dancing Machine]]") followed suit. [[Stevie Wonder]] and [[Marvin Gaye]] also adopted funk beats for some of their biggest hits in the 1970s, such as "[[Superstition (song)|Superstition]]" and "[[You Haven't Done Nothin']]", and "[[I Want You (Marvin Gaye song)|I Want You]]" and "[[Got To Give It Up]]", respectively.

=== 1970s ===
{{See also|Progressive soul|disco}}

[[File:Stone3.jpg|thumb|[[The Original Family Stone]] live, 2006. Jerry Martini, Rose Stone, and Cynthia Robinson]]

The 1970s were the era of highest mainstream visibility for funk music. In addition to [[Parliament Funkadelic]], artists like [[Sly and the Family Stone]], [[Rufus & Chaka Khan]], [[Bootsy's Rubber Band]], the [[Isley Brothers]], [[Ohio Players]], [[Con Funk Shun]], [[Kool and the Gang]], [[the Bar-Kays]], [[Commodores]], [[Roy Ayers]], [[Curtis Mayfield]], and [[Stevie Wonder]], among others, got radio play. [[Disco]] music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of [[Barry White]]'s hits, "[[Kung Fu Fighting]]" by [[Biddu]] and [[Carl Douglas]], [[Donna Summer]]'s "[[Love to Love You Baby (song)|Love To Love You Baby]]", [[Diana Ross]]' "[[Love Hangover]]", [[KC and the Sunshine Band]]'s "[[I'm Your Boogie Man]]", "[[I'm Every Woman]]" by [[Chaka Khan]] (also known as the Queen of Funk), and [[Chic (band)|Chic]]'s "Le Freak" conspicuously include riffs and rhythms derived from funk.  In 1976, [[Rose Royce]] scored a number-one hit with a purely dance-funk record, "[[Car Wash (song)|Car Wash]]". Even with the arrival of disco, funk became increasingly popular well into the early 1980s.

Funk music was also exported to Africa, and it melded with African singing and rhythms to form [[Afrobeat]]. Nigerian musician [[Fela Kuti]], who was heavily influenced by James Brown's music, is credited with creating the style and terming it "Afrobeat".

=== Jazz funk ===
{{Main|Jazz-funk}}
{{see also|Soul jazz|jazz fusion|free funk}}
Jazz-funk is a subgenre of [[jazz]] music characterized by a strong [[beat (music)|back beat]] ([[Groove (music)|groove]]), electrified sounds<ref>{{Cite web|url=https://us.napster.com/jazz/jazzfunk/more.html|archiveurl=https://web.archive.org/web/20070929083925/http://www.rhapsody.com/jazz/jazzfunk/more.html|url-status=dead|title=Rhapsody :: Jazz-Funk|archivedate=September 29, 2007|website=Us.napster.com|accessdate=February 25, 2021}}</ref> and an early prevalence of [[analog synthesizers]].  The integration of funk, [[soul music|soul]], and [[rhythm and blues|R&B]] music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong [[Musical improvisation#Jazz improvisation|jazz improvisation]] to soul, funk or disco with jazz arrangements, jazz [[riff]]s, and jazz solos, and sometimes soul vocals.<ref name=allmusic>{{cite web|url=http://www.allmusic.com/genre/jazz-ma0000002674 |title=Jazz &#124; Significant Albums, Artists and Songs |website=[[AllMusic]] |date=2013-11-24 |access-date=2015-06-03}}</ref> Jazz-funk is primarily an [[United States|American]] genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club circuit in England during the mid-1970s. Similar genres include [[soul jazz]] and [[jazz fusion]], but neither entirely overlap with jazz-funk. Notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production.

=== 1980s synth-funk ===
{{See also|Electro music}}

In the 1980s, largely as a reaction against what was seen as the over-indulgence of [[disco]], many of the core elements that formed the foundation of the P-Funk formula began to be usurped by [[Electronic musical instrument|electronic instruments]], [[drum machine]]s and [[synthesizer]]s. Horn sections of saxophones and trumpets were replaced by [[Synthesizer|synth]] [[Electronic keyboard|keyboards]], and the horns that remained were given simplified lines, and few horn solos were given to soloists. The classic electric keyboards of funk, like the [[Hammond B3]] organ, the Hohner [[Clavinet]] and/or the [[Rhodes piano|Fender Rhodes piano]], began to be replaced by the new [[digital synthesizer]]s such as the [[Yamaha DX7]] and microprocessor-controlled [[analog synthesizer]]s like the [[Sequential Circuits Prophet-5|Prophet-5]] and [[Oberheim OB-X]]. Electronic [[drum machines]] such as the [[Roland TR-808]], [[Linn LM-1]], and [[Oberheim DMX]] began to replace the "[[funky drummer]]s" of the past, and the [[Slapping (music)|slap]] and pop style of bass playing were often replaced by synth keyboard basslines. Lyrics of funk songs began to change from suggestive [[double entendre]]s to more graphic and sexually explicit content.

