Funk is a music genre that originated in the mid-late 1960s when African American musicians blended soul music, jazz and R&B into a rhythmic, danceable new form of music. Funk de-emphasizes melody and harmony and brings a strong rhythmic groove of electric bass and drums to the foreground. Funk songs are often based on an extended vamp on a single chord, distinguishing it from R&B and soul songs, which are centered on chord progressions.

Like much African-inspired music, funk typically consists of a complex groove with rhythm instruments such as electric guitar, electric bass, Hammond organ, and drums playing interlocking rhythms. Funk bands sometimes have a horn section of several saxophones, trumpets, and in some cases, a trombone, which plays rhythmic "hits".

Many of the most famous bands in the genre also played disco and soul extensively. Funk samples have been used extensively in genres including hip hop, house music and drum and bass. It is also the main influence of go-go, a subgenre associated with funk.^[2]

Etymology[link]

Look up funk in Wiktionary, the free dictionary.

The word funk as applied in the music world initially referred to a strong odor. The anthropologist/art historian Robert Farris Thompson, in his work Flash Of The Spirit: African & Afro-American Art & Philosophy, postulates that funky has its semantic roots in the Kikongo word "lu-fuki", which means "bad body odor". He says: "Both jazzmen and Bakongo use funky and lu-fuki to praise persons for the integrity of their art, for having 'worked out' to achieve their aims" supposedly meant to signify "the irradiation of positive energy of a person. Hence 'funk' in American jazz parlance can mean earthiness, a return to fundamentals".^[3] African-American jazz musicians originally applied the term to music with a slow, mellow groove.

Then it evolved to a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the music set the pattern for later musicians.^[4] The music was identified as slow, "sexy", loose, riff-oriented and danceable. Funky typically described these qualities rather than a distinct genre. 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 Butt", a piece by Buddy Bolden.^[5] As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of soul 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."^[6]

Characteristics[link]

This unreferenced section requires citations to ensure verifiability.

Funk creates an intense groove by using strong bass guitar riffs and bass lines. Like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap bass's mixture of thumb-slapped low notes and finger "popped" (or plucked) high notes allowed the bass to have a drum-like rhythmic role, which became a distinctive element of funk.

Funk utilized the same extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps with little harmonic movement, but with a complex and driving rhythmic feel. Some of the best known and most skilful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Maceo Parker are among the most notable musicians in the funk music genre, with both of them working with James Brown, George Clinton and Prince.

The chords used in funk songs typically imply 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) and Herbie Hancock (Head Hunters).

In funk bands, guitarists typically play in a percussive style, often using the wah-wah sound effect and muting the notes in their riffs to create a percussive sound. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrix's improvised solos. Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an early age by Jimi Hendrix himself, when he was a part of The Isley Brothers backing band and lived in the attic temporarily at the Isleys' household. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown.

History[link]

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). Funk music is an amalgam of soul music, soul jazz, R&B, and Afro-Cuban rhythms absorbed and reconstituted in New Orleans.

New Orleans[link]

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 generes 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 do not function in the same way as African time lines."^[7]

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.^[8] Dave Bartholomew and Professor Longhair (Henry Roeland Byrd) incorporated Afro-Cuban instruments, as well as 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."^[9] Professor Longhair's particular style was known locally as rumba-boogie.^[10] One of Longhair's great contributions 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."^[11] In his "Mardi Gras in New Orleans," the pianist employs the 2-3 clave onbeat/offbeat motif in a rumba-boogie "guajeo" (below).^[12] The 2-3 clave time-line is written above the piano excerpt for reference.

Piano excerpt from the rumba boogie "Mardi Gras in New Orleans" (1949) by Professor Longhair. 2-3 clave is written above for rhythmic reference.

