SXSW 2013: George Clinton Is “Horny” For A Parliament-Funkadelic Reunion (And 11 Other Finding The Funk Revelations) Coverage of SXSW Finding the Funk Panel

From L to R: Lumar LeBlanc, Bootsy Collins, Novena Carmel, Arthur Baker, George Clinton and Bernie Worrell.

From Music

One of our favorite things about SXSW —besides the abundance of Shiner Bock, natch— is that it’s the biggest musical melting pot in all of the United States. Over the course of a few days in Austin each and every March, acts from every conceivable genre of music come together for both performances and conversations, but more importantly, to bond with one another. Perhaps nowhere over the course of the weekend was that issue of “bonding” more relevant than at Saturday afternoon’s panel celebrating the upcoming release of the VH1 Rock Doc Finding The Funk, which saw former Parliament-Funkadelic members George Clinton, Bootsy Collins and Bernie Worrell putting aside rumors of alleged beef for one glorious hour of truly funky storytelling.

The afternoon’s discussion was, unlike a lot of SXSW panels, a loose and rollicking affair, one that veered from Bootsy’s early experiences playing alongside James Brown to the way that Bernie and Bootsy used to tease George for not exactly being smooth with the ladies.

Continue reading on VH1 for some of their favorite moments.

George Clinton Talks Future of Funk on smoovtunes

George Clinton Talks Future of Funk on smoovtunes
George Clinton live at BB kings

George Clinton Appears on FOX’s The Cleveland Show

Airdate: February 17th. Check local US Listings

When a Man (Or a Freight Train) Loves His Cookie

Episode Overview via

Cleveland’s mom, Cookie runs away with George Clinton and the P-Funk All-Stars, after Freight Train misses their anniversary party. So, Freight Train and Cleveland go to find her. Meanwhile, Junior engages in an elaborate office fantasy during a visit to an office supply store.

Episode Clip:


Due to snow banks the show at Toad’s Place , New Haven  has been rescheduled to Sunday February 17th, 2013
All tickets bought for the Feb 14th show are still valid

George Clinton talks about copyright law, reality TV and getting clean

Original article appears at :

By Dana Forsythe

BOSTON Just one stop into their 2013 tour, Dr. George Clinton and Parliament Funkadelic (along with a large chunk of the Northeast) had their plans sidetracked by the biggest snowstorm to hit the Boston area in 10 years. Hardly phased Clinton and co. have rescheduled their House of Blues gig in Boston to Wednesday, (Feb. 13) night.

For over two decades Clinton has been championing copyright law, winning a major lawsuit in 2005, which returned ownership of songs he recorded with Funkadelic in the 70’s. In 2013, Clinton said his goal is to further that cause for others as well as himself.

Clinton’s main opponent has been Bridgeport Music Inc., a company that owns the rights to about 170 songs written by Clinton and other members of his bands. The company has said Clinton signed over his rights to the music in the early 1980’s but Clinton has retorted, saying his signature was forged. The resulting legal battle continues.

At the age of 72, Clinton is still going strong and as busy as ever. In the last year he raised over half a million dollars to restore and preserve his bands’ original recordings and rebuild his studio, was awarded a Honorary Doctorate of Music from Berklee College of Music and launched a legal defense fund for further copyright cases.

This week, he spoke with about the tour, copyright law, being snowed in and getting clean.

WickedLocal: Can you tell me what you hope to accomplish this year in your fight against BMI over copyright law?

George Clinton: We’re getting the word out and we hope to expose the practices of these companies. We launched our site, entirely dedicated to the issue,, to get it out there and share what we’ve been going through. I’m raising my voice for everyone that has been cheated out of royalty checks, including my family, my band members. We’re talking about 30 to 40 people just with me who are missing out on these royalties.

Of course, the record companies have worked for years to keep the system as is and it’s just become harder to fight for our song rights. Companies like BMI have been going after artists for samples they’ve used and it’s not the rappers that are at fault. They’ve had their money taken away; it’s just never got to the right people.

2013 is a big year because it’s the first year many artists will be able to file for termination of these contracts. It’s a huge issue and my goal is get the songs back I and others wrote, get some money back – although I know we won’t get it all back – and allow people to recapture their songs.

