103-527: The Brothers Johnson were an American funk and R&B band consisting of the American brothers George ("Lightnin' Licks") and Louis E. Johnson ("Thunder Thumbs"). They achieved their greatest success from the mid-1970s to early 1980s, with three singles topping the R&;B charts (" I'll Be Good to You ", " Strawberry Letter 23 ", and " Stomp! "). Guitarist/vocalist George and bassist/vocalist Louis formed
206-459: A Dorian or Mixolydian mode , as opposed 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 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk , which can be heard in recordings by Miles Davis ( Live-Evil , On the Corner ), and Herbie Hancock ( Head Hunters ). Funk continues
309-468: A gospel music album in 1981 with his own group Passage, which included his then-wife Valerie Johnson and former Brothers Johnson percussionist/singer Richard Heath. He played bass on Michael Jackson 's Thriller . In 1985 he recorded a single, "Kinky", on Capitol Records ; it appears on his Evolution album which was exclusively released in Europe that year. Louis then made 3 instructional videotapes for
412-433: A " call-and-response , intertwined pocket." If a band only has one guitarist, this effect may be recreated by overdubbing in the studio, or, in a live show, by having a single guitarist play both parts, to the degree that this is possible. In funk bands, guitarists typically play in a percussive style, using a style of picking called the "chank" or "chicken scratch", in which the guitar strings are pressed lightly against
515-547: A "black aesthetic" to perform that made use of "colorful and lively exchange of gestures, facial expressions, body posture, and vocal phrases" to create an engaging performance. The lyrics in funk music addressed issues faced by the African American community in the United States during the 1970s, which arose due to the move away from an industrial, working-class economy to an information economy, which harmed
618-451: A "gooey, slurpy, quacky, and syrupy" sound) and imitate keyboard synthesizer bass tones (e.g., the Mutron envelope filter) and overdriven fuzz bass effects, which are used to create the "classic fuzz tone that sounds like old school Funk records". Other effects that are used include the flanger and bass chorus . Collins also used a Mu-Tron Octave Divider , an octave pedal that, like
721-467: A Black President be considered in the future. 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-American men and women standing their ground and fighting for what was right". Both funk and Blaxploitation films addressed issues faced by Blacks and told stories from
824-555: A Black perspective. Another link between 1970s funk and Blaxploitation films is that many of these films used funk soundtracks (e.g., Curtis Mayfield for Superfly ; James Brown and Fred Wesley for Black Caesar and War for Youngblood ). Funk songs included metaphorical language that was understood best by listeners who were "familiar with the black aesthetic and [black] vernacular". For example, funk songs included expressions such as "shake your money maker", "funk yourself right out" and "move your boogie body". Another example
927-719: A Little Bit of Bitch in Him"); clavinet ("Joyful Process", "Up for the Down Stroke", "Red Hot Mama"); Minimoog synthesizer ("Atmosphere", " Flash Light ", "Aqua Boogie", "Knee Deep", "Let's Take It to the Stage"); and ARP string ensemble synth (" Chocolate City ", " Give Up the Funk (Tear the Roof off the Sucker) ", "Undisco Kidd"). Synthesizers were used in funk both to add to the deep sound of
1030-484: A Secretary. Community Liaison Unit is Commanded by a civilian Public Information Director, who holds the assignment of Community Liaison Officer. It Maintains regular business hours (Monday-Friday). Community Service Unit is Commanded by a Captain I (Unit Commander), who holds the assignment of Department Public Information Officer. It Maintains regular business hours (Monday-Friday). The Community Service Unit also consists of three Public Service Officers (PSOs) who hold
1133-803: A Secretary. The primary objective of the Risk Management Section is to augment the line functions of the department by administering the department's In-Service Training Section, the Recruit Training Section, and the Quality Improvement Section. Specialized personnel assigned to Risk Management include the Department Safety Officer. The majority of personnel assigned to the Section maintain regular business hours. Records Unit
SECTION 10
#17327802471421236-609: A Senior Personnel Analyst II. Personnel Services Section is Commanded by a Senior Personnel Analyst I (Section Commander). Selection Unit Selection Unit is composed of three Personnel Analysts and one Senior Administrative Clerk.Civilian & Sworn selection, Bilingual, Advanced Vacant Step Hiring (Civilian), Advanced Starting Salary Falls & Education Bonus (Sworn) Records Unit Consists of one Senior Personnel Analyst I, one Personnel Records Supervisor, one Personnel Analyst, two Senior Administrative Clerks and one Office Services Assistant. Fire Prevention & Public Safety Bureau
1339-622: A baritone sax. Horn sections played "rhythmic and syncopated" parts, often with "offbeat phrases" that emphasize "rhythmic displacement". Funk song introductions are an important place for horn arrangements. Funk horn sections performed in a "rhythmic percussive style" that mimicked the approach used by funk rhythm guitarists. Horn sections would "punctuate" the lyrics by playing in the spaces between vocals, using "short staccato rhythmic blast[s]". Notable funk horn players included Alfred "PeeWee" Ellis , trombonist Fred Wesley , and alto sax player Maceo Parker . Notable funk horn sections including
