Assignment #7
Read Chapters 59 -62 including the following summaries. Fill in the blanks below
E-mail to before 12pm, Tuesday, October 25.
1)“Funk” originally targeted not the ears but the ______.
2) The terms “funk” and “funky” came into popular music through jazz.
3)By the early seventies, funk had come to identify a particularly ______strain of black music.
4)______is widely considered the “father of funk” as well as the “godfather of soul.”
5)However, it was ______who played the key role in the transition from soul to funk.
6)A growing trend developed in Afro-centric music, from the United States and abroad: ______.
7)Although civil rights legislation removed much of the governmental support for the racial inequities in American life, it did not eliminate ______.
8)______(b. 1940) was the mastermind behind two important funk bands, Parliament and Funkadelic. While still a teen, he formed the Parliaments, but as a doo-wop group.
9)Funkadelic represented a major change of direction. As the group's name implies, it brought together funk and ______: James Brown and Sly Stone meet Jimi Hendrix.
10)The formation of Funkadelic signaled Clinton's transformation into ______(he also referred to himself as Maggot Overlord); the title of his 1970 album Free Your Mind.
11)In its purest form, funk never crossed over to the pop mainstream. “Tear the Roof Off the Sucker,” which was Parliament's highest-charting song, only reached No. 15. It was more successful commercially in pop/funk fusions, such as those by ______.
12)During the 1950s and 1960s, black pop and rhythmic and bluesy R & B inhabited largely discrete worlds: doowop and Motown versus big beat music, electric blues and soul. In the early seventies, Marvin Gaye and Stevie Wonder moved easily between funk and romantic pop. In the latter part of the decade, a larger band, ______joined them.
13)The leader of this band was ______.
14)Few seventies acts were at home in both funk and black pop styles; fewer still succeeded in blending the two. ______was one of them.
15)The influence of rhythm and blues on Jamaican music is in part a matter of geography. Kingston, the capital city, is just over 500 miles from Miami as the crow flies and about 1,000 miles from New Orleans. Stations from all over the southern United States were within reach, at least after dark. So it should not surprise us that Jamaicans tuned in their radios to American stations in the years after World War II. For many young Jamaicans, ______replaced mento, the Jamaican popular music of the early fifties.
16)______, the mobile discos so much a part of daily life in Jamaica, offered another way to hear new music from America.
17) By the end of the 1950s, Jamaican musicians had begun to absorb rhythm and blues and transform it into new kinds of music. ______, the first new style, emerged around 1960; it would remain the dominant Jamaican sound through the first part of the decade.
18) Next came Rock Steady in the latter half of the sixties, musicians added a backbeat layer over the afterbeats. This created a core rhythm of afterbeats at two speeds, slow and fast: which soon became the characteristic off-beat ka-CHUN-ka rhythm of ______.
19)One of the stars of The Harder They Come was Jamaican recording artist ______.
20)Bob Marley (1945-1981) began his recording career in the early 19___s.
21)The new element in the creating Disco music there was the innovative use of ______to create dance tracks.
22)Singers were relatively unimportant and interchangeable in Disco Music; there were numerous one-hit wonders. ______was an exception.