Influenced by [[Kraftwerk]] and [[Yellow Magic Orchestra]], American hip hop DJ [[Afrika Bambaataa]] developed electro-funk, a minimalist machine-driven style of funk with his single "[[Planet Rock (song)|Planet Rock]]" in 1982.<ref name="Planet Rock">Planet Rock – The Album (Liner notes). Afrika Bambaataa & the Soul Sonic Force. Tommy Boy Records. 1986. TBLP 1007.</ref><ref name="wire_1996">{{citation|title=A-Z Of Electro|work=[[The Wire (magazine)|The Wire]]|issue=145|date=March 1996|first=David|last=Toop|url=http://www.thewire.co.uk/articles/210/|access-date=May 29, 2011}}</ref> Also known simply as electro, this style of funk was driven by synthesizers and the electronic rhythm of the [[TR-808]] drum machine. The single "[[Renegades of Funk]]" followed in 1983.<ref name="Planet Rock" /> Michael Jackson was also influenced by electro-funk.<ref>{{cite web|last=Dayal|first=Gheeta|title=Yellow Magic Orchestra|url=http://www.theoriginalsoundtrack.com/blog/archives/00000615.htm|work=Groove|publisher=The Original Soundtrack|access-date=June 17, 2011|date=July 7, 2006|archive-url=https://web.archive.org/web/20111002224518/http://www.theoriginalsoundtrack.com/blog/archives/00000615.htm|archive-date=October 2, 2011|url-status=dead}}</ref> In the 1980s, techno-funk music used the TR-808 programmable drum machine,<ref name="cbc_808">{{cite news|title=Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine|date=November 28, 2008|first=Jason|last=Anderson|publisher=[[CBC News]]|url=https://www.cbc.ca/news/entertainment/slaves-to-the-rhythm-1.771508|access-date=May 29, 2011}}</ref> while Kraftwerk and Yellow Magic Orchestra influenced electro-funk artists such as Afrika Bambaataa and [[Mantronix]].<ref name="wire_1996"/><ref>{{citation |title=Kurtis Mantronik Interview |work=Hip Hop Storage |date=July 2002 |url=http://www.cheebadesign.com/legends/articleX.html |access-date=May 25, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110524234641/http://www.cheebadesign.com/legends/articleX.html |archive-date=May 24, 2011 }}</ref>

[[Rick James]] was the first funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s. His 1981 album ''[[Street Songs (album)|Street Songs]]'', with the singles "Give It to Me Baby" and "[[Super Freak]]", resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.

[[File:Prince by jimieye.jpg|thumb|upright|left|[[Prince (musician)|Prince]] was an influential multi-instrumentalist, bandleader, singer and songwriter.]]

Prince formed [[The Time (band)|the Time]], originally conceived as an opening act for him and based on his "[[Minneapolis sound]]", a hybrid mixture of funk, [[Contemporary R&B|R&B]], [[Rock music|rock]], [[Pop music|pop]] and [[New wave music|new wave]]. Eventually, the band went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.

Similar to Prince, other bands emerged during the P-Funk era and began to incorporate uninhibited sexuality, dance-oriented themes, [[synthesizer]]s and other electronic technologies to continue to craft funk hits. These included [[Cameo (band)|Cameo]], [[Zapp (band)|Zapp]], the [[Gap Band]], the [[Bar-Kays]], and the [[Dazz Band]], who all found their biggest hits in the early 1980s. By the latter half of the 1980s, pure funk had lost its commercial impact; however, pop artists from [[Michael Jackson]] to Culture Club often used funk beats.

=== Late 1980s to 2000s nu-funk ===
While funk was driven away from radio by slick commercial [[hip hop music|hip hop]], [[contemporary R&B]] and [[new jack swing]], its influence continued to spread. Artists like Steve Arrington and Cameo still received major airplay and had huge global followings.  Rock bands began adopting elements of funk into their sound, creating new combinations of "[[funk rock]]" and "[[funk metal]]". [[Extreme (band)|Extreme]], [[Red Hot Chili Peppers]], [[Living Colour]], [[Jane's Addiction]], [[Prince (musician)|Prince]], [[Primus (band)|Primus]], [[Urban Dance Squad]], [[Fishbone]], [[Faith No More]], [[Rage Against the Machine]], [[Infectious Grooves]], and [[Incubus (band)|Incubus]] spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement and other funk-inspired artists like [[Outkast]], [[Malina Moye]], [[Van Hunt]], and [[Gnarls Barkley]].