WL: How do you find the energy to keep playing shows year after year?

GC: It’s fun and when you like what you’re doing, it ain’t no problem. It ain’t that hard. Our first show of the tour was in Vermont on Thursday and we played all kinds of songs, but a lot of older stuff from the early 60’s. Fans were going crazy. But, you know, it’s always fun and good on tour. I’m feeling refreshed and with the renewed fight for copyright, the entire group and tour has a new enthusiasm.

WL: The rumor is that you’ve cleaned up recently. Can you talk about that?

GC: I have cleaned things up in the past couple years, that’s for sure I’ve got a lot of renewed energy and although I’ve always had energy playing music, I’m not expending any on finding and doing drugs. I’m also not spending any money on it either (laughs). I’ve got a whole new outlook on life and I’ve just realized I can’t be handling my business like that. You can’t be messed up and do what you need to do, it’s impossible. I paid a lot of money to get messed up and that’s all I got.

But, I’m glad to have made that turn. It’s also helped in the fight against these companies like BMI. I think that they believed that I’d be out of commission when I started this fight and I’m not and I think we’re doing pretty well.

WL: You mentioned that you’ve been filming a new reality TV show, how’s that going?

GC: It’s fun, yeah. We’ve had cameras around for a long time before this so it feels natural. We’ll be filming a big episode on Tuesday, at the show at B.B. Kings in New York, talking about the group’s history and everything else. It’s been a lot of fun just getting everyone on tape, playing music and clowning around while talking (laughs).

We’re all just happy to be on the road again and resuming the tour after being stuck in snow for the past couple of days. We’re happy to make up the Boston show this week and we’ve always loved that city. Since playing the Sugar Shack in the 60’s, we’ve had a real good time in Boston. It’s a great place.

For more information about Clinton’s copyright fight, visit For tickets or information about the show in Boston, visit


GRAMMY NEWS : Sly Stone Accepts Oxfam Award for George Clinton

Originally appeared at via

The legendary musician Sly Stone (center), made a rare appearance at the 5th Annual MojaMoja Brunch and Benefit Concert for Oxfam America during Grammy weekend. MojaMoja host Garth Trinidad (left), and Bob Ferguson (right), Oxfam America’s Manager of Creative Alliances & Music Outreach presented the Vanguard Award to him. Stone accepted the award on behalf of the honoree George Clinton, who could not attend the event due to severe storms in the NorthEast. (Photo: Wendy Le)

The MojaMoja Pre-Grammy Brunch and Benefit Concert celebrated its fifth anniversary with an eclectic lineup and a totally unexpected appearance this year.

While event producer Ramona Wright noted that “every year we get a surprise visit,” few were probably expecting reclusive soul icon Sly Stone, who got onstage to accept the Vanguard Award in the stead of legendary Parliament-Funkadelic founder George Clinton, who was being honored at the event but couldn’t appear due to being grounded in Newark thanks to the blizzard blanketing the Northeast.

“I’m happy for George,” said the famously enigmatic Stone in his brief appearance onstage, distinctive with his white outfit and trademark outrageous hair, before — just as characteristically — he disappeared into the wings. It was a classic MojaMoja moment — music business as unusual, celebrating artists from different generations on the same stage, doing their own thing.

Conceived by event producer Wright, MoMoja CEO Oscar Merino, and KCRW DJ Garth Trinidad (the station is an official media sponsor for the event as well), the mission “is to expose new music integrated with existing iconic artists, taking advantage of the talent converging on L.A. during Grammy Week,” Merino said. “Garth’s ears are crucial in terms of curating that talent.”

As such, last year’s brunch featured the buzzworthy likes of Flying Lotus and Little Dragon contrasted with Mavis Staples, honored by the event’s beneficiary, the global anti-poverty relief and development organization Oxfam America, with its Vanguard Award; previous editions have featured Grammy winner/hip-hop don Heavy D and rising star Janelle Monae.

