Buying Ecstasy Neoi Poroi

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Buying Ecstasy Neoi Poroi

The Straits Times, 6 July Microfilm: NL Title Section. Save Citation. Article, Illustration. Pal, the air baby. Burton: Liz hasn't left me. Reuter - words. Palestine commando leader. Yasser n. Arafat and two other Fatah leaders escaped unhurt when a guerilla officer shot at them after a brawl, the Jordanian News Agency reported today. It said the Incident took place In the office of Mr. Arafat in. Reuter - 81 words. Drugs: 4 girls expelled. According to some girls in the school. Hit' cigarettes contained traces. Assemblyman dies in crash. State Assemblyman N«ui Tot Mm The helicopter vm on m aerial survey mission miien it crashed. Reuter - 42 words. The auctioneers said the bid was below thr minimum price. Reuter - 60 words. Thurs— Five deadly Indian cobras were on the loose lr. Reuter - 48 words. Our troops stay on, says Kirk. Prime Minister Norman Kirk said today there was no question of New Zealand forces in Singapore and Malaysia being withdrawn in the near future. In a statement commenting on the Australian Government's announcement of a withdrawal programme for most of Its forces. I won't meet Dr K: Sihanouk. Henry Kissinger when he visits Peking early next month. Speaking tc newsmen at Peking airport after returning from a two-month tour of Africa. Bid to blow up plane: Three held. Thurs A policeman was wounded in an exchange of nre in northern Sumatra with three men who had threatened to blow up a local airlines plane If a ransom demand was not met. Reuter - 64 words. Page 1 Advertisements. Page 1 Advertisements Column 1. Visit us before you make your next purchase and compare our prices and quality G. Page 1 Advertisements Column 2. Page 1 Advertisements Column 3. And succeed with the successful bank. In your career you will need a solid bank. For your Cerent Account. And loans for house purchase. Plus assistance in business. Page 1 Advertisements Column 4. Page 2. Bottoms up at a super party. UPI - words. New Indo-Pak talks soon. 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A group of Arab guerillas accompanied by two Jae pilots has arrived in Europe with apparent plans to hijack an airliner and crash it into an Israeli the r? Man-made liver. An artificial liver has long been considered a near impossibility, says Dr. Kenneth Matsumura. Reuter - 79 words. Increase in world meat production forecast by the FAO. Reuter - 57 words. A crowd of Mere than 50 musicians and singers performed at the Jazz concert, among them. Page 7 Advertisements. Page 7 Advertisements Column 1. Page 7 Miscellaneous. Page 7 Miscellaneous Column 1. Page 8. Indian head of triad society held in raid. Absentee jailed. He pleaded guilty. They Include the Indonesian Minister of Mines and chairman of the. Re-elected president. Other oflk-tal. Chen Teh Nerg and Mr. Wong Blng Chle i vice-president m. Backing by factories. Lai Tha Chai. Lai, who toured some factories on Wednesday. Including Atlas Electronics Singapore Pte. Ltd Mandar. Rahim heads S'pore Afro-Asian body. Other officials are Prof. Wong Lin Ken. MP for Alexandra vice-chairman Mr. Selvadurai MP for Kuo Chuan 1 secretarygeneral ,. Raman, has been appointed the Republics first Ambassador to Finland He will continue to reside in Moscow. Han Tong's favourite game adds up to a 'double first'. Cultural study mission. Page 8 Advertisements. Page 8 Advertisements Column 1. Face it. V Small screens are just too small. So it has to be big. And it has to. Page 8 Advertisements Column 2. KjjF py, your Place your. Page 9. Pal— the baby who arrived without any warning Chris Loh - words. Othman on danger of too much aid for youth. This was announced by i Mr. He was speaking. POSB withdrawals: No change despite dollar split. Toy animals. Page 9 Advertisements. Page 9 Advertisements Column 1. I needed o ruin quote from the I »upplicr. Page 9 Advertisements Column 2. Choose from our four daily services leaving Singapore at 8. Whichever flight you choose,. Page 9 Advertisements Column 3. Page Page 10 Advertisements. Page 10 Advertisements Column 1. Wife denies her dogs are better fed. Ng Peck Yuk widow. Straat Johor. Re-issue of ICs at six community centres. Singapore laminated identity card holders born between May 6. The centres are: Onraet. Joo Seng and Jalan Tenteram. Page 11 Advertisements. Page 11 Advertisements Column 1. Page 11 Advertisements Column 2. XL office: A. Court poser: Were five in crash taking a lift? Justice Choor Singh was yestenky asked to decide whether five labourers who were injured in road accident while travelling in a lorry were merely taking a Ml or were being transported on contract of em plovment. Curries made mild for the Japanese. Two leading canning firms. No driving for 9 months. Obscene films. A police source described it as 'extremely dangerous and much more lethal than a bearing scraper. Car park loiterer. Sentence was postponed pending a probation and Reformative Training Centre report on July. 