In the 1990s, artists like [[Me'shell Ndegeocello]], [[Brooklyn Funk Essentials]] and the (predominantly UK-based) [[acid jazz]] movement—including artists and bands such as [[Jamiroquai]], [[Incognito (band)|Incognito]], [[Galliano (band)|Galliano]], [[Omar Lye-Fook|Omar]], [[Los Tetas]] and the [[Brand New Heavies]]—carried on with strong elements of funk. However, they never came close to reaching the commercial success of funk in its heyday—with the exception of Jamiroquai, whose album ''[[Travelling Without Moving]]'' sold about 11.5&nbsp;million units worldwide and remains the best-selling funk album in history.<ref>{{Cite web|title=Best-selling album of funk music|url=https://www.guinnessworldrecords.com/world-records/74163-best-selling-album-of-funk-music|access-date=2022-02-09|website=Guinness World Records|language=en-gb}}</ref> Meanwhile, in Australia and New Zealand, bands playing the pub circuit, such as [[Supergroove]], [[Skunkhour]] and [[The Truth (Australian band)|the Truth]], preserved a more instrumental form of funk.
[[File:MeShell NdegeòCello (222747).jpg|thumb|right|200px|[[Me'shell Ndegeocello]] playing electric bass]]
Since the late 1980s, [[hip hop music|hip hop]] artists have regularly [[sampling (music)|sampled]] old funk tunes. [[James Brown (musician)|James Brown]] is said to be the most sampled artist in the history of hip hop, while [[P-Funk]] is the second most sampled artist; samples of old [[Parliament (band)|Parliament]] and [[Funkadelic]] songs formed the basis of [[West Coast rap|West Coast]] [[G-funk]].

Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. [[Dr. Dre]] (considered the progenitor of the G-funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelia: "Back in the 70s that's all people were doing: getting high, wearing [[Afro]]s, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album ''[[The Chronic]]'' and based my music and the concepts like I did: because his shit was a big influence on my music. Very big".<ref>{{Cite web|url=http://musicstrands.com/|archiveurl=https://web.archive.org/web/20060220104429/http://www.musicstrands.com/artist/6599/biography|url-status=dead|title=MusicStrands|archivedate=February 20, 2006|website=Musicstrands.com|accessdate=February 25, 2021}}</ref> [[Digital Underground]] was a large contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history of funk and its artists. George Clinton branded Digital Underground as "[[Sons of the P]]", as their second full-length release is also titled. DU's first release, ''[[Sex Packets]]'', was full of funk samples, with the most widely known, "[[The Humpty Dance]]", sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release ''[[Future Rhythm]]''. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.

Funk is a major element of certain artists identified with the [[jam band]] scene of the late 1990s and 2000s. In the late 1990s, the band [[Phish]] developed a live sound called "cow funk" (a.k.a. "space funk"), which consisted of extended danceable deep bass grooves, and often emphasized heavy "wah" pedal and other psychedelic effects from the guitar player and layered Clavinet from the keyboard player.<ref>{{Cite news|last=Whitman|first=Marc|date=2007-03-02|title=Phish Friday {{!}} Fall '97, Not Just the Cow Funk Era|url=https://livemusicblog.com/features/phish-friday-fall-97-not-just-the-cow-funk-era/|access-date=2020-12-23|website=LIVE music blog|language=en-US}}</ref> [[Phish]] began playing funkier jams in their sets around 1996, and 1998's ''[[The Story of the Ghost]]'' was heavily influenced by funk. While Phish's funk was traditional in the sense that it often accented beat 1 of the 4/4 time signature, it was also highly exploratory and involved building jams towards energetic peaks before transitioning into highly composed progressive rock and roll.

[[Medeski Martin & Wood]], [[Robert Randolph & the Family Band]], [[Galactic]], [[Jam Underground]], [[Soulive]], and [[Karl Denson's Tiny Universe]] all drew heavily from the funk tradition. [[Dumpstaphunk]] builds upon the New Orleans tradition of funk, with their gritty, low-ended grooves and soulful four-part vocals. 

Since the mid-1990s the nu-funk or funk revivalist scene, centered on the [[deep funk]] collectors scene, is producing new material influenced by the sounds of rare funk 45s. Labels include Desco, [[Soul Fire Records|Soul Fire]], [[Daptone Records|Daptone]], Timmion, Neapolitan, Bananarama, Kay-Dee, and Tramp. These labels often release on 45&nbsp;rpm records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on ''[[Late Night with Conan O'Brien]]''. Those who mix [[acid jazz]], [[acid house]], [[trip hop]], and other genres with funk include [[Tom Tom Club]],<ref>Walters, Barry. "[https://web.archive.org/web/20081010233404/http://www.rollingstone.com/artists/tomtomclub/albums/album/127680/review/5940822/the_good_the_bad__the_funky Tom Tom Club:The Good, The Bad & The Funky]", ''[[Rolling Stone]]'', 28 September 2000.</ref> [[Brainticket]],<ref>Davis, Lindsay. "Chicken Lips: DJ Kicks", ''[[The Dominion Post (Wellington)|The Dominion Post]]'', 5 December 2003, p. B13.</ref> [[Groove Armada]], et al.<ref>Gold, Kerry. "Groove Armada", ''[[Vancouver Sun]]''. 17 February 2000, p. C15.</ref><ref>Brown, Jonathan. "[http://arts.independent.co.uk/music/features/article2934333.ece Everything you ever wanted to know about pop (but were too old to ask)] {{Webarchive|url=https://web.archive.org/web/20071224185113/http://arts.independent.co.uk/music/features/article2934333.ece |date=December 24, 2007 }}", ''[[The Independent]]'', 6 September 2007.</ref>