1442-417: A clean sound, and given the importance of a crisp, high sound, Fender Stratocasters and Telecasters were widely used for their cutting treble tone. The mids are often cut by guitarists to help the guitar sound different from the horn section , keyboards and other instruments. Given the focus on providing a rhythmic groove, and the lack of emphasis on instrumental guitar melodies and guitar solos , sustain
1545-411: A complex, driving rhythmic 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. For example, the verse section of " Play That Funky Music " (by Wild Cherry ) mainly uses an E ninth chord, but it also uses F#9 and F9. The chords used in funk songs typically imply
1648-592: A constant haze of marijuana smoke", such as Parliament's " Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) ", which includes words such as "bioaquadooloop". The mainstream white listener base was often not able to understand funk's lyrical messages, which contributed to funk's lack of popular music chart success with white audiences during the 1970s. Horn section arrangements with groups of brass instruments are often used in funk songs. Funk horn sections could include saxophone (often tenor sax), trumpet, trombone, and for larger horn sections, such as quintets and sextets,
1751-466: A drum part played by a percussionist , often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with rhythm instruments playing interlocking grooves that create a "hypnotic" and "danceable" feel. It uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, and dominant seventh chords with altered ninths and thirteenths. Funk originated in
1854-418: A half-swung feel), and less use of fills (as they can lessen the groove). Drum fills are "few and economical", to ensure that the drumming stays "in the pocket", with a steady tempo and groove. These playing techniques are supplemented by a set-up for the drum kit that often includes muffled bass drums and toms and tightly tuned snare drums. Double bass drumming sounds are often done by funk drummers with
1957-409: A horn section is not feasible, a keyboardist can play the horn parts on a synthesizer with brass patches; however, choosing an authentic-sounding synthesizer and brass patch is important. In the 2010s, with micro-MIDI synths, it may even have been possible to have another instrumentalist play the keyboard brass parts, thus enabling the keyboardist to continue to comp throughout the song. Funk bands in
2060-399: A hybrid of electronic music and funk; funk metal ; G-funk , a mix of gangsta rap and psychedelic funk ; Timba , a form of funky Cuban dance music; and funk jam. It is also the main influence of Washington go-go , a funk subgenre. Funk samples and breakbeats have been used extensively in hip hop and electronic dance music . The word funk initially referred (and still refers) to
2163-501: 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. Notable slap and funky players include Bernard Edwards ( Chic ), Robert "Kool" Bell , Mark Adams ( Slave ), Johnny Flippin ( Fatback ) and Bootsy Collins . While slap and funky is important, some influential bassists who play funk, such as Rocco Prestia (from Tower of Power ), did not use
SECTION 20
#17327802471422266-413: A short duration (nicknamed "stabs") with faster rhythms and riffs. Guitarists playing rhythmic parts often play sixteenth notes, including with percussive ghost notes. Chord extensions are favored, such as ninth chords. Typically, funk uses "two interlocking [electric] guitar parts", with a rhythm guitarist and a "tenor guitarist" who plays single notes. The two guitarists trade off their lines to create
2369-591: A single pedal, an approach which "accents the second note... [and] deadens the drumhead's resonance", which gives a short, muffled bass drum sound. James Brown used two drummers such as Clyde Stubblefield and John 'Jabo' Starks in recording and soul shows. By using two drummers, the JB band was able to maintain a "solid syncopated" rhythmic sound, which contributed to the band's distinctive "Funky Drummer" rhythm. In Tower of Power drummer David Garibaldi 's playing, there are many ghost notes and rim shots . A key part of
2472-493: A special band, an initiative of Michael Henderson that includes Adina Howard , Cherrelle , Ray Parker Jr. , and others. Louis Johnson was found dead at his home in Las Vegas, May 21, 2015. The cause of death was gastrointestinal bleeding of the esophagus. In 2022, the brothers' song "Ain't We Funkin' Now" was sampled in singer Harry Styles ' song 'Daydreaming" from his third album Harry's House . Funk Funk
2575-462: A strong odor. It is originally derived from Latin fumigare (which means "to smoke") via Old French fungiere and, in this sense, it was first documented in English in 1620. In 1784, funky meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt". Even though in white culture,
2678-513: A suspended fourth (e.g., C7 (#9) sus 4); dominant ninth chords (e.g., F9); and minor sixth chords (e.g., C minor 6). The six-ninth chord is used in funk (e.g., F 6/9); it is a major chord with an added sixth and ninth. In funk, minor seventh chords are more common than minor triads because minor triads were found to be too thin-sounding. Some of the best known and most skillful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonists Pee Wee Ellis and Maceo Parker are among