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Serving European cuisine with some Asian Dishes. Ample deck space for games. Nightly entertainment including dancing and film shows. The hour- long fire, which broke out shortly alter 11 am. Yoga course. Yoga clasres i. Suicide verdict. Ed, 21 at thr foot of Block 28 in Lorung 6. Page 15 Advertisements. Page 15 Advertisements Column 1. Each perfectly balanced for effortless writing. Page 15 Advertisements Column 2. Page 15 Advertisements Column 3. Page 15 Miscellaneous. Page 15 Miscellaneous Column 1. Page 15 Miscellaneous Column 2. N PM Programme Summary 7. M Programme Summary S. II Continuation cf Malay Film 5. At least 15 contractors including a number. The survey of a random sample of 3. Students' show for welfare. Page 16 Advertisements. Page 16 Advertisements Column 1. Page 16 Advertisements Column 2. Page 16 Miscellaneous. Page 16 Miscellaneous Column 1. It vessel 7. JO One lakes a risk. Burning of boat: Police step up patrols. A police spiikrsmar. New book on S-E Asia. Thieves steal Jega's prized medals. Jegathesan yesterday and escaped with some of his most prized trophies. Stolen were his Ahli Mangku Negara medal which he r. It destroyed machinery and. The first evidence of possible large-scale' rice smuggling out of Malaysia was the seizure of 1, katis. Agreement to buy ends shares dispute. Bhd has been settled. Hw shareholders of the company, in a consent order in the High Court, today agreed that the shares held by its former. Latex gang smashed. Officers of the Selangor Rubber i Preventive Inspectorate have smashed syndicate In the Ulu Langat area responsible for processing Illicit latex and unsmoked rubber sheets. In a pre-dawn raid yesterday, more than 1 , b of smoke rubber sheets, valued at 1 1. Sedition charge: It's back to square one for Fan. DAP organising secretary Fan Few Teng, 30, who won his fight in the Privy Council to have his trial for sedition declared a nullity, appeared I before a magistrate's court here today on the same charge. Pan, MP. Page 17 Advertisements. Page 17 Advertisements Column 1. Take 1 or 2 Dumin tor a sore head, a sore tooth, fever or tlu. Page 17 Advertisements Column 2. Mbmihea or psoridsi which is why ordinary dandrutT. When toddlers learn their lessons from 'the box'. These fees go up to as much as. For children who will Join the other language streams. RTS has produced locally a series of mmute Chinese and Malay programmes. The Chinese programmes, with quite a heavy emphasis on music. Page 18 Advertisements. Page 18 Advertisements Column 1. The sugar-coated laxative tablets. Pinkettes work gently, but thoroughly. Pinkettes restore the regularity of bowel movements, and give help to pile sufferers because they maintain soft stools. For constipation, the sure but gentle sugarcoated answer. 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Overseas phone booths should be sound proofed—. I hive some suggestions for improving the service. I hey should be sound proofed to. Facilities in exam centres to be improved. This occurred on June 30 at about 9. I wonder If the film could be screened over TV Singapore? Singapore Singapore 9. Ways to improve the amenities in Housing Board estates. But 11 flats are sadly lacking in social facilities. Each neighbourhood should be a well Integrated and separate social entity within the larger. Page 25 Advertisements. Page 25 Advertisements Column 1. Page 25 Advertisements Column 2. Burgess' fighting 87 saves New Zealand. A v fighting 87 by Mark Burgess took New Zealand to a respectable first innings score of after a disastrous start in the third and final cricket Test against England at the Headingley pitch here today. It was a great. Shock win by Pasir Panjang. Howarth slams for Surrey. Geoff Ld Howarth. Howarth scored in minutes, with 21 fours, and helped his. Metreveli is first Russian to reach Wimbledon final. Thurs Alex Metreveli became the first player trom the Soviet Union to reach the men's singles final of the Wimbledon tennis championships when he beat American Alex Nagle takes title by a stroke. Tostao to lead Cruzerio attack. The pint-sized Brazilian ace, who played. Walkout by Medan football team. An Indonesian soccer team walked off the field when two of their players were sent off after a brawl in a friendly match here last night. The manager of the Medan team from North Sumatra pulled all his playen out of the came. Katong meet. Enclk Sha art Tadln. PSRC I lost by seven games to eight. Port ousted. Roy sets new mark for butterfly. Roy, a student of Anglo-Chinese school, clocked This chopped a massive All the results. Titmus achieves double. Thurs Fred Tltmus. Reuter - 77 words. Jeevanathan from defence to attack. This dashing schoolboy was the hero in Singapore's win over Indonesia In the Regional tournament. Jeeva, Sharin to test his form today. Sharin Is drawn to play. Springboks back in Cup. South Africa was re-admltted to the Davis Cup last year after j. I was coach only in name: William. William said. The mystery of coach Young-Suk. Young-Suk, who. OCBC defeat Hyatt In the other matches. Bridgestone beat Address Club and Strait. Athletes will challenge for Seap Games places. The Schools hope to enter at least 60 athletes or the championships which will. Fina's warning on those 'goodwill meets'. Fina president Dr rold W. Henning ing the interpretatio: Rule Best mark for the year. Reuter - 25 words. West Indians at tea. Jipcho is world's best now. Page 26 Advertisements. Page 26 Advertisements Column 1. Some people shouldn't own one. Some people shouldn't own a Chevrolet because roof and large door areas for easy, composed access. Page 26 Advertisements Column 2. Systematized Training what does it mean? The counes available It means study with a plan. The Home. Page 26 Miscellaneous. 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The Straits Times, 6 July 1973

