By John Corbett
utilizing cultural critique and textual concept, Corbett addresses a vast spectrum of concerns, akin to the prestige of recorded track in postmodern tradition, the politics of self-censorship, experimentation, and alternativism within the song undefined, and using metaphors of area and insanity within the paintings of African American musicians. He follows those extra theoretically orientated essays with a chain of intensive profiles and in-depth interviews that supply contrasting and complementary views on the various world’s so much inventive musicians and their paintings. integrated listed below are greater than twenty unique pictures in addition to a meticulously annotated discography. the result's some of the most considerate, and so much wonderful, investigations of latest song to be had today.
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Additional info for Extended Play: Sounding Off from John Cage to Dr. Funkenstein
21 It is precisely this radical openness and relocation that Clinton, Perry, and Ra manifest in their elaboration of the insanity-outer spacemarginality triad. -Andrew Goodwin In 1990, discussing the logistics of a video documentary I was making on him, Lee "Scratch" Perry advised me not to worry about the contracts. "When you get home I'll tele-transport them to you," he said. He didn't mean facsimile, he meant telepathy. With Perry, Ra, and Clinton, technology plays a crucial role not only in their music-Perry pioneered many now-standard studio techniques, Clinton helped cultivate the creative use of drum machines and is a die-hard advocate of uninhibited sampling, and Ra was the first jazz musician to use synthesizers-but also in their mythologies, their black science fictions.
9 See Jim Macnie, "Sun Ra Is the Heaviest Man in This Galaxy ... But He's Just Passing Through," Musician 99 (January 1987): 60, for a marvelous deSCription of Ra and band in full regalia. 10 "Giving Up the Funk: The Fuzzy Haskins Story," interview with Mike Danner, Motorbooty 4 (Summer 1989): 40-41. 20. ). 2 (January 1991): 12. 24 I Dancing in Your Head 14 Jeff Todd Titon, Early Downhome Blues (Urbana: University of Illinois Press, 1977), p. 204. " After a 1990 concert of the P-Funk Allstars, a man in the parking lot proudly recounted the story of seeing George Clinton perform with Funkadelic in the early 1970S, at Northwestern University, nearly nude, crawling under the audience's chairs and licking the floor.
Given his isolation and relative obscurity, he could ''version'' American pop songs (producing Sharon Isaacs's cover of "Feelings" and junior Byles's take on "Fever," to name but two) with little fear of retribution. On the other hand, although he has worked at times with large independent labels, like Island and Mango, Perry has also been ruthlessly victimized, by both black jamaican and white American and European labels, who have taken advantage of jamaica's ambiguous copyright laws in releasing compilations of stolen or pirated singles.
Extended Play: Sounding Off from John Cage to Dr. Funkenstein by John Corbett