===2010s funktronica===
[[File:Anitta Heat Latin Music Awards 2021.jpg|140px|thumb|[[Anitta (singer)|Anitta]] at the [[Coca-Cola]] Jeans parade in November 2014]]
During the 2000s and early 2010s, some [[Dance-punk|punk funk]] bands such as [[Out Hud]] and Mongolian MonkFish performed in the [[indie rock]] scene. Indie band [[Rilo Kiley]], in keeping with their tendency to explore a variety of rockish styles, incorporated funk into their song "[[The Moneymaker]]" on the album ''[[Under the Blacklight]]''. Prince, with his later albums, gave a rebirth to the funk sound with songs like "The Everlasting Now", "[[Musicology (song)|Musicology]]", "Ol' Skool Company", and "[[Black Sweat]]". [[Particle (band)|Particle]],<ref>{{cite magazine|url=http://www.billboard.com/biz/articles/news/1433055/particle-to-fuel-beats-of-peace-tour|title=Particle To Fuel 'Beats of Peace' Tour|magazine=[[Billboard (magazine)|Billboard]]|access-date=16 May 2014|author=Waddell, Ray|archive-date=August 25, 2015|archive-url=https://web.archive.org/web/20150825025926/http://www.billboard.com/biz/articles/news/1433055/particle-to-fuel-beats-of-peace-tour|url-status=dead}}</ref> for instance, is part of a scene which combined the elements of digital music made with computers, synthesizers, and samples with analog instruments, sounds, and improvisational and compositional elements of funk.<ref name="popmatters">{{cite magazine | url=http://www.popmatters.com/post/133824-headtronics/ | title=Funktronica Jams: An Interview with Freekbass of Headtronics | magazine=[[PopMatters]] | date=Nov 30, 2010 | access-date=16 May 2014 | author=Seymour, Jane Jansen}}</ref><ref name="liveforlivemusic">{{cite web|url=http://liveforlivemusic.com/features/the-floozies-talk-improvisation-in-funktronica-red-rocks-karl-densons-avocados/|title=The Floozies Talk Improvisation In Funktronica, Red Rocks & Karl Denson's Avocados|publisher=Live For Live Music|access-date=11 July 2016|author=Thomson, Rex|date=July 11, 2016}}</ref>

== Derivatives ==
From the early 1970s onwards, funk has developed various subgenres. While George Clinton and the Parliament were making a harder variation of funk, bands such as [[Kool and the Gang]], [[Ohio Players]] and [[Earth, Wind and Fire]] were making disco-influenced funk music.<ref>Presence and pleasure: the funk grooves of James Brown and Parliament, p. 4</ref> [[Amadou & Mariam]] also produced music that blended traditional Malian sounds with rock guitars, Syrian violins, Cuban trumpets, Egyptian ney, Indian tablas, and Dogon percussion. These elements were called "[[Afrobeat|Afro]]-Funk".<ref>{{Cite web|last=Aïnouz|first=Abigaïl|date=2017-04-07|title=Amadou & Mariam sont de retour avec une mixtape afro-disco-funk|url=https://www.lesinrocks.com/musique/amadou-mariam-sont-de-retour-avec-une-mixtape-afro-disco-funk-52287-07-04-2017/|access-date=2025-04-12|website=www.lesinrocks.com|language=fr-FR}}</ref>

=== Funk rock ===
{{Main|Funk rock}}
Funk rock (also written as ''funk-rock'' or ''funk/rock'') [[Fusion (music)|fuses]] funk and [[rock music|rock]] elements.<ref>{{cite conference|last=Vincent|first=Rickey|title=Hip-Hop and Black Noise:Raising Hell|book-title=That's the Joint!: The Hip-hop Studies Reader|pages=489–490|year=2004 | isbn=0-415-96919-0 }}</ref> Its earliest incarnation was heard in the late 1960s through the mid-1970s by musicians such as [[Jimi Hendrix]], [[Frank Zappa]], [[Gary Wright]], [[David Bowie]], [[Mother's Finest]], and [[Funkadelic]] on their earlier albums.

Many instruments may be incorporated into funk rock, but the overall sound is defined by a definitive [[Bass guitar|bass]] or [[drum]] beat and [[electric guitar]]s.  The bass and drum rhythms are influenced by funk music but with more intensity, while the guitar can be funk- or rock-influenced, usually with [[distortion (guitar)|distortion]]. [[Prince (musician)|Prince]], [[Jesse Johnson (musician)|Jesse Johnson]], [[Red Hot Chili Peppers]] and [[Fishbone]] are major artists in funk rock.