Buying Ecstasy Neoi Poroi

The men, funky in their sartorial groovyness, arms raised like birds, run from a city park tunnel, this everyday space of darkness and transition. The underpass is true in its particularity: it is somewhere in Central Park, a space to write graffiti, make love, share an illicit smoke. The urban park underpass, a dark pause in the middle of the green, the city turning in on itself, ripe with damp earth smells that seep into the concrete, along with the piss and smoke. It is the space where the wildlife of the park animal, vegetable, and mineral takes refuge. There are castaways and survivors--broken glass and pigeons. Released by the squeal of guitar, they take over the park and the streets beyond. The city, for once disinterested in them, becomes their playground. They congregate in front of a fountain, climb over park benches and into the streets like a wave; they are still steady in tight leathers and platform boots. Rhythm guitar driving them ever outward, they create a Soul Train line in the middle of Times Square. They move like birds do, in parabolas, looping, then circling away. They dance in mirror to each other, shoulders, hips and long thighs in call and response. Sometimes the men turn their backs to the camera, disoriented, lost in their own experience of beat; they close their eyes to follow internal geographies. They turn, stoop and crouch toward the camera, as if engaged in capoeira with it, as if ready to pounce. The camera matches them, meets them, and slows down their groove into tasty syrup. They do slow splits and they are superhuman in their flexibility. Their movements are loose and tight; they feel the flow and the force of drums on the back of their neck. There is laughter. The beat stays right on The One. The men heat the air of the city, defy gravity, and take flight. Together with his ever expanding band, which over time included such luminaries as guitarist Eddie Hazel, bassist Bootsy Collins, lead singer Gary Shider, keyboardist and arranger Bernie Worrell, and cameo appearances by Sly Stone, Clinton changed the face and the feel of funk music, making it visionary, dangerous, hallucinatory, hilarious and very hot. Once more, they are beautiful, these men, in wild and defiant Afros, shirtless, unmasked and masked. They are a parade of tricksters, all moving with the anti-discipline of funk: a wolf meets a griot, and King Tut meets a spaceman. Sly Stone meets an Afro-Kabuki Warrior. Pierrot meets a Pimp. They wear found shirts as headscarves and as flags; carry branches from the dying trees found along the avenue as their walking sticks. They have holes in their pants. They are dirty. They have marked themselves with mud and clay as their paint, like warriors do. Before Kiss, before Iron John, they have returned to the land of make- believe and to the lost feminine with serious intention—at stake, their own freedom. The neighbors would talk and call her Jezebel But always with a smile, she was sure to try to hide The fact from us that she was catching hell,. As the men seek solace in the beat, and in the sloppiness of the cosmos, their future mixes with things and people left behind, found objects and the lessons they never wanted toreceive. But ultimately, the song keeps bringing us back to the present, to the experience in our bodies of the beat, right now. It is haunting and entails an exorcism of judgment. The voice of mother becomes woman, which becomes the self. In this dance, in this cross-gender joining, they take pleasure in the movements of all of their parts. Polymorphously perverse, their pleasure is in the call of mother as it is in the join of skin to fabric; in the mystery of the mask; in the couching, the shimmies, the swing, the pop; in the move of air through nostrils from dank to clean and then funky again; in the peal of the guitar; in the heat of other men; in the dance of other men; in being watched, in dancing alone; in nature, in the confines of man-made concrete. In the fetish of leathers, headbands and feathers, in a cold metal saxophone on bare chest. In the One, in bass and drumbeat matching the beat of the heart, in blood rising and insistent. In the hush of cymbals and the chant of the singers; in the mystery, raising the hair on the back of the arms; and yes, in the crying of the man who in his falsetto becomes the voice of Mother, a pain in the solar plexus, the tear in it so much like her or your own voice, for that matter, when you wake yourself from dreaming. These groups moved from underground sensation—performing in local clubs in Detroit, producing the edgy music that most radio stations were afraid to play—to become one of the most influential forces in black