2781-622: Is Commanded by a Captain I (Unit Supervisor) who is also an Incident Safety Officer. Also consists of two Senior Administrative Clerks and one Administrative Clerk. Injury prevention unit is Commanded by a Captain I (Unit Supervisor) who is also an Incident Safety Officer. Also consists of a Certified Athletic Trainer. Medical liaison unit is Commanded by a Captain II (Unit Supervisor). They are assisted by four Captain Is (assuming one for each Bureau?) and one Administrative Clerk. Administrative services bureau
2884-414: Is Commanded by a Fiscal Systems Specialist II (Section Commander). This Also consists of one Fiscal Systems Specialist I, one Senior Auditor, one Auditor I and one Accounting Clerk. Accounting Services Section is Commanded by a Departmental Chief Accountant III (Section Commander). Human Resources Division is Commanded by a Personnel Director II (Division Commander). Selection and records is Commanded by
2987-468: Is Commanded by a Senior Management Analyst II (Section Commander). Budget Preparation/Control Budget Preparation/Control is under the command of three Senior Management Analyst Is, one Management Analyst and one Management Assistant. Revenue Management Section is Commanded by a Senior Management Analyst II (Section Commander). It Also consists of two Senior Management Analyst Is, one Management Analyst and one Management Assistant. The EMS Records Section
3090-452: Is Commanded by a Senior Management Analyst II (Section Commander). EMS Records Unit EMS Records Unit is Commanded by a Senior Management Analyst I (Unit Commander). Also consists of one Senior Administrative Clerk, four Administrative Clerks and one Management Assistant. Contracts Unit Contracts Unit is Commanded by a Senior Management Analyst I (Unit Commander). Also consists of one Management Analyst. Fiscal Systems and Audit Section
3193-598: Is Commanded by the Fire Administrator (Bureau Commander), who has a CAD designation of 'FA1' and a radio designation of 'Fire Administrator'. Assisted by a Secretary. The primary objective of this Bureau is the implementation of administrative staff functions in accordance with current policies and procedures as established by the Fire Chief. Financial Services Division is Commanded by a Chief Management Analyst (Division Commander). Budget Management Section
The Brothers Johnson - Misplaced Pages Continue
3296-471: Is a music genre that originated in African-American communities in the mid-1960s when musicians created a rhythmic , danceable new form of music through a mixture of various music genres that were popular among African-Americans in the mid-20th century. It deemphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and
3399-420: Is an unrecorded number by Buddy Bolden , remembered 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. As late as the 1950s and early 1960s, when funk and funky were used increasingly in
3502-574: Is assisted by an Executive Administrative Assistant II, Administrative Clerk and a Battalion Chief who has the title of 'Executive Officer, Administrative Operations'. All taken from RISK MANAGEMENT SECTION OVERVIEW Board of Fire Commissioners Report. risk management section is Commanded by a Battalion Chief (Section Commander) who has the title 'Department Health and Safety Officer'. They are assisted by one Captain II (Chief Litigation Officer / On-Call Incident Safety Officer), one Captain I (Department Safety Coordinator / On-Call Incident Safety Officer) and
3605-415: Is not sought out by funk rhythm guitarists. Funk rhythm guitarists use compressor volume-control effects to enhance the sound of muted notes, which boosts the "clucking" sound and adds "percussive excitement to funk rhythms" (an approach used by Nile Rodgers ). Guitarist Eddie Hazel from Funkadelic is notable for his solo improvisation (particularly for the solo on " Maggot Brain ") and guitar riffs,
3708-731: Is sometimes also referred to as the Los Angeles City Fire Department or "LA City Fire" to distinguish it from the Los Angeles County Fire Department , which serves unincorporated areas and, via contracts, other incorporated municipalities within Los Angeles County without their own fire departments. The department is currently under the command of Chief Kristin Crowley . The Los Angeles Fire Department has it origins in
3811-527: Is the use of "bad" in the song "Super Bad" (1970), which black listeners knew meant "good" or "great". In the 1970s, to get around radio obscenity restrictions, funk artists would use words that sounded like non-allowed words and double entendres to get around these restrictions. For example, The Ohio Players had a song entitled "Fopp" which referred to "Fopp me right, don't you fopp me wrong/We'll be foppin' all night long...". Some funk songs used made-up words which suggested that they were "writing lyrics in
3914-650: Is used in funk, in songs such as "Cissy Strut" by The Meters and "Love the One You're With" (with Aretha Franklin singing and Billy Preston on keyboards). Bernie Worrell 's range of keyboards from his recordings with Parliament Funkadelic demonstrate the wide range of keyboards used in funk, as they include the Hammond organ ("Funky Woman", "Hit It and Quit It", "Wars of Armageddon"); RMI electric piano ("I Wanna Know If It's Good to You?", " Free Your Mind ", "Loose Booty"); acoustic piano ("Funky Dollar Bill", "Jimmy's Got
4017-529: Is used in funk, including in "September" by Earth Wind & Fire and " Will It Go Round in Circles " by Billy Preston . The electric piano is used on songs such as Herbie Hancock 's "Chameleon" (a Fender Rhodes ) and "Mercy, Mercy, Mercy" by Joe Zawinul (a Wurlitzer ). The clavinet is used for its percussive tone, and it can be heard in songs such as Stevie Wonder 's " Superstition " and " Higher Ground " and Bill Withers' " Use Me ". The Hammond B-3 organ