The syncopated, but straight subdivision feel of Cuban music (as opposed to swung subdivisions) took root in New Orleans R&B during this time. 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 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."^[13] Stewart makes the point: "The singular style of rhythm & blues that emerged from New Orleans in 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."^[14]

After 1965, Brown's bandleader and arranger was Alfred 'Pee Wee' Ellis. Ellis credits Clyde Stubblefield's adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a studio, you said 'play it funky' that could imply almost anything. But 'give me a New Orleans beat' - you got exactly what you wanted. And Clyde Stubblefield was just the epitome of this funky drumming."^[15] Watch: "Clyde Stubblefield/ Funky Drummer." Stewart states that the popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s."^[14] Concerning the various funk motifs, Stewart states: "This model, it should be noted, is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."^[16]

1960s: James Brown and the development of funk[link]

James Brown, one of the founding fathers of funk

Little Richard's saxophone-studded, mid-1950s R&B road band was credited by James Brown and others as being the first to put the funk in the rock'n'roll beat.^[17] 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 the backbeat that typified African American music.^[18] 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 the shift in Brown's signature music style, starting with his 1964 hit single, "Out of Sight" and his 1965 hit, "Papa's Got a Brand New Bag".

Brown's style of funk was based on interlocking, contrapuntal parts: funky bass lines, drum patterns, and syncopated guitar riffs.^[19] The main guitar ostinatos for "Aint" it Funky" (c. late 1960s), and "Give it Up or Turn it Lose" (1969), are examples of Brown's refinement of New Orleans funk— irresistibly danceable riffs, stripped down to their rhythmic essence. On "Aint" it Funky" (c. late 1960s), and "Give it Up or Turn it Lose" (1969), the tonal structure is bare bones. The pattern of attack-points is the emphasis, not the pattern of pitches. It's as if the guitar is an African drum, or idiophone.

Guitar part for "Aint" it Funky" by James Brown.

Guitar part for "Give it Up or Turn it Lose" by James Brown (1969).

"Bring it Up" has an Afro-Cuban guajeo-like structure. If fact, on a 1976 version, Cuban bongos are used.

Guitar part for "Bring it Up" by James Brown (1967).

Brown's innovations led to him and his band becoming the seminal funk act; they also pushed the funk music style further to the forefront with releases such as "Cold Sweat" (1967), "Mother Popcorn" (1969) and "Get Up (I Feel Like Being A) Sex Machine" (1970), discarding even the twelve-bar blues featured in his earlier music. Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns ... [resembling] West African polyrhythms" – a tradition evident in African American work songs and chants.^[20] Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.^[20]

In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat.... Simple as that, really."^[21] According to Maceo Parker, Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.^[22]

Late 1960s – early 1970s[link]

Other musical groups picked up on the rhythms, and vocal style developed by James Brown and his band, and the funk style began to grow. Dyke & the Blazers based in Phoenix, Arizona, released "Funky Broadway" in 1967, perhaps the first record of the soul era to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1971.

Also from the West Coast area, more specifically Oakland, San Francisco, came the band Tower of Power, which formed in 1968. Their debut album East Bay Grease, released 1970, is considered by many enthusiasts as an important milestone in funk. Throughout the '70s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.

In 1970, Sly & the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" reached #1 on the charts, as did "Family Affair" in 1971. Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. The Meters defined funk in New Orleans, starting with their top ten R&B hits "Sophisticated Cissy" and "Cissy Strut" in 1969. Another group who defined funk around this time were The Isley Brothers, whose funky 1969 #1 R&B hit, "It's Your Thing", signaled a breakthrough in African-American music, bridging the gaps of the jazzy sounds of Brown, the psychedelic rock of Jimi Hendrix, and the upbeat soul of Sly & the Family Stone and Mother's Finest.

P-Funk: Parliament-Funkadelic[link]

George Clinton and Parliament Funkadelic in 2006

A new group of musicians began to further develop the "funk rock" approach. Innovations were prominently made by George Clinton, with his bands Parliament and Funkadelic. Together, they produced a new kind of funk sound heavily influenced by jazz and psychedelic rock. The two groups shared members and are often referred to collectively as "Parliament-Funkadelic."

The breakout popularity of Parliament-Funkadelic gave rise to the term "P-Funk", which referred to the music by George Clinton's bands, and defined a new subgenre. Clinton played a principal role in several other bands, including Parlet, the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate. "P-funk" also came to mean something in its quintessence, of superior quality, or sui generis.