sound and performance—including huge, sold out highly theatrical stage shows. Dre, L. L Cool J. Under the artistic direction of Clinton, Parliament and Funkadelic shared and swapped musicians, representing the yin and the yang of post-soul aesthetics. It combines the hard guitars of white rockers like Vanilla Fudge and the pre-punk of Iggy and the MC5 friends and co-conspirators with Clinton , or the exploratory openness of psychedelia, with the driving rhythm of James Brown, as well as the soulful falsetto of a Curtis Mayfield or Marvin Gaye. In its exploration of black clothing, hair and gesture, as well as urban cityscapes, I also see echoes of blaxploitation films of the same period, too. Yet rather than creating a glamorization of black street life, P-Funk definitely lets loose the weirdness and the unexpected. The terrain is never what one would expect from watching Superfly. Niggas have always been a little scared of Funkadelic. My cousin bought that Maggot Brain album, it was the scariest shit I had ever heard. You had to be, like, a freak to be into them. It was the same trip with niggas liking Jimi Hendrix. It was almost a sellout to be into anything that had too much rock-and-roll guitar going on. Plus funk was still a bad word. So there was just a select crew of some whites, but predominantly some blacks, who were willing to take that walk on the wild side Marsh The very kinds of experimentation that P-Funk trafficked in, and in particular, the melding of black nationalist and black hippy worlds, were sometimes thought to be socially and artistically dangerous, especially in their fluidity, at least by some in the Black Arts movement. Why you bes dressen so funny, anyhow huh? Will it help you fly, yea, swing, siwinging swing Quoted in Harper This policing of black masculinity by some in the Black Arts Movement had a lasting effect on ongoing discourse of black nationhood, authenticity, gender and sexuality. Black Feminist theorist Barbara Smith has commented on her own experiences of some of these constrictions of gender and sexuality in her introduction to Home Girls:. I will never forget the period of Black nationalism, power and pride which, despite its benefits, had a stranglehold on our identities. A blueprint was made for being Black and Lord help you if you deviated in the slightest way. Smith, Home Girls xi. These tensions within nationalist black political movements around sexual and gender codes become particularly vexed in the context of art-making and performance in particular -- perhaps because poetry, music and other forms of performance are so emotionally powerful -- at the same time that some nationalist writers have feared performance as being politically diffuse. For example, in his highly influential book, The Crisis of the Negro Intellectual , Harold Cruse betrays a growing discomfort with art, and particularly performance as a reliable medium of black politics. Though Cruse repeatedly embraces the creative intellectual as vital to the black community, and talks about his own experience in theater as the first place where he realized the potential for community, he distrusts the radical potential of nonlinear thinking, and the importance of feeling and other often ambiguous or fluid ways of knowing that accompany creative work. In his commentary on Paul Robseon, Cruse reveals his discomfort with performance and its accompanying forms of feeling as knowledge and as the site of intellectual work:. As an actor-performer, it was remarkable that Paul Robeson essayed an actual leadership role. But he never was to escape, fully, the world of make-believe. Cruse The actor must embody and interpret with others. Cruse here seems especially concerned about the performing body as open, making physical his suspicions about the ambiguity and potential vulnerability of the act of interpretation that also reveals itself in his discussion of Hughes. It would seem that for Cruse, the body, sensation, feeling, and cross-racial collaboration are dangerous as sites for intellectual work because of their unpredictability and lack of pure or stable answers to political problems. P-Funk was often willing to explore black experience, particularly bodily, sexual and sensual experience at these points of ambiguity, vulnerability, pain, desire, and laughter, using tools of music that spoke to bodies individually and internally, as well as collectively. Yet this power to harness emotionally strong and sometimes inchoate feeling had a powerful effect on its listeners— prompting some to find unity and empathy with other black men. I was listening to Funkadelic for as long as I can remember. It was emotion—the sounds that Eddie was making, and the way he was playing the notes that he played. Marsh The black hippydom and funk experimentation of P- Funk transgressed boundaries of black culture and sound, as well as sexuality and black respectability. George Clinton, as a kind of trickster figure, deliberately courts images that risk abjection and rejection. They let us in, and we ended up in our apartment for the next two days. And like everyone else, you ran around and got whatever was laying out in the street. The only thing I tried to take was big