#dr funkenstein

Some Parliament and Parliament Funkadelic posters and art✨👽🛸

1. The world’s safest helmet.

2. An entire shelf of NASCAR merch.

3. Dragon Ball guy

4. Jelly Belly pillow

5. Something I should probably remember

6. Painting or picture of ancient folks

7. Who is this man?

7. NOT Jamie Campbell Bower and Lizzie Collins. Press F to pay respects.

1975 and 1976 were two of the most prolific years for the intergalactic funk band the Parliament Funkadelic. Indeed, the band released their 5th album Mothership Connection in 1975 and the sequel, The Clones of Dr. Funkenstein only seven months later. The two albums are extremely different. As a matter of fact, Mothership Connection was created as an act of protest for the conditions under which Afro-American people had to live in the 70s. On the other hand, even if the Clones of Dr. Funkenstein was meant to be the sequel of the previous album, it was less political and more centered on creating music for fun.

With the release of Mothership Connection, the Parliament also begun their US tour where the fans could live one of the most unique experiences ever. When the album was published it soon became certified platinum. What makes this work a masterpiece is the fact that the artists could create one of the greatest manifestations of Afrofuturism and that is to say the black and ultra-technological phenomenon. This vision of black people was not to be found in movies or literature nor in politics during the late 70s. Indeed, the assertion of a black worldview that incorporated modern technologies and black aesthetic, was a deep breakthrough. In addition to that, the uniqueness of the science fiction the album is featuring, contributes to create a series of picturesque parallel universes. Moreover, during the 70s this work became so important for the Afro-American community as the band could express and put into music the struggles for freedom that many black people were feeling, especially young teenagers. Indeed, this peculiar version of black science fiction was also delivering a powerful message. As a matter of fact, due to the deteriorating of many black neighborhoods, P-Funk galaxy was perceived as an escape, almost as an act of flying away to some better worlds or universes. In addition, the other symbolic meaning of the mothership,related to the act of flying away, is being free and freeing the minds and the bodies from the everyday struggles.This album became so relevant to the point that it attracted the larger audience. Indeed, the leader of the band, George Clinton, believed in this project enough to convince Casablanca Records president Neil Bogart to fund the costs of the tour around the country, in massive halls and Arenas. 

Moreover, one of the most emblematic parts of the shows was the landing of the Mothership. In fact, as displayed in some videos, the landing of the spaceship, usually took place at the end of the concert after the song Mothership Connection. The spaceship appeared and flew over the audience and then landed on stage with the bandleader, George Clinton, emerging from the space vehicle dressed as Dr. Funkenstein. Furthermore, Parliament Funkadelic shows, through the elaborate artwork, the sci-fi mythology, and the Afrofuturist universe offered to the audiences an uplifting escape from their everyday struggle. 

  However, the Mothership used on stage during the 70s was then donated by George Clinton to the Smithsonian's National Museum of African American History and Culture. Moreover, it is not a mystery that the space craft held a powerful and symbolic meaning. Indeed, according to museum specialist Kevin Strait:” He really developed this grand idea of envisioning African-Americans in space as a way to liberate one's mind from the shackles of racism and poverty or any other societal constraints,"…. "The Mothership was this symbolic mode of transporting the conscious self into this ethereal place, which was pretty funky and pretty far out, but represents the grander scope of his thinking.". In addition to that, the man himself, George Clinton, gave an explanation on the importance of the message delivered by the Mothership “I definitely felt we needed something to be proud of as black people," …"We wanted to have a funk opera.”. The artist then added that he saw the spaceship as a monument to black music and therefore he decided to donate it to the museum so that eventually it would give pride to a lot of people.

Furthermore, seven months after the publication of Mothership Connection, on July 26th, 1976 the band released its sequel, The Clones of Dr. Funkenstein. Compared the deeply political Mothership Connection, this album is a narrative sequel which starts with a Prelude that describes “Afronauts capable of funkatizing galaxies” sent to Earth to shape it with groove and rhythm. The album begins exactly where Mothership Connection left off, explaining that the alien Starchild (voiced by Garry Shider) had worked for Dr. Funkenstein (voiced by George Clinton,) who is the chosen one, destined to introduce funk to the human race.  

Comparing this this album with Mothership Connection, with the Clones of Dr. Funkenstein the band is focusing on the concept of spirituality. However, that, it is not to say that the political commentary is completely missing. Indeed, one of the main differences between the two works is that Mothership Connection was focused on politics and the issues Afro-American people were experiencing and therefore the album was centered on a sense of rage. On the other hand, the fulcrum of the Clones of Dr. Funkenstein, was a joyful confidence as a constant throughout the whole album. Indeed, quoting Parliament, the album was created “just to funking around for fun”.  

  For instance, the song Children of Production, envisions cloned children brought back to life by Dr. Funkenstein, but this scenario could possibly be open to some other interpretations. As a matter of fact, the song might be an allusion to a symbol for a disruption of labor, as faceless drones are used to join a collective sense of release. Additionally, the song is directly referring to the youngsters in the society who were brainwashed into accepting complacency. Eventually, The Children of Production will recognize the need to "blow the cobwebs from your mind", they are a timebomb "and almost everyone is out of time", but they are "a flawless testimony to the attainment of the P. Funk". They, the youth, the "us". Indeed, they represent the world's best hope and they are ready for any challenge they might be thrown.  

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