Community Showcase More. Follow TV Tropes. You need to login to do this. Get Known if you don't have an account. Right on. Parodied in the extreme by Excel Saga 's Nabeshin, who was described to his English dub actor as "like Shaft, but white".
Afro Samurai has Samuel L. Jackson voicing two of them : Afroa samurai who's calm, stern, and an unstoppable killing machine ; the other is Ninja Ninja, Afro's companion and the guy who doesn't do much more run his mouth to deliver exposition. Guess which one The Soul Creations Funky Jive Part I Funky Jive Part II under the trope.
TK from Angel Beats! Naruto brings us Killer Beethe Rapping Ninja. Masa-san from My Bride is a Mermaid. Comic Books. Mike: We wanted an outsider's perspective. Anne: Non-music? Mike: Non-Black. Anne: I don't know how to tell you this, Mike, but Ricky's Black. Ricky: I know what he means.
Any black man who's educated and speaks articulately is not considered "really" black. Films — Animation. Br'er Rabbit in Coonskin. Morkupine Porcupine in Chicken Little. MotoMoto in Madagascar: Escape 2 Africa. Frozone in The Incredibles. When he makes his first appearance in his street clothes when he enters the Parr family residence, "cool" The Soul Creations Funky Jive Part I Funky Jive Part II the first thing that comes to your mind, which is appropriate, given his ice powers.
Being voiced by Samuel L. Jackson may have something to do with that. And he has 'Fro in his name. All together now: "Where is my super-suit? Voiced by the above-mentioned Scatman Crothers. Eddie Murphy in Disney's Mulandespite being set in imperial China. Films — Live-Action. As noted before, Samuel L. Jackson can pull this role off with his eyes closed. See Jules Winnfield in Pulp Fiction.
He was even able to pull it off when he voiced the white Various Bubblegum Crisis Original Soundtrack 1 Rummy in The Boondocks.
Undercover Brother in the film of that name, which is basically this trope exploded into two hours of ethnic-related hilarity. Chris Tucker in most of the movies he is in but the most notable one is the first Rush Hour.
The title character of the movie Shaft. Right On. Parodied in Not Another Teen Moviewhich has a the black character pop up with unrelated The Soul Creations Funky Jive Part I Funky Jive Part II like The Soul Creations Funky Jive Part I Funky Jive Part II bling! Another commercial parody advertises an album by Don "No Soul" Simmons, a character played by David Alan Grier who's exactly what he sounds like.
Cooper from Event Horizon. Referred to as the " funky spaceman ". Black Dynamitethe eponymous hero, both parodies and personifies this trope. In "funky" meaning "musty" was first documented, which, in turn, The Soul Creations Funky Jive Part I Funky Jive Part II to a sense of "earthy" that was taken up around in early jazz slang for something "deeply or strongly felt".
In early jam sessionsmusicians would encourage one another to " get down " by telling one another, "Now, put some stank on it! At least as early asjazz songs carried titles such as Funky.
The first example is an unrecorded number by Buddy Boldenremembered 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. According to one source, New Orleans -born drummer Earl Palmer "was the first to use the word 'funky' to explain to other musicians that The Soul Creations Funky Jive Part I Funky Jive Part II music should be made more syncopated and danceable.
This early form of the music set the pattern for later musicians. Like soul, funk is based on dance musicso it has a strong "rhythmic role". Before funk, most pop music was based on sequences of eighth notes, because the fast tempos made further subdivisions of the beat infeasible. Together, these "interlocking parts" created a "hypnotic" and "danceable feel".
New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late s, and made it its own. Funk uses the same richly Bridget St John Jumble Queen extended chords 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.
However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps often alternating a minor seventh chord and a related dominant seventh chord, such as a minor to D7 with melodo-harmonic movement and a complex, driving The Soul Creations Funky Jive Part I Funky Jive Part II 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.
The chords used in funk songs typically imply a Dorian or Mixolydian modeas The Soul Creations Funky Jive Part I Funky Jive Part II 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 s, jazz music drew upon funk to create a new subgenre of jazz-funkwhich can be heard in recordings by Miles Davis Live-EvilOn the Cornerand Herbie Hancock Head Hunters. Funk continues the African musical tradition of improvisation, in The Soul Creations Funky Jive Part I Funky Jive Part II 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.
Funk creates an intense groove by using strong guitar Marina The Diamonds I Am Not A Robot and basslines played on electric bass.
Like Motown recordings, The Soul Creations Funky Jive Part I Funky Jive Part II songs use basslines as the centerpiece of songs. Indeed, funk has been called the style in which the SAM FAS004 is most prominent in the songs,  with the bass playing the "hook" of the song.
Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and 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.
Funk drumming creates a groove by emphasizing the drummer's "feel and emotion", which including "occasional tempo fluctuations", the use of swing feel in some songs e. Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music, ostinatosthat are repeated "with only slight variations", an approach which he says causes the "mesmerizing" nature of funk.
Some funk bands used two drummers in shows, such as James Brown's band, the JBs. In funk, guitarists often mix playing chords of a short duration nicknamed "stabs" with faster rhythms and riffs. The two guitarists Claude Nougaro Claude Nougaro off their lines to create a " call-and-responseintertwined pocket. 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 Bessoso Afrogui Yon Sofa strumming it; and "choking" generally uses all the strings being strummed and heavily muted.
The result of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the electric bass and the cutting tone of the snare and hi-hatswith a rhythmically melodic feel that fell deep in the pocket. Guitarist Jimmy Nolenlongtime guitarist for James Brown, developed this technique. 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 guitars with single-coil P pickups" plugged into a Fender Twin Reverb amp with the mid turned down low and the treble turned up high. Funk guitarists playing rhythm guitar generally avoid distortion effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound, Fender Stratocasters and Telecasters were widely used for their cutting treble tone.
Guitarist Eddie Hazel from Funkadelic is notable for his solo improvisation partiularly for the solo on " Maggot Brain " and guitar riffs, the tone of which was shaped by a Maestro Fuzz-Tone FZ-1A pedal.
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 sound effect along with muting the notes to create a percussive sound for their guitar riffs. A range of keyboard instruments are used in funk. 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.
In the s, funk used many of the same vocal styles that were used in African-American music in the s, including singing influences from blues, gospel, jazz and doo-wop. 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.
The lyrics in funk music addressed issues faced by Trevor Wishart Friends Trevor Wishart Beach Singularity Menagerie African American community in the United States during the s, which arose due to the move away from an industrial, The Soul Creations Funky Jive Part I Funky Jive Part II economy to an information economy, which harmed the Black working class.
The Funkadelic song "One Nation Under A Groove" is about the challenges that Blacks overcame during the s civil rights movement, and it includes an exhortation for Blacks in the s to capitalize on the new "social and political opportunities" that had become available in the s.
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-America men and women standing their ground and fighting for what was right". Funk songs included metaphorical language that was understood best by The Soul Creations Funky Jive Part I Funky Jive Part II who were "familiar with the black aesthetic and [black] vernacular".
In the s, to get around radio obscenity restrictions, funk artists would use Litto Nebbia Bazar De Los Milagros that sounded like non-allowed words and double entendres to get around these restrictions.
Horn section arrangements with groups of brass instruments The Soul Creations Funky Jive Part I Funky Jive Part II used in funk songs. Funk horn sections performed in a "rhythmic percussive style" that mimicked the approach used by funk rhythm guitarists.
The instruments in Tan Geers Let My Heart And Soul Be Free Whats The Use Of Me Trying horn sections varied. If there were two brass instruments, it could be trumpet and tenor sax, trumpet and trombone, or two saxes. Quintets would typically take a pair of brass instruments saxes or trumpetsand add different high and low brass instruments.
With six instruments, a brass section would typically be two pairs of brass instruments plus a trombone and baritone sax holding down the bottom end. In bands or shows where hiring a horn section is not feasible, a keyboardist can play the horn section parts on a synthesizer with "keyboard brass patches", however, choosing an authentic-sounding synthesizer and brass patch is important.
Funk bands in the s adopted Afro-American fashion and style, including "Bell-bottom pants, platform shoes, hoop earring[s], Afros [hairstyles], leather vests, Funk allowed everyday experiences to be expressed to challenge daily struggles and hardships fought by lower and working class communities. Gerhard Kubik notes that with the exception of New Orleans, early blues lacked complex polyrhythmsand there was a "very specific absence of asymmetric The Soul Creations Funky Jive Part I Funky Jive Part II patterns key patterns in virtually all early twentieth century African-American music These do not function in the same way as African time lines.
In the late s this changed somewhat when the two-celled time line structure was brought into New Orleans blues. Robert Palmer reports that, in the s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado 's mambo records. Longhair's rhythmic approach became a basic template of funk. According to Dr. Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans.
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. In a The Soul Creations Funky Jive Part I Funky Jive Part II 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.
By the mids, James Brown had developed his signature groove that emphasized the 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. Brown's style of funk was based on interlocking, contrapuntal parts: syncopated basslines16th beat drum patterns, and syncopated guitar riffs.