1970s[link]

The 1970s were the era of highest mainstream visibility for funk music. In addition to Parliament Funkadelic, artists like Sly and the Family Stone, Rufus & Chaka Khan, the Isley Brothers, Ohio Players, Confunkshun, Kool & The Gang, The Bar-Kays, Commodores, Roy Ayers, among others, were successful in getting radio play. However, according to Billboard Magazine, only Sly & the Family Stone and the Ohio Players had singles which made it to #1 on its U.S. singles chart.^{[citation needed]}

Musicians from other styles began to experiment with funk, such as jazz pianist Herbie Hancock, who starting with his 1973 "Head Hunters" album, began incorporating funk throughout the remainder of his career. In fact, all of his 1970s albums after "Head Hunters" were heavily influenced by funk. It was the main driving force of Hancock's 1970s music, most of it being strictly instrumental. Hancock was one of the first big jazz artists to switch his sound to funk. Funk music was also exported to Africa, and it melded with African singing and rhythms to form Afrobeat. Nigerian musician Fela Kuti is credited with creating the music and terming it "Afrobeat".

Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of Barry White's hits, "Kung Fu Fighting" by Biddu and Carl Douglas, Donna Summer's "Love To Love You Baby", Diana Ross' "Love Hangover", KC & The Sunshine Band's "I'm Your Boogie Man", "I'm Every Woman" by Chaka Khan (also known as The Queen of Funk Soul), and Chic's "Le Freak" conspicuously include riffs and rhythms derived from funk. In 1976, Rose Royce scored a #1 hit with a purely dance-funk record, "Car Wash". Even with the arrival of Disco, funk became increasingly popular well into the early 80s.

1980s and stripped-down funk[link]

In the 1980s, largely as a reaction against what was seen as the over-indulgence of disco, many of the core elements that formed the foundation of the P-Funk formula began to be usurped by electronic machines and synthesizers. Horn sections of saxophones and trumpets were replaced by synth keyboards, and the horns that remained were given simplified lines, and few horn solos. The classic keyboards of funk, like the Hammond B3 organ, the Hohner Clavinet and/or the Fender Rhodes piano began to be replaced by the new digital synthesizers such as the Yamaha DX7. Electronic drum machines such as the Roland TR-808 began to replace the "funky drummers" of the past, and the slap and pop style of bass playing were often replaced by synth keyboard bass lines. As well, the lyrics of funk songs began to change from suggestive double entendres to more graphic and sexually explicit content.

In the late 1970s, the electronic music band Yellow Magic Orchestra (YMO) began experimenting with electronic funk music, introducing "videogame-funk" sounds with hits such as "Computer Game" (1978), which had a strong influence on the later electro-funk genre.^[23] In 1980, YMO was the first band to use the TR-808 programmable drum machine,^[24] while YMO member Ryuichi Sakamoto's "Riot in Lagos" developed the beats and sounds of electro-funk that same year,^[25] influencing later electro-funk artists such as Afrika Bambaataa^[25] and Mantronix.^[26]

Rick James was the first funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s. His 1981 album Street Songs with the singles "Give It To Me Baby" and "Super Freak" resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.

Prince

Beginning in the late 1970s, Prince used a stripped-down, yet dynamic, instrumentation similar to James. However, Prince went on to have as much of an impact on the sound of funk as any one artist since Brown; he combined eroticism, technology, an increasing musical complexity, and an outrageous image and stage show to ultimately create music as ambitious and imaginative as P-Funk. Prince formed The Time, originally conceived as an opening act for him and based on his "Minneapolis sound", hybrid mixture of funk, R&B, rock, pop & New Wave. Eventually, the band went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.

Similar to Prince, other bands emerged during the P-Funk era and began to incorporate uninhibited sexuality, dance-oriented themes, synthesizers and other electronic technologies to continue to craft funk hits. These included Cameo, Zapp, The Gap Band, The Bar-Kays, and The Dazz Band all found their biggest hits in the early 1980s. However, by the latter half of the 80s, funk had lost its commercial impact.