4120-500: The City wide response metrics . Professional standards division is Commanded by an Assistant Chief (Division Commander), civilian Chief Special Investigator and Battalion Chief. Internal investigations unit Consists of civilian Fire Special Investigators and Captains who serve as Department Advocates. Administrative Operations is Commanded by a Chief Deputy, who has a CAD designation of 'CM1' and radio designation of 'Command 1'. They are
4223-562: The Civil Rights Movement . Gerhard Kubik notes that with the exception of New Orleans , early blues lacked complex polyrhythms , and there was a "very specific absence of asymmetric time-line patterns ( key patterns ) in virtually all early twentieth century African-American music ... only in some New Orleans genres does a hint of simple time line patterns occasionally appear in the form of transient so-called 'stomp' patterns or stop-time chorus. These do not function in
The Brothers Johnson - Misplaced Pages Continue
4326-426: The backbeat that typified African-American music. Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one- two -three- four backbeat of traditional soul music to the one -two-three-four downbeat – but with an even-note syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing . This one-three beat launched
4429-448: The clave pattern and related two-celled figures in songs such as "Carnival Day" (Bartholomew 1949) and "Mardi Gras In New Orleans" (Longhair 1949). Robert Palmer reports that, in the 1940s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado 's mambo records." Professor Longhair's particular style was known locally as rumba-boogie . One of Longhair's great contributions
4532-481: The fingerboard and then quickly released just enough to get a muted "scratching" sound that is produced by rapid rhythmic strumming of the opposite hand near the bridge . Earliest examples of that technic used on rhythm and blues is listened on Johnny Otis song " Willie and the Hand Jive " in 1957, with the future James Brown band guitar player Jimmy Nolen . The technique can be broken down into three approaches:
4635-400: The "chika", the "chank" and the "choke". 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 after 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
4738-585: The "mesmerizing" nature of funk. Payne states that funk can be thought of as "rock played in a more syncopated manner", particularly with the bass drum, which plays syncopated eighth-note and sixteenth-note patterns that were innovated by drummer Clive Williams (with Joe Tex ); George Brown (with Kool & the Gang ) and James "Diamond" Williams (with The Ohio Players ). As with rock, the snare provides backbeats in most funk (albeit with additional soft ghost notes). In funk, guitarists often mix playing chords of
4841-439: The "spaces between the notes" as the notes that are played; as such, rests between notes are important. While there are rhythmic similarities between funk and disco , funk has a "central dance beat that's slower, sexier and more syncopated than disco", and funk rhythm section musicians add more "subtextures", complexity and "personality" onto the main beat than a programmed synth-based disco ensemble. Before funk, most pop music
4944-583: The 1970s adopted Afro-American fashion and style, including " Bell-bottom pants , platform shoes, hoop earring[s], Afros [hairstyles], leather vests,... beaded necklaces", dashiki shirts, jumpsuits and boots. In contrast to earlier bands such as The Temptations , which wore "matching suits" and "neat haircuts" to appeal to white mainstream audiences, funk bands adopted an "African spirit" in their outfits and style. George Clinton and Parliament are known for their imaginative costumes and "freedom of dress", which included bedsheets acting as robes and capes. Funk
5047-471: The 1970s to capitalize on the new "social and political opportunities" that had become available in the 1970s. The Isley Brothers song "Fight the Power" (1975) has a political message. Parliament's song "Chocolate City" (1975) metaphorically refers to Washington, D.C., and other US cities that have a mainly Black population, and it draws attention to the potential power that Black voters wield and suggests that
5150-472: The African musical tradition of improvisation , in that 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 uses "collective improvisation", in which musicians at rehearsals would have what was metaphorically a musical "conversation", an approach which extended to
5253-621: The African oral tradition approach). The call and response in funk can be between the lead singer and the band members who act as backup vocalists . 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. Funk bands such as Earth, Wind & Fire have harmony vocal parts. Songs like " Super Bad " by James Brown included "double-voice" along with "yells, shouts and screams". Funk singers used
SECTION 50
#17327802471425356-576: The Afro-Cuban mambo and conga in the late 1940s, and made it its own. New Orleans funk, as it was called, gained international acclaim largely because James Brown's rhythm section used it to great effect. Funk uses the same richly colored 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.g., F minor 11th); dominant seventh with added sharp ninth and