===Avant-funk===
{{main|Avant-funk}}
The term "avant-funk" has been used to describe acts who combined funk with [[art rock]]'s concerns.<ref name="new"/> [[Simon Frith]] described the style as an application of [[progressive rock]] mentality to rhythm rather than melody and harmony.<ref name="new">{{cite web|last1=Reynolds|first1=Simon|title=End of the Track|url=http://reynoldsretro.blogspot.com/2013/05/end-of-track-albums-round-up-column-new.html|website=[[New Statesman]]|access-date=March 5, 2017}}</ref> [[Simon Reynolds]] characterized avant-funk as a kind of [[psychedelia]] in which "oblivion was to be attained not through rising above the body, rather through immersion in the physical, self loss through animalism."<ref name="new"/>

[[File:Talking Heads band1.jpg|thumb|upright=1.15|[[Talking Heads]] combined funk with elements of [[art rock]].]]

Acts in the genre include German [[krautrock]] band [[Can (band)|Can]]<ref name="melody">{{cite news|last1=Reynolds|first1=Simon|title=Krautrock Reissues|url=http://reynoldsretro.blogspot.com/2013/03/krautrock-melody-maker-july-1996-by.html|access-date=March 5, 2017|work=[[Melody Maker]]|date=1995}}</ref> and American funk artists [[Sly Stone]] and [[George Clinton (funk musician)|George Clinton]].<ref name="billboard">{{cite news|title=Passings|url=https://books.google.com/books?id=1BMEAAAAMBAJ&q=%22avant-funk%22+sly+stone&pg=RA1-PA39|access-date=March 5, 2017|work=[[Billboard Magazine|Billboard]]|date = December 25, 2004|issue=116|publisher=Nielsen}}</ref> A wave of early 1980s UK and US [[post-punk]] artists (including [[Public Image Ltd]], [[Talking Heads]], [[the Pop Group]], [[Gang of Four (band)|Gang of Four]], [[Bauhaus (band)|Bauhaus]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[Defunkt]], [[A Certain Ratio]], and [[23 Skidoo (band)|23 Skidoo]])<ref name="energy">{{cite book|last1=Reynolds|first1=Simon|title=Energy Flash: A Journey Through Rave Music and Dance Culture|date=2012|publisher=Soft Skull Press|pages=20, 202|isbn=9781593764777|url=https://books.google.com/books?id=o5wGKnxoTAwC&q=disco+%22avant-funk%22|access-date=March 5, 2017}}{{Dead link|date=May 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> embraced black dance music styles such as disco and funk.<ref name="rip">{{cite book|last1=Reynolds|first1=Simon|title=Rip It Up and Start Again: Postpunk 1978-1984|date=2006|publisher=Penguin|isbn=9780143036722|url=https://archive.org/details/ripitupstartagai00reyno|url-access=registration|quote=avant-funk sly stone.}}</ref> The artists of the late 1970s New York [[no wave]] scene also explored avant-funk, influenced by figures such as [[Ornette Coleman]].<ref name="murray">{{cite book|last1=Murray|first1=Charles Shaar|title=Crosstown Traffic: Jimi Hendrix & The Post-War Rock 'N' Roll Revolution|date=October 1991|publisher=Macmillan|page=205|isbn=9780312063245|url=https://books.google.com/books?id=CiWtlIxnQ6gC&q=avant-funk+no+wave&pg=PA205|access-date=March 6, 2017}}</ref> Reynolds noted these artists' preoccupations with issues such as [[Social alienation|alienation]], [[Social repression|repression]] and technocracy of Western [[modernity]].<ref name="new"/>

===Go-go===
{{Main|Go-go}}
Go-go originated in the [[Washington, D.C.]], area with which it remains associated, along with other spots in the Mid-Atlantic. Inspired by singers such as [[Chuck Brown]], the "Godfather of Go-go", it is a blend of funk, [[rhythm and blues]], and early [[hip hop music|hip hop]], with a focus on lo-fi percussion instruments and in-person [[jam band|jamming]] in place of [[Sampling (music)|dance tracks]].  As such, it is primarily a dance music with an emphasis on live audience [[call and response]].  Go-go rhythms are also incorporated into street percussion.

=== Boogie ===
{{Main|Boogie (genre)}}
Boogie is an electronic music mainly influenced by funk and post-disco. The minimalist approach of boogie, consisting of synthesizers and keyboards, helped to establish electro and house music.  Boogie, unlike electro, emphasizes the slapping techniques of bass guitar but also bass synthesizers. Artists include [[Vicky D|Vicky "D"]], [[Komiko]], [[Peech Boys]], [[Kashif (musician)|Kashif]], and later [[Evelyn King (singer)|Evelyn King]].