This year’s brunch featured a similarly iconoclastic balance. One up-and-comer featured was multi-genre artist Chloe Flower — a pianist who fuses lyrical classical melodies with hip-hop beats, and has worked with Nas, Swizz Beats, and Celine Dion; Flower is in L.A. to work on her solo debut produced by Babyface, featuring guest spots by Boyz II Men and Deepak Chopra.

The other end of the spectrum was represented by William Hart of legendary R&B group the Delfonics, famed for hits like “Didn’t I (Blow Your Mind This Time”), “La-La (Means I Love You)” and “Ready or Not Here I Come (Can’t Hide from Love)” — the latter famously interpolated into a hip-hop smash by The Fugees. Hart was performing at MojaMoja with a revisited Delfonics lineup, promoting an upcoming album set for release on hipster label Wax Poetics in March.

“I’m getting a vibe here that’s like a whole new start to my career,” Hart says. “I’ve met ten different radio personalities and DJs here. The younger generation seems to have taken to me: it reminds me of the time when I got my first Grammy, for ‘Didn’t I (Blow Your Mind This Time).’”

Adrian Miller, co-manager of Chloe Flower, stated “We’re huge fans of Garth’s, so when he invited us, we of course embraced that. It’s maintaining a great relationship.” Miller’s sentiments were echoed by Sarah Chambliss, U.S. label manager of the pioneering electronica label Ninja Tune, was there accompanying one of the imprint’s premier artists, the U.K. singer-songwriter Fink, a recent transplant to L.A. to record his upcoming new album and jumpstart his co-songwriting career.

“It’s amazing how influential KCRW is, in a city where everyone’s a music supervisor, they’re like the greatest music supervisor of all,” says Fink. “It’s amazing — we’ve gotten film licenses just from film directors hearing my song on KCRW during their drive home. Also, it’s for a great cause: Oxfam has an immense reputation in the U.K., and it’s great to get it better known in the States.”

Indeed, the charity aspect to the event remains a crucial part of its appeal. “I work as an anti-human trafficking activist, and we depend on Oxfam,” says Flower. “This is a perfect event for me.” In addition to Oxfam, 2013’s MojaMoja happening also built awareness and funds for the Darfur Stoves Project, supporting work in the ongoing African tragedy zone. “We started the brunch because there was a tremendous opportunity for artists coming in for the Grammys to give back,” says Wright. “We wanted to create a party with a purpose.”

“The charity aspect is extremely important,” says Trinidad. “I couldn’t do something like this without trying to help somebody.”

Likewise, music-rights lobbying and royalty collection organization SoundExchange was a co-sponsor of the event. “It’s about having a presence as we continue to play a bigger and bigger role in getting artists paid fairly,” says SoundExchange president Michael Huppe. “We lobby on Capitol Hill, and we’re hear during Grammy week.”

“It’s great outreach,” adds Sean Glover, SoundExchange’s Manager of Artist and Label Relations. “We can catch someone here before they’re on the cover of Billboard, or win their first Grammy.”

Boston House of Blues show has been rescheduled to Wednesday February 13th

All tickets bought for the Feb 8th show are still valid

Emporium Feb 10th Show rescheduled to Feb 18th

Due to a severe snow storm, the show at the Emporium in Patchogue , Long Island has been rescheduled to Monday February 18th, 2013
All tickets bought for the Feb 8th show are still valid

Maximum Hedrum release video for the single “Keep In Touch” featuring George Clinton co-writing and vocals skills

Based solely on the bandmates’ respective backgrounds, Maximum Hedrum may be the most left field super group since Tinted Windows. Blending electronic music and funk, the collective consists of N.A.S.A’s Sam Spiegel (who also produced Yeah Yeah Yeahs’ Show Your Bones), vocalist/guitarist Derrick Green of metal band Sepultura, and German musician and producer Harold Faltermeyer, most known for his scores of Beverly Hills Cop, Fletch, and Top Gun. Oh, and they’ve also got George Clinton co-writing and guesting on their self-titled debut’s lead single, “Keep in Touch”. Who could even think of making this stuff up?


‘King of Funk’ George Clinton and others accuse local businessman of music royalty rip-offs

George Clinton and others accuse local businessman of music royalty rip-offs

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