boxes of tissues and sanitary napkins. Here, as well as elsewhere, Clinton identifies himself not only with femininity, but abject femininity. In interviews, in public appearances, and onstage, Clinton and other band members risk the notion of proper black masculinity. They did so not only by cross-dressing, but also by playing with dynamics of humiliation, abjection and exposure. This disorientation, as a form of disidentification, can have critical as well as pleasurable effects. Funkenstein, Clinton and P-Funk embrace the unreal as a space of critique. Disorientation is not just a moment of confusion; it is a moment of performative command to look at the world in a decentered way- indeed to embrace a constant position of critique and dis-ease. Clinton not only asks his listeners to disorient themselves from normative modes of pleasure; he presents disorientation itself as a form of pleasure. Both artists ask their audiences to see and hear freshly through forms of beautiful confusion, in the process expanding the spaces of black identity. If, in the Black Arts movement and in black-nationalist rhetoric, we see the solidification of a particular kind of heterosexual black manhood, and the importance of art in policing that notion of black manhood, P-Funk then complicates matters, even as it presents its own rhetoric of a populist nation. The dark heads and bright clothes of 10, young Washingtonians on the field of RFK Stadium break into the fragmentation of a vast Impressionist painting. A simmering effect over the surface gradually resolves itself into the bobbing groups of tightly packed dancers and the shaking of thousands of upraised arms. Driven by the insistence of the disco beat, couples bump hips, knees and elbows; on the edge of a giant platform, a roadie dances in exact tandem with a girl 10 feet below. Zibart B1. The musical space of P-Funk—whether it is the space of the live concert or the space between your ears or headphones — exists as an important space for improvising and performing nonnormative sexual desires for black men. If we can look beyond the rhetorics of unity and racial uplift, which tend to flatten sexual identities, we might well find more examples where seemingly normative male spaces serve as places for more fluid sexual and gender self-fashioning, identification and desire. We might think of music as this space--sometimes a space within a space tightly patrolled by others. While black feminists, gays and lesbians have—perhaps by necessity--created a visible public space to talk about and practice nonnormative sexuality and community, such a community space for nonnormative heterosexual black men is missing. Here, I am thinking of the formation of nonnormative sexual communities through clubs and other social spaces, the founding of feminist and queer journals and other publications, and political activist movements. Where are the spaces for black men who are heterosexual to talk about their desires -- particularly nonreproductive sexual desires-- and to claim public space to talk to each other about those desires? If, as many have argued, the black family is the space to be productive citizens, 12 where are the spaces to be nonproductive? Processing hair. We had two or three older barbers who had their clientele, playing checkers and shit. Then we had the younger guys, who may be nodding, you know what I mean? I might have a girl in the back there. Just put it on your head with a comb or brush, grease your head to death, then wash your head out while you pat your feet and holler. A queered reading of P-Funk faces the strong sense of ownership of the band by straight fans, blogs and other commentary. We see the power of P-Funk as a sign of cool and black male normativity in cultural critic Robin D. Never an egghead or a dork, as a teenager I was pretty cool. I did the house-party circuit on Friday and Saturday nights and used to stroll down the block toting the serious Radio Raheem boombox. Those of us who had cars we called them hoopties or rides back in that day spent our lunch hours and precious class time hanging out in the school parking lot, running down our Die Hards to pump up Cameo, Funkadelic, Grandmaster Flash from our car stereos. I sported dickies and Levis, picked up that gangsta stroll, and when the shag came in style I was with it—always armed with a silk scarf to ensure that my hair was laid. Kelley But while Kelley includes listening to Funkadelic as one of the many initiation rites that mark his place in the world of black male cool, his description at the same time implicitly reveals how black male self-fashioning and performance have some room for fluidity in its appropriation of feminine gendered signs—certainly something explored by Cameo, as well as P-Funk. By exposing what is inherently queer about black male sexuality and style, P-Funk can show us what in other circumstances must be masked, or encoded in normative black male identity and performance. At its most fundamental level, in the music and live performances of Funkadelic and Parliament, we see a rejection of fear, loathing and shame of the black body and the embrace of sexual and imaginative freedom. P-Funk through its sound, lyrics