=== Electro funk ===
{{Main|Electro funk}}
Electro funk is a hybrid of electronic music and funk. It essentially follows the same form as funk, and retains funk's characteristics, but is made entirely (or partially) with a use of electronic instruments such as the [[TR-808]]. [[Vocoder]]s or [[talkbox]]es were commonly implemented to transform the vocals. The pioneering electro band [[Zapp (band)|Zapp]] commonly used such instruments in their music. [[Bootsy Collins]] also began to incorporate a more electronic sound on [[What's Bootsy Doin'?|later solo albums]]. Other artists include [[Herbie Hancock]], [[Afrika Bambaataa]], [[Egyptian Lover]], [[Vaughan Mason & Crew]], [[Midnight Star (band)|Midnight Star]] and [[Cybotron (American band)|Cybotron]].

=== Funk metal ===
{{Main|Funk metal}}
Funk metal (sometimes typeset differently such as ''funk-metal'') is a [[fusion genre]] of [[music]] which emerged in the 1980s, as part of the [[alternative metal]] movement. It typically incorporates elements of funk and [[heavy metal music|heavy metal]] (often [[thrash metal]]), and in some cases other styles, such as [[hardcore punk|punk]] and [[experimental rock|experimental]] music. It features hard-driving heavy metal [[guitar]] riffs, the pounding [[bass guitar|bass]] rhythms characteristic of funk, and sometimes [[hip hop music|hip hop]]-style [[rhyme]]s into an [[alternative rock]] approach to songwriting. A primary example is the all-African-American rock band [[Living Colour]], who have been said to be "funk-metal pioneers" by ''[[Rolling Stone]]''.<ref>{{cite magazine|last=Fricke|first=David|title=Living Colour – Collideoscope|url=https://www.rollingstone.com/artists/livingcolour/albums/album/290616/review/6209668/collideoscope|magazine=[[Rolling Stone]]|access-date=December 11, 2011|archive-url=https://web.archive.org/web/20090412062112/http://www.rollingstone.com/artists/livingcolour/albums/album/290616/review/6209668/collideoscope|archive-date=April 12, 2009|date=November 13, 2003|url-status=dead|quote=Black-funk-metal pioneers return in righteous form when black-rock warriors Living Colour broke up in 1995,}}</ref> During the late 1980s and early 1990s, the style was most prevalent in [[California]] – particularly [[Los Angeles]] and [[San Francisco]].<ref>{{cite journal |title=Primus: Nice and Cheesy |journal=Hot Metal |location=Sydney, Australia |last=Potter |first=Valerie |date=July 1991 |volume=29}}</ref><ref name="Spin Jan 91">{{cite journal |url=https://books.google.com/books?id=z9fMwxwJ7tkC&pg=PA39 |page=39 |title=The Thrash-Funk scene proudly presents Primus |last1=Darzin |first1=Daina |last2=Spencer |first2=Lauren |journal=[[Spin (magazine)|Spin]] |date=January 1991 |volume=6 |number=10}}</ref>

=== G-funk ===
{{Main|G-funk}}
[[File:Dr. Dre in 2011.jpg|thumb|right|150px|Dr. Dre (pictured in 2011) was one of the influential creators of G-funk.]]
G-funk is a [[fusion genre]] of music which combines [[gangsta rap]] and funk. It is generally considered to have been invented by West Coast rappers and made famous by [[Dr. Dre]]. It incorporates multi-layered and melodic synthesizers, slow hypnotic grooves, a deep bass, background female vocals, the extensive sampling of P-Funk tunes, and a high-pitched portamento saw wave synthesizer lead. Unlike other earlier rap acts that also utilized funk samples (such as [[EPMD]] and [[the Bomb Squad]]), G-funk often used fewer, unaltered samples per song.

=== Timba funk ===
{{Main|Timba}}
[[Timba]] is a form of funky Cuban popular dance music. By 1990, several Cuban bands had incorporated elements of funk and hip-hop into their arrangements, and expanded upon the instrumentation of the traditional conjunto with an American drum set, saxophones and a two-keyboard format. Timba bands like La Charanga Habanera or Bamboleo often have horns or other instruments playing short parts of tunes by [[Earth, Wind and Fire]], [[Kool and the Gang]] or other U.S. funk bands.  While many funk motifs exhibit a [[clave (rhythm)|clave]]-based structure, they are created intuitively, without a conscious intent of aligning the various parts to a [[bell pattern|guide-pattern]]. Timba incorporates funk motifs into an overt and intentional clave structure.