5459-500: The Black working class. Funk songs by The Ohio Players, Earth, Wind & Fire, and James Brown raised issues faced by lower-income Blacks in their song lyrics, such as poor "economic conditions and themes of poor inner-city life in the black communities". The Funkadelic song " One Nation Under A Groove " (1978) is about the challenges that Blacks overcame during the 1960s civil rights movement, and it includes an exhortation for Blacks in
5562-726: The Brothers covered the Beatles ' song, " Hey Jude ", for the musical documentary All This and World War II . Quincy Jones hired them to play on his LP Mellow Madness , and recorded four of their songs, including "Is It Love That We're Missin'?" and "Just a Taste of Me". After touring with various artists including Bobby Womack and Billy Preston, they were hired by Quincy Jones for a tour in Japan and produced their debut album Look Out for #1 , released in March 1976, which went to number 9 on
5665-494: The Erotic: Transaesthetics and Black Sexual Cultures explores these multiple meanings of funk as a way to theorize sexuality, culture, and western hegemony within the many locations of funk : "street parties, drama/theater, strippers and strip clubs, pornography, and self-published fiction." Like soul, funk is based on dance music , so it has a strong "rhythmic role". The sound of funk is as much based on
5768-488: The Executive Bureau was changed from the previous name of Administration Bureau. Planning Section is Commanded by a Battalion Chief (Section Commander), who maintains regular business hours (Monday-Friday). It Also consists of four Captains and one Secretary. Employee Relations Division Commanded by a Battalion Chief (Division Commander), who maintains regular business hours (Monday-Friday). They are assisted by
5871-632: The Key of Life (1985) and had ad-libbed vocals on the track "Think Back And Remember" from the Galaxian album by the Jeff Lorber Fusion , released in 1981 on Arista Records . In 1984 the brothers reunited in the recording studio. The resulting Leon Sylvers -produced LP , Out of Control , did not equal their past success, but it did garner them another R&B hit with "You Keep Me Coming Back". They teamed up again in 1988 to record Kickin' ,
5974-459: The Octavia pedal popularized by Hendrix , can double a note an octave above and below to create a "futuristic and fat low-end sound". 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.g., "Cissy Strut" by The Meters and "I'll Take You There" by The Staple Singers , which have
6077-681: The Phoenix Horns (with Earth, Wind & Fire), the Horny Horns (with Parliament), the Memphis Horns (with Isaac Hayes ), and MFSB (with Curtis Mayfield ). The instruments in funk horn sections varied. If there were two horn players, it could be trumpet and sax, trumpet and trombone, or two saxes. A standard horn trio would consist of trumpet, sax, and trombone, but trios of one trumpet with two saxes, or two trumpets with one sax, were also fairly common. A quartet would be set up
6180-490: The Starlicks video-distribution company in which he shared his bass-playing skills. The first was released in 1985. He then settled down to enjoy family life with his wife and son, but by 1988 his then-manager Diane Taren talked him into going back into the recording studio. He started his bass academy during the 1990s and gave workshop clinics via his own Website. Louis Johnson died on May 21, 2015, age 60. His last performance
6283-642: The U.S. Billboard chart. Their Right on Time album was released in May 1977 and reached number 13 on the Billboard Hot 200 . Blam!! came out in August 1978 and reached number 7 on the Billboard 200. Two of the band's songs were featured on the soundtrack of the 1976 film Mother, Jugs & Speed and one on the 1997 film Jackie Brown . The instrumental track "Thunder Thumbs and Lightnin' Licks" refers to
SECTION 60
#17327802471426386-491: The addition of more of a "driving feel" than in New Orleans funk, and they used blues scale notes along with the major third above the root. Later funk basslines use sixteenth note syncopation, blues scales, and repetitive patterns, often with leaps of an octave or a larger interval. Funk basslines emphasize repetitive patterns, locked-in grooves, continuous playing, and slap and popping bass. Slapping and popping uses
6489-543: The approach, and instead used a typical fingerstyle method based on James Jamerson 's Motown playing style. Larry Graham from Sly and the Family Stone is an influential bassist. Funk bass has an "earthy, percussive kind of feel", in part due to the use of muted, rhythmic ghost notes (also called "dead notes"). Some funk bass players use electronic effects units to alter the tone of their instrument, such as "envelope filters" (an auto-wah effect that creates
6592-608: The band Johnson Three Plus One with older brother Tommy and their cousin Alex Weir while attending school in Los Angeles, California. When they became professionals, the band backed such touring R&B acts as Bobby Womack and the Supremes . George and Louis Johnson later joined Billy Preston 's band and wrote selections for his albums Music Is My Life and The Kids & Me before leaving his group in 1973. In 1976,
6695-410: The brothers' brief appearance in Japan around 1994 and George guest-appearing at a Graham Central Station concert in Japan (including a released double-CD), the duo launched an expanded US tour in 2002 which got positive, wide exposure. It was visited by many fans and various artists in the entertainment business. Along with a website and discussion-forum, online visitors could share their experiences of