Influenced by Yellow Magic Orchestra^[25] and Kraftwerk, the American musician Afrika Bambaataa developed electro-funk, a minimalist machine-driven style of funk with his single "Planet Rock" in 1982. Also known simply as electro, this style of funk was driven by synthesizers and the electronic rhythm of the TR-808 drum machine. The single "Renegades of Funk" followed in 1983.

Funk became an international style of music, and is played by bands from such countries as Canada, the United Kingdom, France, Italy, Spain, Japan, Algeria, India, South Africa, Brazil, and Nigeria.

Late 1980s to present[link]

While funk was all but driven from the radio by slick commercial hip hop, Contemporary R&B and New Jack Swing, its influence continued to spread. Rock bands began adding elements of funk to their sound, creating new combinations of "funk rock" and "funk metal". Extreme, Red Hot Chili Peppers, Living Colour, Jane's Addiction, Prince, Primus, Fishbone, Faith No More, Infectious Grooves, Incubus and Rage Against the Machine spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement and current funk-inspired artists like Outkast, Malina Moye, Van Hunt, and Gnarls Barkley.

In the 1990s, artists like Me'shell Ndegeocello and the (predominantly UK-based) acid jazz movement including artists and bands such Jamiroquai, Incognito, Galliano, Omar and The Brand New Heavies carried on with strong elements of funk. However, they never came close to reaching the commercial success of funk in its heyday, with the exception of Jamiroquai whose album Travelling Without Moving sold about 11.5 million units worldwide. Meanwhile in Australia and New Zealand, bands playing the pub circuit, such as Supergroove, Skunkhour and The Truth, preserved a more instrumental form of funk.

Since the late 1980s hip hop artists have regularly sampled old funk tunes. James Brown is said to be the most sampled artist in the history of hip hop, while P-Funk is the second most sampled artist; samples of old Parliament and Funkadelic songs formed the basis of West Coast G-funk.

Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. Dr. Dre (considered the progenitor of the G-funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelic funk: "Back in the 70s that's all people were doing: getting high, wearing Afros, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album The Chronic and based my music and the concepts like I did: because his shit was a big influence on my music. Very big".^[27] Digital Underground was a large contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history of funk and its artists. George Clinton branded Digital Underground as "Sons of the P", as their second full length release is also titled. DU's first release, Sex Packets, was full of funk samples, with the most widely known "The Humpty Dance" sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release Future Rhythm. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.

Funk is a major element of certain artists identified with the jam band scene of the late 1990s and 2000s. Phish began playing funkier jams in their sets around 1996, and 1998's The Story of the Ghost was heavily influenced by funk. Medeski Martin & Wood, Robert Randolph & The Family Band, Galactic, Widespread Panic, Jam Underground, Diazpora, Soulive, and Karl Denson's Tiny Universe all drawing heavily from the funk tradition. Lettuce, a band of Berklee College Of Music graduates, was formed in the late 1990s as a pure-funk emergence was being felt through the jam band scene. Many members of the band including keyboardist Neal Evans went on to other projects such as Soulive or the Sam Kininger Band. In April 2008, they released a new album entitled Rage! The young band Captain Coconut played the New York club scene and followed in their footsteps.^[28]

Since the mid 1990s the nu-funk scene, centered around the Deep Funk collectors scene, is producing new material influenced by the sounds of rare funk 45s. Labels include Desco, Soul Fire, Daptone, Timmion, Neapolitan, Bananarama, Kay-Dee, and Tramp. These labels often release on 45 rpm records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on Late Night with Conan O'Brien.

In the early 2000s, some punk funk bands such as Out Hud and Mongolian MonkFish perform in the indie rock scene. Indie band Rilo Kiley, in keeping with their tendency to explore a variety of rockish styles, incorporated funk in to their song "The Moneymaker" on the album Under the Blacklight. Prince, with his recent albums has given a rebirth to the funk sound with songs like "The Everlasting Now", "Musicology", "Ol' Skool Company", and "Black Sweat".

Funk has also been incorporated into modern R&B music by many female singers such as Beyoncé with her 2003 hit "Crazy In Love" (which samples The Chi-Lites' "Are You My Woman"), Jennifer Lopez in 2005 with Get Right (which samples Maceo Parker's "Soul Power '74" horn sound), and also Amerie with her song 1 Thing (The Meters' "Oh, Calcutta!").

