Give Up the Funk!

As a crotchety 40-something, I owe certain debts to society. One such debt happens to be my never-ending rebel yell railing against the state of music of the past 10 - 15 years. There is no shortage of bulls eyes on which to focus my high-powered assault rifle. It really isn't fair, to be honest with you. It's like challenging a convent of armless nuns to a tug-of-war with a dead water buffalo as my anchor man.

But, this isn't about snatching such low-hanging fruit. No, this is about the almost sudden and inexplicable disappearance of a treasured musical form. Now, before you make your usual incorrect guesses, let me first say it's not about the vanishing of heavy metal barbershop music, punk flugelhorn or country/western opera. It's the milk carton-worthy extinction of Funk.

There was a time you couldn't flip on an AM radio or tune into one of the UHF stations and not get your groove on to some of the most funkelectric sounds this side of George Clinton's mothership. Leading the parade would be the monstrously smooth Don Cornelius, he of the tinted-window shades, dazzling rings and Harvey's Bristol Cream voice, hosting another fuzzy-pictured session of Soul Train. You didn't even need to be a fan of Funk to get righteous with the mega-afroed cats bubbling out beats like an overheated cauldron, but it helped. When they got down with the showcase dance, or whatever it was called - you know the one where the dancers lined up across from each other while couples snapped and popped their way down the middle - there wasn't a single two-legged, multi-celled organism who could resist playing air bass watching all those wide lapels, towering platforms and thick belts groove their way into your living room.

And the acts! Parliament-Funkadelic, Earth, Wind & Fire, Heatwave, Curtis Mayfield, Sly & the Family Stone, Kool & the Gang, The O'Jays, The Brothers Johnson and even Stevie Wonder - he of the highly dangerous and should-be-outlawed "Ebony and Ivory" - could crank out the funk like it was nobody's business. It wasn't just music, it was a block party clocking in at four minutes and thirty seconds per song. Even a miserably uncoordinated jester like yours truly would have the money-maker cranked up to "Full Boogie," knocking unread Social Studies books, Little League trophies and Aqua Velva bottles across the room.

Some would blame rap music for Funk's demise, but I can't get behind that. The Gang from good ol' Sugar Hill, Newcleus, Cameo, Melle Mel, The Gap Band, Grandmaster Flash & the Furious Five and the irrepressible Kurtis Blow were early to the rap scene without sacrificing any of the funk. And if you still think Funk wasn't a major player in the 80s, look up the Purple Lord of Funk, Prince, or whatever hieroglyphic he goes by these days, and his stable of proteges, including Sheila E and the Clown Prince of Sex-ay, Morris Day and The Time. Oh, there have been recording artists out there who have tried to resuscitate and kick-start funk by paying homage to the masters (I'm looking at you, Red Hot Chili Peppers and Jamiroquai), but it just was never able to get off the disabled list once grunge, gangsta rap, prefabricated pop and the Coor's Light-drinking/khaki-wearing/SUV-driving/play-dates-for-the-kids, doughy, middle class-embraced Hootie, Dave Matthews, Matchbox 20 and soundalikes (of which there are several million) started clogging up the airwaves like an airport toilet.

I always believed then, and I still believe now, music shouldn't be a passive experience. It has to be pulled out of the listener. Sometimes it is caressed out of your heart; sometimes it is hypnotically teased from your soul; and sometimes...sometimes, it explodes from every pore on your body. That's what Funk does. It turns you inside out, like a hand grenade in a microwave. Know that expression, "Dance like no one is watching?" well THAT is what Funk does to you. It's arms, legs, booty, head, the whole magilla, not unlike when you were young and, as a joke, told your loudest aunt she had a hornet hovering around her head. You never thought you could see a woman her size move like that. She was a double-knit blur.

While it's true the best Funk was primarily generated from the legends of the African-American community, Funk's appeal crossed racial lines, genders and socio-economic classes. Don't believe me? Then tell me, wasn't that YOUR mom, uncle or grandmother spilling their scotch and soda onto the dance floor at your cousin's wedding while singing, "Play that funky music, white boy!..." wildly off-key? Yeah, thought so.

I dream of a day when Funk is resurrected, when I can flip through the high-definition channels of the satellite television and stumble upon between five and fifteen dudes in matching multi-color outfits, wild sunglasses and big whacked-out afros with lasers and smoke, all of them grooving the same dance steps in time. I'll crowbar my ragged carcass off the couch, reach for a broom handle and pop and groove right along with them, knocking Sudoku puzzles, lottery tickets and bottles of Gold Bond across the room. No matter what else is going on in my life and whatever worries I might have - the economy, rising unemployment, nations who wish us harm - will disappear for that four minutes and thirty seconds of Boogie Bliss.

I can't move without groovin' and I'll be groovin' 'til I'm done. I'll be groovin' to the funk.

Can't have "Funk" without "Fun".