and use of theatricality on and off stage, makes room for a more exploratory and decentered notion of black male identity. As George Clinton takes some of the discourses already in the air, including psychedelia and Black Nationalism and makes them his own, he creates a space for something strange, outlandish, and new, particularly in terms of gender. Funk, with its hard-driving rhythm is very much about the body and about pleasure. As many recent theorists on Funk have written, you cannot have funk without the sweat, without the labor of the body at work and play. Clinton asks us to think about the funky body as one that challenges the order of the ways that the body is patrolled and surveilled in space. In performance, P-Funk commandeers the nightclub, the stadium arena, and or the city park, to perform sexual freedom and exploration outside of the familiar discourses of courtship and family. P-Funk represents that struggle though, as an ongoing and imperfect one. Her left breast has been transformed into a combination lock. These bodies are mediated objects, where scopophilia and touch are linked to colonization and capitalism. Rather than the nostalgic use of the black female body as a sign of lost Africa that we see in some popular Black Nationalist iconography, these images present the black female body still entangled in political battles and in the economic exploitation of others. Yet these album covers do sometimes implicate P-Funk in their participation in the objectification of black women, and in the trade of sexualized black bodies that they would seem to be critiquing. The back of the album depicts a nude black woman or cyborg? Her body is punctured with knobs, wires and bolts. The critique is somewhat ambiguous. Is she meant to be the personification of the exploitation of black people? Is she a gullible customer? This reading is reinforced by the fact that the woman is shown shackled, and seems to fit an ongoing critique of the music industry as a form of exploitation of black labor leveled by Clinton and the group. Whatever its intention, the cover was boycotted by the group Women Against Pornography, and Warner Brothers forced the group to alter it. Peek Here. And Here, too. Male sexuality is often the source of gentle and not so gentle mockery and critique. Why must I chase the cat? Rather than settle these moments of contradiction in black sexual politics and desire, the group embraces moments of ambiguity in black life. Rodney, on the cover of One Nation Under a Groove. In other words, according to P-Funk, it is better to acknowledge the complex and contradictory aspects of black love, sex and politics as they present themselves to you in the flesh, rather than to pretend you are beyond them. This is the hard-learned lesson taught to Sir Nose by Dr. Clinton lends his skills in the theatrical to engage in an ongoing conversation about the mask of blackness, and in particular, the experience of double, triple and even quadruple consciousness. His is also the mask of the trickster. The mask is a burden and a boon, a way to escape, recreate oneself, and trip on out. The masks of trickster, space alien, and hippy allow for an exploration of the black imagination, and with it, gender and sexual freedom. P-Funk does not posit as the solution to full humanity and black freedom the suppression of desires, in all of their sticky, complicated and funky forms. Instead, we are encouraged to dance our way out of our constrictions. These outfits are bricolage — Clinton might be wearing an African Dashiki combined with a raspberry beret covered in political buttons, under which he might be rocking a long blond wig. Gary Shider, inexplicably, is almost always wearing a diaper. And in a live performance in Houston, a diaper and silver leather chaps. The Brides of Funkenstein, the women of the group, sometimes are in everyday street wear, sometimes in the space-age glamour favored by Labelle, and other times, in what looks like their panties. During the Dr. At play seems to be a sampling of historical moments and influences and textures and most definitely genders. In interviews Clinton has reflected a strong interest in black style, and especially the creative and sometimes over the top impulse of black cool, especially after his experience as Barber and Hairstylist in New Jersey:. If you is safe with that concept, then you can be ugly as you wanna be or cool as you wanna be and know that neither of them mean shit! No matter how cool you are, you can go someplace where you look corny as hell to somebody…They thought that to have your doo was the corniest stuff in the world when you got around hippies. Black style, then, and that accompanying command to be cool becomes freed up as a space for play, for silliness. As Doctor Funkenstein with dripping white Ermine, hat, sunglasses and cane , Clinton captures the image of the pimp, but it gets transformed and transmogrified. Clinton takes what is already over the top, and pushes it further, shows us the potential queerness of it. Stepping out of the mothership, and surveying the crowd, he captures the hypervisibility and command of this image, but he further denormalizes it, lets us laugh, too. He