6798-1396: The brothers' nicknames. "Get the Funk Out Ma Face" was cowritten with Quincy Jones. Their popular album Light Up the Night was released in March 1980 and rose to #5 on the Billboard 200. It was number 46 on the "Top 100 LPs of 1980" list in Rolling Stone . The brothers self-produced the subsequent album, Winners ; released in July 1981, it only reached #48 on the Billboard 200. Among their most popular songs are " I'll Be Good to You " ( Billboard Hot 100 #3 in 1976) which prominently featured Syreeta Wright , " Strawberry Letter 23 " (Hot 100 #5 in 1977, originally recorded by Shuggie Otis ), "Ain't We Funkin' Now" (1978), and " Stomp! " (Hot 100 #7 and Hot Dance Music/Club Play #1 in 1980). Their styles include funk , and R&B ballads . Each album also included at least one instrumental cut that would either be considered light jazz ("Tomorrow", 1976; "Q", 1977; "Streetwave", 1978; "Smilin' On Ya", 1980; "Tokyo", 1984) or funk ("Thunder Thumbs & Lightnin' Licks", 1976; "Brother Man", 1977; "Mista' Cool", 1978; "Celebrations", 1980). The duo split up in 1982 to pursue separate projects. Louis Johnson recorded
6901-581: The citizens of the city of Los Angeles , California, United States. The LAFD is responsible for approximately four million people who live in the agency's 471 square miles (1,220 km ) jurisdiction. The Los Angeles Fire Department was founded in 1886 and is the third largest municipal fire department in the United States, after the New York City Fire Department and the Chicago Fire Department . The department
7004-439: The context of jazz music , the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans -born drummer Earl Palmer "was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable." The style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality . This early form of
7107-465: The department had grown to 18 fire stations with 123 full-time paid firefighters and 80 fire horses. The city had also installed 194 fire-alarm boxes allowing civilians to sound the alarm if a fire was spotted. 660 fire hydrants were placed throughout the city, giving firefighters access to a reliable water source. In 1955 Station 78 in Studio City became the first racially integrated station in
7210-556: The department rank of Firefighter/Specialist. It Maintains 24-hour platoon duty. Community Risk Reduction Unit is Commanded by a Captain I (Unit Commander). Two Fire Inspectors are also assigned to the CRRU. Firestat LA Section is Commanded by a Battalion Chief (Section Commander) and the Fire Statistical Manager. It Also consists of two Senior Fire Statistical Analyst. Responsible for Departmental statistics, such as
7313-514: The department. Since 1978 the LAFD has provided emergency medical and fire suppression services to the city of San Fernando by contract. In responses to the 2020 pandemic, the LAFD has helped to administer the COVID-19 vaccine to residents from Los Angeles. Also, more than 1,800 Los Angeles firefighters have received the COVID-19 vaccine. In 2022, Kristin Crowley became the first female, and
7416-435: The drummers and arrangers he employed. Brown's early repertoire had used mostly shuffle rhythms, and some of his most successful songs were 12/8 ballads (e.g. "Please, Please, Please" (1956), "Bewildered" (1961), "I Don't Mind" (1961)). Brown's change to a funkier brand of soul required 4/4 metre and a different style of drumming." Stewart makes the point: "The singular style of rhythm & blues that emerged from New Orleans in
7519-683: The electric bass, or even to replace the electric bass altogether in some songs. Funk synthesizer bass, most often a Minimoog , was used because it could create layered sounds and new electronic tones that were not feasible on electric bass. In the 1970s, funk used many of the same vocal styles that were used in African-American music in the 1960s, including singing influences from blues, gospel, jazz and doo-wop. Like these other African-American styles, funk used "[y]ells, shouts, hollers, moans, humming, and melodic riffs", along with styles such as call and response and narration of stories (like
7622-522: The fire company disbanded. Many of the former members of Engine Company No. 1 reorganized under the name of Thirty-Eights No. 1 in May 1875, Engine Co. No. 2 was organized under the name Confidence Engine Company. Los Angeles acquired its first " hook and ladder " truck for the Thirty-Eights. It proved to be too cumbersome and was ill-adapted to the needs of the city. It was sold to the city of Wilmington . In 1876, another "hook and ladder" truck
7725-544: The first openly gay, chief of the LAFD. Administration has The official office for the Fire Chief of the department. CAD designation of 'FC1' and radio designation of 'Fire Chief'. The Fire Chief reports directly to the Board of Fire Commissioners. Executive Bureau/Chief Of Staff is Commanded by a Deputy Chief (Bureau Commander) who holds the title of Chief of Staff. The Chief of Staff is Assisted by an Executive Administrative Assistant II and Senior Management Analyst I. In 2022,
7828-480: The funk drumming style is using the hi-hat, with opening and closing the hi-hats during playing (to create "splash" accent effects) being an important approach. Two-handed sixteenth notes on the hi-hats, sometimes with a degree of swing feel, is used in funk. Jim Payne states that funk drumming uses a "wide-open" approach to improvisation around rhythmic ideas from Latin music, ostinatos , that are repeated "with only slight variations", an approach which he says causes
