R&B

Recording both as Parliament and Funkadelic, George Clinton revolutionized R&B during the ’70s, twisting soul music into funk by adding influences from several late-’60s acid heroes: Jimi Hendrix, Frank Zappa, and Sly Stone. The Parliament/Funkadelic machine ruled black music during the ’70s, capturing over 40 R&B hit singles (including 3 #1’s) and recording 3 platinum albums.

Event Runs: 5PM – Midnight

General Admission: $35 ($21 WITH PROMO CODE – for a limited time only!)

General Admission w/ Food & Drink: $75 (includes 1 food platter & 1 drink) ($45 WITH PROMO CODE – for a limited time only!)

Limited VIP Tickets Available
$125 VIP Ticket includes: Preferred View, All You Can Eat, All You Can Drink from 5-8:PM inc well liquor, draft beer & select wine – only while supplies last!

MENU

Pulled Pork Platter
Pulled Pork Sandwich, Corn, Watermelon

BBQ Chicken Platter
1/2 BBQ Chicken, Corn, Watermelon

BBQ Burger
Sweet BBQ Sauce, Smoked Bacon, American Cheese

Cheese Burger
Sweet BBQ Sauce, Smoked Bacon, American Cheese

Hot Dogs
Nathans All Beef Hot Dog, Potato Bun

Spicy Italian Sausage
Potato Bun

Grilled Mexican Corn
Cotija Cheese, Chili Pepper, Butter, Paprika

Fresh Watermelon

Venue & Ferry Info:

At Governor’s Club, Governor’s Island, NYC

The Governors Island ferry departs from the Battery Maritime Building located at 10 South St, adjacent to the Staten Island Ferry in Lower Manhattan. $2 fee until 7pm, then free. Continuous & frequent ferry service throughout the night, free. To access the ferry terminal, take the 1 train to South Ferry station, the 4 or 5 to Bowling Green station, or R to Whitehall St. station.

About George Clinton & Parliament Funkadelic

Born in Kannapolis, NC, on July 22, 1941, George Clinton became interested in doo wop while living in New Jersey during the early ’50s. Based on Frankie Lymon & the Teenagers, he formed The Parliaments in 1955, rehearsing in the back room of a Plainfield barbershop where he straightened hair. The group released 2 singles during the next 10 years, but frequent trips to Detroit during the mid-’60s – where Clinton began working as a songwriter and producer – eventually paid off their investment.

The Parliaments finally had a hit with the 1967 single “(I Wanna) Testify” for the Detroit-based Revilot Records, but the label ran into trouble and Clinton refused to record new material. Instead of waiting for a settlement, Clinton decided to record the same band under a new name: Funkadelic. In 1968, the group began life as a smoke screen, claiming as its only members the Parliaments’ backing but in truth included Clinton and the rest of the former Parliaments lineup. The label folded and its existing contracts sold to Atlantic; Clinton, however, opted to abandon the Parliaments name rather than record for the major label.

By 1970, George regained the rights to The Parliaments name: he then signed the entire Funkadelic lineup to Invictus Records as Parliament. The group released 1 album – 1970′s Osmium – and scored a #30 hit on the R&B charts, “The Breakdown,” in 1971. With Funkadelic firing on all cylinders, however, Clinton decided to discontinue Parliament (the name, not the band) for the time being.

Inspired by Motown‘s assembly line of sound, Clinton gradually put together a collective of 50+ musicians and recorded the ensemble during the ’70s both as Parliament and Funkadelic. While Funkadelic pursued band-format psychedelic rock, Parliament engaged in a funk free-for-all, blending influences from the godfathers (James Brown and Sly Stone) with freaky costumes and themes inspired by ’60s acid culture and science fiction. From its 1970 inception until Clinton’s dissolving of Parliament in 1980, Clinton hit the R&B Top 10 several times but truly excelled in two other areas: large-selling, effective album statements and the most dazzling, extravagant live show in the business. In an era when Philly soul continued the slick sounds of establishment-approved R&B, Parliament / Funkadelic scared off more white listeners than it courted. (Ironically, today Clinton’s audiences are a cross-cultural mix of music lovers from 8 to 80!)

1978-79 was the most successful year in Parliament/Funkadelic history: Parliament hit the charts first with “Flash Light,” P-Funk’s first R&B number one. “Aqua Boogie” would hit #1 as well late in the year, but Funkadelic‘s title track to “One Nation Under a Groove” spent six weeks at the top spot on the R&B charts during the summer. The album, which reflected a growing consistency in styles between Parliament and Funkadelic, became the first Funkadelic LP to reach Platinum (the same year that Parliament‘s “Funkentelechy Vs. the Placebo Syndrome” did the same). In 1979, Funkadelic‘s “(Not Just) Knee Deep” hit #! as well, and its album (“Uncle Jam Wants You”) also reached Platinum.

During 1980, Clinton began to be weighed down by legal woes arising from Polygram‘s acquisition of Parliament‘s label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), he began his solo career with 1982′s “Computer Games”. Several months later, Clinton’s “Atomic Dog” hit #1 on the R&B charts; it stayed at the top spot for 4 weeks, but only managed #101 on the pop charts. Clinton stayed on Capitol for 3 more years, releasing 3 studio albums and frequently charting singles in the R&B Top 40.

Clinton and many former Parliament/Funkadelic members continued to tour and record throughout the ’80s as the P-Funk All Stars, but the decade’s disdain of everything to do with the ’70s – especially the sound of disco – resulted in critical and commercial neglect for the world’s biggest funk band, one which in part had spawned dance music.

The early ’90s saw the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primus and Red Hot Chili Peppers) that re-established the status of Clinton & co. as one of the most important forces in the recent history of black music. Clinton’s music became the soundtrack for the rap movement, as artists from MC Hammer, to LL Cool J to Snoop Doggy Dogg depended heavily on the infectious groove of Clinton productions as the foundation of their recordings.

Along with the renewed notoriety and respect, Clinton’s visibility and presence became familiar to a wider audience thanks to appearances in movies “The Night Before”, “House Party”, “PCU”, and “Good Burger”, hosting the HBO original series “Cosmic Slop”, and doing commercials for Apple computers, Nike, and Rio Mp3 players. Clinton also composed the theme songs for popular TV programs “The Tracey Ulman Show” and “The PJs”.

Clinton has received a Grammy, a Dove (gospel), and an MTV music video award, and has been recognized by BMI, the NAACP Image Awards, and Motown Alumni Association for lifetime achievement. In 1997, Clinton’s Partliament/Funkadelic was inducted into the Rock and Roll Hall of Fame.

In reviewing George Clinton’s illustrious career and success as a producer/writer/performer, perhaps his greatest achievement stemmed from his relentless dedication to funk as a musical form. Funk as a musical style had been around for what seems like forever, deeply rooted in the music traditions of New Orleans and the Blues of the Deep South. Following the lead – and commercial success – of James Brown and Sly Stone, Clinton took Funk to new heights, blending elements of Jazz, Rock, Pop, Classical and even Gospel into his productions, eventually developing a unique and easily identifiable style affectionately called “Pfunk.” Clinton’s inspiration, dedication and determination resulted in the elevation of “funk” music to complete recognition and acceptance as a true genre in and of itself.

On February 16th, 2012 George Clinton added to his list of accomplishments a Honorary Doctorate of Music from the renowned Berklee College of Music.

ALL SALES FINAL.