gives the pimp a blond wig, puts Superfly together with Foxy Brown, and then some silver chaps from the Village People, to boot. He changes clothes and in so doing, he change places. His performance is for the people on the street and in the clubs; for white college girls and bourgie black men; for the black hippies who have always wanted to have a stage of their own. His performance is for Led Zeppelin who apparently did go to their shows, too ; for Berry Gordy to show him what he is missing; for Aretha and the music executives; for the white soul crooners learning black sound. If necessary, this performance might entail stripping off clothes. They would re-steal the sound -- their guitars and amps would create new, performative twists. As Clinton tells John Corbett:. And we might think of the crazy stagecraft- the wildly oversized flashlights, the ingenuous dooby-smoking skull, and of course, the Mothership itself—as other expressions of creative freedom. Indeed, Clinton designed and paid for these sets himself, taking the profits that other performers might have used for a Cadillac or a house for their mother, and used them for costumes, space ships, and birthing pods. Though sometimes gentle, sometimes pointed in his critiques of Motown, Disco, Blue-eyed soul and other commercialized forms of black music, George Clinton makes black cultural traffic one of his central points of political concern:. Hey I was diggin' on y'alls funk for awhile. Sounds like it got a three on it though, to me. Then I was down south and I heard some funk with some main ingredients. But can you imagine Doobiein' your funk? Clinton does not attempt to place P-Funk above the forces of commercialization and other aspects of black cultural traffic and trade. Instead, the band allows for the messiness, including cross-influence across lines of race, genre, power, as well as corniness and cool. This acknowledgement of the messiness of musical influence can also be seen performatively in the songs themselves. Each return to the bridge keeps topping itself, reaching higher and higher, betraying the calm steady beat of the drums. Since going solo, Clinton has performed live with Phish, The Red Hot Chili Peppers, and has produced and recorded with a variety of other artists. Blue Cheer and Jimi Hendrix turned me out for acid rock. And Cream turned me out for the bluesy kind of rock. And I listened to those albums diligently, every day, until I knew all the songs, note for note. I had to be able to branch out and play it all. Billy Bass in Marsh It also has more visceral, even sexual connotations—literally being turned inside out. P-Funk resists complete erasure of this history, and interestingly conceptualizes music listening and musical performance as a mixture of pleasure and pain, abjection and remastery. P- Funk, and its interest in grooving, vamping, being turned out and reanimated through sound, presents an extraordinary realignment of the black male body in labor. Instead of the image of the black male body used up through the labors of nation building voiced by August Wilson, P-Funk offers up a new relationship to work, where sweat leads to pleasure and exploration; where the black male body might be viewed under new terms of value. For Michael Ladd, P-Funks dirty costumes and other less than perfect aspects of stage craft were part of its political vision, the ways that the fantasy was not meant to be one of escape, but return:. They got their image from everywhere but primarily from the broom closet or the trash. They were beyond their world; they were out of this world. Then out comes George in a baby-blue sheet with Roadrunner and Wily Coyote on it and the sheet is not clean. This creative refashioning provides an important model for black men in the Post- Soul Era to re-experience their bodies in history. P-Funk both acknowledges the costs of history, the funk of a history of struggle, as well as a way out, a possibility for something new by way of humor, vulnerability and emotional openness. In all three of these examples, the sounds of P-Funk provide an entryway to new ways of being for Post-Soul men, where gender, sexuality and class prove constrictive. While the paths that P-Funk offer are inchoate in their advice on how to proceed, they serve to encourage each speaker to create something new, to rebel, and especially to dig deeper into modes of desire and embodiment that may have been otherwise ignored by their families and communities. Guys who literally could not read would be interpreting the pictures, the art work, and they would come over my crib. Kids played hookey from school to line up in front of a downtown record store on the day Parliament Mothership Connection LP came out, he says. That you can literally exist as a Child of the Universe somewhere, where color and class and none of that really matters. My mother, like any sensible black woman of her age, was big on appearance. Getting me to dress well was a constant struggle. Attempting to drag a comb through my afro was near impossible. But I felt like the world was against me on this one. Everyone was snap tight UpSouth. Needless to say, when I saw the Funkadelic covers I felt I had finally