7931-512: The funk into the rhythm" of rock and roll . Following his temporary exit from secular music to become an evangelist in 1957, some of Little Richard's band members joined Brown and the Famous Flames , beginning a long string of hits for them in 1958. By the mid-1960s, 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
8034-496: The genre beginning in the late 1960s. Other musical groups developed Brown's innovations during the 1970s and the 1980s, including Kool and the Gang , Ohio Players , Fatback Band , Jimmy Castor Bunch, Earth, Wind & Fire , B.T. Express , Shalamar , One Way, Lakeside , Dazz Band , The Gap Band , Slave , Aurra , Roger Troutman & Zapp , Con Funk Shun , Cameo , Bar-Kays and Chic . Funk derivatives include avant-funk , an avant-garde strain of funk; boogie ,
8137-412: The low-end thump of the electric bass and the cutting tone of the snare and hi-hats , with a rhythmically melodic feel that fell deep in the pocket. Guitarist Jimmy Nolen , longtime guitarist for James Brown, developed this technique. On Brown's " Give It Up or Turnit a Loose " (1969), however, Jimmy Nolen's guitar part has a bare bones tonal structure. The pattern of attack-points is the emphasis, not
8240-420: The mid-1960s, with James Brown 's development of a signature groove that emphasized the downbeat —with a heavy emphasis on the first beat of every measure ("The One"), and the application of swung 16th notes and syncopation on all basslines, drum patterns, and guitar riffs. Rock- and psychedelia -influenced musicians Sly and the Family Stone and Parliament-Funkadelic fostered more eclectic examples of
8343-407: The most notable musicians in the funk music genre, having worked with James Brown , George Clinton and Prince . Unlike bebop jazz, with its complex, rapid-fire chord changes, funk often uses a static single-chord or two-chord vamp (often alternating a minor seventh chord and a related dominant seventh chord, such as A minor to D7) during all or part of a song, with melodo-harmonic movement and
8446-399: The music set the pattern for later musicians. The music was identified as slow, sexy, loose, riff -oriented and danceable. The meaning of funk continues to captivate the genre of black music, feeling, and knowledge. Recent scholarship in black studies has taken the term funk in its many iterations to consider the range of black movement and culture. In particular, L.H. Stallings's Funk
8549-549: The notes to create a percussive sound for their guitar riffs. The phaser effect is often used in funk and R&B guitar playing for its filter sweeping sound effect, an example being the Isley Brothers ' song " Who's That Lady ". Michael Hampton , another P-Funk guitarist, was able to play Hazel's virtuosic solo on "Maggot Brain", using a solo approach that added in string bends and Hendrix-style feedback . A range of keyboard instruments are used in funk. Acoustic piano
8652-438: The onstage performances. Funk creates an intense groove by using strong guitar riffs and basslines played on electric bass . Like Motown recordings, funk songs use basslines as the centerpiece of songs. Indeed, funk has been called the style in which the bassline is most prominent in the songs, with the bass playing the "hook" of the song. Early funk basslines used syncopation (typically syncopated eighth notes), but with
8755-426: The opportunity for the other instruments to play "more syncopated, broken-up style", which facilitated a move to more "liberated" basslines. Together, these "interlocking parts" created a "hypnotic" and "danceable feel". A great deal of funk is rhythmically based on a two- celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions . New Orleans appropriated the bifurcated structure from
8858-460: 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-90 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
8961-561: The pianist employs the 2-3 clave onbeat/offbeat motif in a rumba-boogie " guajeo ". The syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions) took root in New Orleans R&;B during this time. 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
9064-471: The same as a standard horn trio, but with an extra trumpet, sax, or (less frequently) trombone player. Quintets would either be a trio of saxes (typically alto/tenor/baritone, or tenor/tenor/baritone) with a trumpet and a trombone, or a pair each of trumpets and saxes with one trombone. With six instruments, the horn section would usually be two trumpets, three saxes, and a trombone. Notable songs with funk horn sections include: In bands or shows where hiring
9167-674: The same way Louis shows his guitar skills on the duo's various compositions. Also during this time, the band's song "Tomorrow" (originally an instrumental on the B-side of "Get the Funk Out Ma Face") was recorded with vocals by Tevin Campbell for Quincy Jones' Back on the Block release in 1989. This album also included Jones' hit remake of the Brothers Johnson's "I'll Be Good to You", featuring Ray Charles and Chaka Khan . Besides
9270-400: The same way as African time lines." In the late 1940s this changed somewhat when the two-celled time line structure was brought into New Orleans blues . New Orleans musicians were especially receptive to Afro-Cuban influences precisely at the time when R&B was first forming. Dave Bartholomew and Professor Longhair (Henry Roeland Byrd) incorporated Afro-Cuban instruments, as well as
9373-462: The shift in Brown's signature music style, starting with his 1964 hit single, " Out of Sight " and his 1965 hits, " Papa's Got a Brand New Bag " and " I Got You (I Feel Good) ". Los Angeles Fire Department The Los Angeles Fire Department ( LAFD or LA City Fire ) provides firefighting services as well as technical rescue services, hazardous materials services and emergency medical services to