== Social impact ==
=== Women and funk ===
[[File:Chaka Khan.jpg|thumb|left|upright=0.75|[[Chaka Khan]] (born 1953) has been called the "Queen of Funk".]]
Despite funk's popularity in modern music, few people have examined the work of [[Women in music|funk women]]. Notable funk women include [[Chaka Khan]], [[Labelle]], [[Brides of Funkenstein]], [[Klymaxx]], [[Mother's Finest]], [[Lyn Collins]], [[Betty Davis]] and [[Teena Marie]]. As cultural critic Cheryl Keyes explains in her essay "She Was Too Black for Rock and Too Hard for Soul: (Re)discovering the Musical Career of Betty Mabry Davis", most of the scholarship around funk has focused on the cultural work of men. She states that "Betty Davis is an artist whose name has gone unheralded as a pioneer in the annals of funk and rock. Most writing on these musical genres has traditionally placed male artists like Jimi Hendrix, George Clinton (of Parliament-Funkadelic), and bassist Larry Graham as trendsetters in the shaping of a rock music sensibility."<ref>{{cite journal|first=Cheryl|last=Keyes|title=She Was too Black for Rock and too hard for Soul: (Re)discovering the Musical Career of Betty Mabry Davis|date=2013|journal=American Studies|volume=52|issue=4|page=35|doi=10.1353/ams.2013.0107|s2cid=159486276|url=https://journals.ku.edu/amerstud/article/view/4476|archive-date=October 24, 2018|access-date=October 24, 2018|archive-url=https://web.archive.org/web/20181024192240/https://journals.ku.edu/amerstud/article/view/4476|url-status=dead}}</ref>

In ''The Feminist Funk Power of Betty Davis and Renée Stout'', Nikki A. Greene<ref>{{cite journal|title=The Feminist Funk Power of Betty Davis and Renée Stout|first=Nikki A.|last=Greene|journal=American Studies|volume=52|date=2013|issue=4|pages=57–76|doi=10.1353/ams.2013.0117|jstor=24589269|s2cid=143460406|url=http://journals.ku.edu/amerstud/article/view/4472}}{{Dead link|date=May 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> notes that Davis' provocative and controversial style helped her rise to popularity in the 1970s as she focused on sexually motivated, self-empowered subject matter. Furthermore, this affected the young artist's ability to draw large audiences and commercial success. Greene also notes that Davis was never made an official spokesperson or champion for the civil rights and feminist movements of the time, although more recently{{when|date=October 2018}} her work has become a symbol of sexual liberation for women of color. Davis' song "If I'm In Luck I Just Might Get Picked Up", on her self-titled debut album, sparked controversy, and was banned by the Detroit [[NAACP]].<ref>{{Cite web|url=https://journals.ku.edu/amsj/article/download/4472/4302/|title=The Feminist Funk Power of Betty Davis and Renée Stout|website=journals.ku.edu|access-date=2019-10-31}}</ref> Maureen Mahan, a musicologist and anthropologist, examines Davis' impact on the music industry and the American public in her article "They Say She's Different: Race, Gender, Genre, and the Liberated Black Femininity of Betty Davis".

Laina Dawes, the author of ''What Are You Doing Here: A Black Woman's Life and Liberation in Heavy Metal'', believes [[respectability politics]] is the reason artists like Davis do not get the same recognition as their male counterparts: "I blame what I call respectability politics as part of the reason the funk-rock some of the women from the '70s aren't better known. Despite the importance of their music and presence, many of the funk-rock females represented the aggressive behavior and sexuality that many people were not comfortable with."<ref>{{Cite web|url=https://www.ebony.com/entertainment/rise-of-the-funky-diva-999/|title=Rise of the Funky Divas|last=Gonzales|first=Michael A.|date=2016-07-22|website=EBONY|language=en-US|access-date=2019-10-31}}</ref>

[[File:Janellemonae (300dpi).jpg|thumb|right|upright=0.75|[[Janelle Monáe]] (born 1985) is part of a new wave of female funk artists.]]
According to Francesca T. Royster, in [[Rickey Vincent]]'s book ''Funk: The Music, The People, and The Rhythm of The One'', he analyzes the impact of Labelle but only in limited sections. Royster criticizes Vincent's analysis of the group, stating: "It is a shame, then, that Vincent gives such minimal attention to Labelle's performances in his study. This reflects, unfortunately, a still consistent sexism that shapes the evaluation of funk music. In ''Funk'', Vincent's analysis of Labelle is brief—sharing a single paragraph with the Pointer Sisters in his three-page sub chapter, 'Funky Women.' He writes that while '[[Lady Marmalade]]' 'blew the lid off of the standards of sexual innuendo and skyrocketed the group's star status,' the band's 'glittery image slipped into the disco undertow and was ultimately wasted as the trio broke up in search of solo status" (Vincent, 1996, 192).<ref>{{Cite journal|last=Royster|first=Francesca T.|date=2013|title=Labelle: Funk, Feminism, and the Politics of Flight and Fight|journal=American Studies|volume=52|issue=4|pages=77–98|doi=10.1353/ams.2013.0120|s2cid=143971031|issn=2153-6856|url=http://journals.ku.edu/amerstud/article/view/4474|access-date=November 20, 2018|archive-date=November 20, 2018|archive-url=https://web.archive.org/web/20181120140025/https://journals.ku.edu/amerstud/article/view/4474|url-status=dead}}</ref> Many female artists who are considered to be in the genre of funk, also share songs in the [[disco]], [[Soul music|soul]], and [[Rhythm and blues|R&B]] genres; Labelle falls into this category of women who are split among genres due to a critical view of music theory and the history of sexism in the United States.<ref>{{Cite news|url=https://www.washingtonpost.com/archive/lifestyle/1979/08/01/on-the-difference-between-funk-and-disco/25fcc5c6-1a13-4d64-9e99-a67dbd004b9a/|title=On the Difference Between Funk and Disco|date=August 1, 1979|newspaper=The Washington Post|access-date=October 23, 2018}}</ref>