found some company—big, bushy muthafuckas. They were the masters of the margin, right in the middle. Grit, and nappy and ashy kneecapped grit is what I needed. It did not save my life. It just gave me the map so I knew how. Ladd Bootsy offers another example of the ways that the band opens up the constraints of normative black masculine performance. And we were wearing them little round eyeglasses from back in the day. Just cool. Bootsy describes his apprenticeship with Brown as a time when he learned discipline and, in some ways, a route of respect as a fatherless son. And he was like my dad. So I figured, if I could give him this One and play all them other things. I remember walking in the house. He got a star on one side and a moon on the other shaved in his head and the rest was bald. Foghorn Leghorn! For its growing collective of Funkateers, P-Funk awakens otherwise unheard frequencies. Please do not adjust your set. He has even been spotted wearing a diaper on stage, like Gary Shider. Indeed, Orlando Patterson, Henry Louise Gates, and Paul Gilroy, among others, have argued that the black has been conceptualized in modern slave culture as an inchoate, irrational nonsubject, as the chaos that both defines and threatens the borders of logic, individuality, \[and\] and basic subjectivity. In that schema, all blacks become interchangeable, creating among the population a sort of continual restlessness, a terror. So you can get played on pop radio. Once you do that to sell all those records you start gearing your music for that market. She experiences pleasure almost everywhere. P-Funk compels you to succumb to the inhuman, to be abducted and love it. Funk gets drawn out of the body, an entelechy harvested by an alien force.. P-Funk is the gladallover suffusion of Funkentelechy, the enjoyment of mutation. Instead of resisting alien extraction, dancing turns it into a gift, turns onto the joy of being abducted Eshun Vol 3, no. John Corbett, Extended Play:. Sounding Off from John Cage to Dr. Benjamin Franzen. Some of the hardest brothas on my block in West Pasadena kept their perms in pink rollers and hairnets. It was not unusual to see young black men in public with curlers, tank-top undershirts, sweatpants, black mid-calf dress socks, and Stacey Adams shoes, hanging out on the corner or on the basketball court. And we all knew that these brothas were not to be messed with. Ladd writes that:. It can be argued that black Americans are the only four-dimensional people on the planet. Double- consciousness is whipped up and beat down in every essay; I maintain that triple consciousness is the view that black American has of him-or-herself in a neocolonial context. Ugly but true. A fourth consciousness allows one to bybass the other three. Fourth consciousness view exposes the absurdidty of race and simultaneously continues to focus on the Diaspora. July 21, , page And told Berry to kiss his ass. George: No, hell naw. Everbody tells those lies…I was naked, probably. But I was too out of it to even know if I did it or not. Clinton comments on his own, sometimes indirect strategies of critique:. They could care the fuck less about that. Cop is a broke motherfucker! We were playing at Sacred Heart College in Connecticut, and something happened that our equipment got delayed on the road, it never made it to the gig. Jus so happened that Vanilla Fudge was on the gig with us—opening for us, okay? Vanilla Fudge, the opening act. And they let us use their equipment. The guitar player had a double- stack of Marshalls, and the bass player was using a triple-stack of S. We needed that Marshall, and I needed them S. Those amps, and that big oversized set of drums Tiki had Billy Bass in Marsh Despite his raw shouts and stripped down beats, Brown saw smooth processed hair, and expensive, well-cut suits as part of his performative stance of pride, and political and artistic cosmopolitanism and control. Bolden, Tony. New York: Palgrave MacMillan, , pages Brown, Scot. Byrd, Donald and Beverly Guy-Sheftall. Indiana University Press, Cohen, Cathy. Patrick Johnson. Corbett, John. Durham: Duke University Press, Cox, Aimee. Souls 11 2 pages Cox, Tom. The Guardian London. Danielsen, Ann. DeRogotis, Jim. New York: Hal Leonard, Echols, Alice. Ellis, Thomas Sayers. Eshun, Kodwo. London: Quartet Books, Franzen, Benjamin. Copyright Criminals film, Gilroy, Paul. Cambridge: Harvard University Press, Green, Tony. Duke University Press, , pages Irigaray, Luce. This Sex Which is Not One. Ithaca: Cornell University Press, Johnson, E. Jones, Ann Rosalind. Warhol and Diana Price Herndl. Kelley, Robin D. Boston, MA: Beacon Press, , pages Kempton, Arthur. Boogaloo: the Quintessence of American Popular Music. Keyes, Cheryl. Ladd, Michael. Lipsitz, George. Minneapolis: Minnesota University Press, Marsh, Dave. New York: Avon Books, Mutua, Athena. Progressive Black Masculinities. New York: Routledge, ,. Palmer, Robert. Phelps, Carmen. Reid-Pharr, Robert. Gay Black Man: Essays. Smith, Barbara. Stockton, Kay Bond. Vincent, Rickey. Walcott, Rinaldo. Williams, Patricia. Wright, Amy Nathan. Zibart, Eve. The Washington Post, July 3, , page B1.

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