9476-645: The shows by wandering through the Land of Ladies and reliving Funkadelia's heyday. A few years later, a combi-release of live-CD + DVD was released under the name Strawberry Letter 23: Live . In 2006, Louis gave a duo-show with a drummer on the Poetry in Motion 1 Festival in Maryland. In late 2007 George performed with his own band at a Detroit festival, including a persona called Sir Nose . These days George performs with
9579-562: The term funk can have negative connotations of odor or being in a bad mood ( in a funk ), in African communities, the term funk , while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance. In early jam sessions , musicians would encourage one another to " get down " by telling one another, "Now, put some stank on it!" At least as early as 1907, jazz songs carried titles such as Funky . The first example
9682-716: The title track of which ("Kick It to the Curb") was a collaboration with their then-neighbor Irene Cara . Although "Kick It to the Curb" became a minor hit, the album's success was even more limited. Between the two albums, both George and Louis released their aforementioned solo material and also appeared on Street Shadows , an album by keyboardist/arranger David Diggs, who had provided horn and string arrangements for Winners , Blast! , and Louis' Passage . "Last Night", Street s opening track showcases George's bass-guitar playing. He previously showed his bass skills on tracks like "Teaser" from Winners and "The Great Awakening" from Blast ,
9785-544: The tone of which was shaped by a Maestro FZ-1 Fuzz-Tone pedal. Hazel, along with guitarist Ernie Isley of the Isley Brothers , was influenced by Jimi Hendrix 's improvised, wah-wah infused solos. 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
9888-542: The year 1871. In September of that year, George M. Fall, the County Clerk for Los Angeles County organized Engine Company No. 1. It was a volunteer firefighting force with an Amoskeag fire engine and a hose jumper (cart). The equipment was hand-drawn to fires. In the spring of 1874, the fire company asked the Los Angeles City Council to purchase horses to pull the engine. The Council refused and
9991-404: The years after World War II played an important role in the development of funk. In a related 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." James Brown credited Little Richard 's 1950s R&B road band, The Upsetters from New Orleans, as "the first to put
10094-452: Was based on sequences of eighth notes, because the fast tempos made further subdivisions of the beat infeasible. The innovation of funk was that by using slower tempos (surely influenced by the revival of blues at early 60s), funk "created space for further rhythmic subdivision, so a bar of 4/4 could now accommodate possible 16 note placements." Specifically, by having the guitar and drums play in "motoring" sixteenth-note rhythms, it created
10197-402: Was called "Morris Vineyard Hose Co. No.3." All of these companies remained in service until February 1, 1886, when the present paid fire department came into existence. In 1877, the first horses were bought for the city fire department. The department would continue to use horses for its equipment for almost fifty years, phasing out the last horse drawn equipment on July 19, 1921. By 1900,
10300-847: Was formed through a mixture of various music genres that were popular among African Americans in the mid-20th century. Musicologist Anne Danielsen wrote that funk might be placed in the lineage of rhythm and blues, jazz, and soul. Sociologist Darby E. Southgate wrote that funk is "an amalgam of gospel, soul, jazz fusion, rhythm and blues, and black rock." The distinctive characteristics of African-American musical expression are rooted in sub-Saharan African music traditions , and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel, blues, and "body rhythms" ( hambone , patting juba , and ring shout clapping and stomping patterns). Like other styles of African-American musical expression including jazz, soul music and R&B, funk music accompanied many protest movements during and after
10403-492: Was his particular approach of adopting two-celled, clave-based patterns into New Orleans rhythm and blues (R&B). Longhair's rhythmic approach became a basic template of funk. According to Dr. John (Malcolm John "Mac" Rebennack Jr.), the Professor "put funk into music ... Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans." In his "Mardi Gras in New Orleans",
10506-695: Was in 2013. Tommy Johnson left the group and had a 29-year career with the Los Angeles Fire Department . George Johnson released one single in 1985, "Back Against the Wall", on Quincy Jones' own Qwest label. A complete album (recorded but unreleased) came from that session, as George confirmed when he and Louis were interviewed around 1987/88 for Blues & Soul Magazine in the United Kingdom (see link below). George also delivered guitar work for Steve Arrington 's album Dancing in
10609-465: Was purchased, serving in the city until 1881. In 1878, a third fire company was formed by the residents in the neighborhood of Sixth Street and Park. It was given the name of "Park Hose Co. No. 1". East Los Angeles formed a hose company named "East Los Angeles Hose Co. No. 2" five years later. The final volunteer company was formed in the fall of 1883 in the Morris Vineyard area. This company
#141858