In the 21st century,{{when|date=October 2018}} artists like [[Janelle Monáe]] have opened the doors for more scholarship and analysis on the female impact on the funk music genre.{{dubious|reason=Monáe causes scholarship and analysis? Really? Are you really making that assertion in an encyclopedia article?|date=October 2018}} Monáe's style bends concepts of [[gender]], [[Human sexuality|sexuality]], and self-expression in a manner similar to the way some male pioneers in funk broke boundaries.<ref name=Valnes>{{Cite journal|last=Valnes|first=Matthew|date=September 2017|title=Janelle Monáe and Afro-Sonic Feminist Funk|journal=Journal of Popular Music Studies|volume=29|issue=3|pages=e12224|doi=10.1111/jpms.12224|issn=1524-2226}}</ref> Her albums center on [[Afrofuturism|Afro-futuristic]] concepts, centering on elements of female and black empowerment and visions of a [[dystopia]]n future.<ref>{{Cite news|url=http://www.vox.com/2018/5/16/17318242/janelle-monae-science-fiction-influences-afrofuturism|title=Janelle Monáe's body of work is a masterpiece of modern science fiction|work=Vox|access-date=October 23, 2018}}</ref> In his article "Janelle Monáe and Afro-sonic Feminist Funk", Matthew Valnes writes that Monae's involvement in the funk genre is juxtaposed with the traditional view of funk as a male-centered genre. Valnes acknowledges that funk is male-dominated, but provides insight to the societal circumstances that led to this situation.<ref name=Valnes/>{{clarify|reason=Please share some of that insight with our readers. This is an encyclopedia, not a book report.|date=October 2018}}

Monáe's influences include her mentor Prince, Funkadelic, [[Lauryn Hill]], and other funk and R&B artists, but according to Emily Lordi, "[Betty] Davis is seldom listed among Janelle Monáe's many influences, and certainly the younger singer's high-tech concepts, virtuosic performances, and meticulously produced songs are far removed from Davis's proto-punk aesthetic. But... like Davis, she also is closely linked with a visionary male mentor (Prince). The title of Monáe's 2013 album, ''The Electric Lady'', alludes to Hendrix's ''Electric Ladyland'', but it also implicitly cites the coterie of women that inspired Hendrix himself: that group, called the Cosmic Ladies or Electric Ladies, was together led by Hendrix's lover Devon Wilson and Betty Davis."<ref>{{Cite news|url=http://www.newyorker.com/culture/culture-desk/the-artful-erotic-and-still-misunderstood-funk-of-betty-davis|title=The Artful, Erotic, and Still Misunderstood Funk of Betty Davis|first=Emily|last=Lordi|date=May 2, 2018|magazine=The New Yorker|access-date=October 23, 2018}}</ref>

== See also ==
* [[Chanking]]

== References ==
{{Reflist}}

== Further reading ==
* Danielsen, Anne (2006). ''Presence and pleasure: The funk grooves of James Brown and Parliament''. Wesleyan University Press. 
* {{cite book
 | last=Vincent
 | first=Rickey
 | title=Funk: The Music, The People, and The Rhythm of The One
 | year=1996
 | publisher=St. Martin's Press
 | isbn=0-312-13499-1
 | url=https://archive.org/details/funkmusicpeopler00vinc
 }}
* {{cite book
 | last=Thompson
 | first=Dave
 | title=Funk
 | year=2001
 | publisher=Backbeat Books
 | isbn=0-87930-629-7
 | url=https://archive.org/details/funk00thom
 }}
* {{cite book
 | last = Wermelinger | first = Peter
 | title=Funky & Groovy Music Records Lexicon | year=2005
 | publisher=-
 | isbn=3-9522773-1-2
 }}

{{Funkmusic}}
{{BlackMusicHistory}}
{{Rhythm and blues}}
{{Authority control}}

[[Category:Funk| ]]
[[Category:20th-century music genres]]
[[Category:African-American cultural history]]
[[Category:African-American music]]
[[Category:American styles of music]]
[[Category:Popular music]]
[[Category:Rhythm and blues genres]]
[[Category:1960s in music]]
[[Category:1970s in music]]
[[Category:1980s in music]]
[[Category:1970s fads and trends]]