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 "" Mother Popcorn " and " Get Up I Feel Like Being A Sex Machine "discarding even the twelve-bar blues featured in his earlier music.
Instead, Brown's music The Soul Creations Funky Jive Part I Funky Jive Part II 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 Ellis credits Clyde Stubblefield 's adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a The Soul Creations Funky Jive Part I Funky Jive Part II, 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. In a interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat Simple as that, really. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on The Soul Creations Funky Jive Part I Funky Jive Part II one" during solo performances, since he was used to hearing and playing with the accent on the second beat.
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 Blazersbased in Phoenix, Arizonareleased " Funky Broadway " inperhaps the first record of the soul music era to have "funky" in the title.
In Jimmy McGriff released Electric Funkfeaturing his distinctive organ over a blazing horn section. Their debut album East Bay Greasereleasedis considered an important milestone in funk. Throughout the s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience. 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 Temptationswho had previously helped to define the " Motown Sound " — a distinct blend of pop-soul — adopted this new psychedelic sound towards the end of the s as well.
A new group of musicians began to further develop the "funk rock" approach. Innovations were prominently made by George Clintonwith his bands 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. Clinton played a principal role in several other bands, including Parletthe Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate.
The s were the era of highest mainstream visibility for funk music. Disco music owed a great deal to funk. Many early disco songs and performers came The Soul Creations Funky Jive Part I Funky Jive Part II from funk-oriented backgrounds. InRose Royce scored a number-one hit with a purely dance-funk record, " Car Wash ". Even with the arrival of The Wally Brothers Wallys All Stars The Man Who Sold The World, funk became increasingly popular well into the early s.
Funk music was also exported to Africa, and it Ananda Shankar Missing You with African singing and rhythms to form Afrobeat. Nigerian musician Fela Kutiwho was heavily influenced by James Brown's music, is credited with creating the style and terming it "Afrobeat".
Jazz-funk is a subgenre of jazz music characterized by a strong back beat grooveelectrified sounds  and an early prevalence of analog synthesizers. Similar genres include soul jazz and jazz fusionbut neither entirely overlap with jazz-funk. In the s, at the same time that jazz musicians began to explore blending jazz with rock to create jazz fusionmajor jazz performers began to experiment with funk. Jazz-funk recordings typically used electric bass and electric piano in the rhythm section, in place of the double bass and acoustic piano that were typically used in jazz up till that point.
Pianist and bandleader Herbie Hancock was the first of many big jazz artists who embraced funk during the decade. Hancock's Headhunters band played the jazz-funk style. The Headhunters' lineup and instrumentation, retaining only wind Quinteto Armorial Do Romance Ao Galope Nordestino Bennie Maupin from Hancock's previous sextet, reflected his new musical direction.
Deliver Me Tom Scott - Rural Still Life kbps. Rural Still Life 26 Song 1 Freak In With Respect To Coltrane Just Messin' Around Body And Soul Tom Scott - Great Scott! Lookin' Out For Number Seven Woodstock Mantra Boss Walk Liberation Dahomey Dance Visions Off The Highway Malibu Bless My Soul Sneakin' In The Back King Cobra Bappi Lahiri Karate Nunya Easy Life Spindrift Strut Your Stuff Expression Vertigo Dirty Old Man New York Connection Garden Time And Love Midtown Rush Joe White Give And Take On Both Sides Out For Number 7 Appolonia Foxtrata You're Gonna Need Me Rock Island Rocket Tom Cat Day Way Keep On Doin' It Love Poem Good Evening Mr.
Backfence Cattin' Mondo Smoothin' On Down Dream Lady I Wanna Be Shadows You've Got The Feelin' Down To Your Soul Breezin' Easy You're So Good To Me Puttin' The Bite On You Street Beat Greed Come Closer, Baby Heading Home Car Wars We Can Fly Give Me Your Love Apple Juice Gonna Do It Right We Belong Together So White And So Funky
MewithoutYou Catch For Us The Foxes, The Counts Funk Pump, Boogie Down Productions By All Means Necessary, Orchestra Fabio Fabor Ballabili Anni 70 Serie New Sound, The 31st Of February The 31st Of February, Fitzroy Drummond And The Wailers Band Rastaman In A Strange Land, Yusef Lateef Before Dawn The Music Of Yusef Lateef, Fuchsia Fuchsia, Walter Rizzati Io Sto Con Gli Ippopotami, Yusef Lateef The Golden Flute, Gruppo Sound New York City, Various The Dali CD Vol 3, Wally Badarou Back To Scales To Night, Christopher Young Hellraiser Original Motion Picture Score