Subgenres[link]

From the early 1970s onwards, funk has developed various subgenres. While George Clinton and the Parliament were making a harder variation of funk, bands such as Kool and The Gang, Ohio Players and Earth, Wind and Fire were making disco-influenced funk music.^[29]

Funk rock[link]

Funk rock (also written as funk-rock or funk/rock) fuses funk and rock elements.^[30] Its earliest incarnation was heard in the late '60s through the mid-'70s by musicians such as Jimi Hendrix, Frank Zappa, Steely Dan, Herbie Hancock, Return to Forever, Gary Wright, David Bowie, Mother's Finest, and Funkadelic on their earlier albums.

Many instruments may be incorporated into funk rock, but the overall sound is defined by a definitive bass or drum beat and electric guitars. The bass and drum rhythms are influenced by funk music but with more intensity, while the guitar can be funk-or-rock-influenced, usually with distortion. Prince, Jesse Johnson, and Fishbone are major artists in funk rock.

Boogie[link]

Boogie (or electro-funk) is an electronic music mainly influenced by funk and post-disco. The minimalism approach of boogie consisted of synthesizers and keyboards helped to establish electro and house music. Boogie, unlike electro, emphasises the slapping techniques of bass guitar but also bass synthesizers. Artists include Vicky “D”, Komiko, Peech Boys, Kashif, and later Evelyn King.

Electro music[link]

Electro music is a hybrid of electronic music and funk. It essentially follows the same form as funk, and retains funk's characteristics, but is made entirely (or partially) with a use of electronic instruments such as the TR-808. Vocoders to transform the vocals, were often used. Early artists include Herbie Hancock, Afrika Bambaataa, Vaughan Mason & Crew, Midnight Star, and Cybotron.

Go-go[link]

Go-go originated in the Washington, D.C. area with which it remains associated, along with other spots in the Mid-Atlantic. Inspired by singers such as Chuck Brown, the "Godfather of Go-go", it is a blend of funk, rhythm and blues, and early hip hop, with a focus on lo-fi percussion instruments and in-person jamming in place of dance tracks. As such, it is primarily a dance music with an emphasis on live audience call and response. Go-go rhythms are also incorporated into street percussion.

Funk metal[link]

Funk metal (sometimes typeset differently such as funk-metal) is a fusion genre of music which emerged in the 1980s.^[31] It typically incorporates elements of funk and heavy metal. It features hard-driving heavy metal guitar riffs, the pounding bass rhythms characteristic of funk, and sometimes hip hop-style rhymes into an alternative rock approach to songwriting. A primary example is the all-African-American hard rock band Living Colour, who have been said to be "funk-metal pioneers" by Rolling Stone.^[32]

G-funk[link]

G-funk is a fusion genre of music which combines gangsta rap and funk. It is generally considered to have been invented by west coast rappers, made famous by Warren G.

Funk jam[link]

Funk jam is a fusion genre of music which emerged in the 2000s. It typically incorporates elements of funk and often exploratory guitar, along with extended cross genre improvisations; often including elements of jazz, ambient, electronic, Americana, and hip hop including improvised lyrics.

Soul Rebels Brass Band, Phish, Galactic, Soulive are all examples of funk bands that play funk jam.

See also[link]

R&B and Soul Music portal

• List of funk musicians
• African American music

Notes[link]

References[link]

• Vincent, Rickey (1996). Funk: The Music, The People, and The Rhythm of The One. St. Martin's Press. ISBN 0-312-13499-1. 
• Thompson, Dave (2001). Funk. Backbeat Books. ISBN 0-87930-629-7. 
• Wermelinger, Peter (2005). Funky & Groovy Music Records Lexicon. -. ISBN 3-9522773-1-2. 

Video is the technology of electronically capturing, recording, processing, storing, transmitting, and reconstructing a sequence of still images representing scenes in motion.

History[link]

Video technology was first developed for cathode ray tube (CRT) television systems, but several new technologies for video display devices have since been invented. Charles Ginsburg led an Ampex research team developing the first practical video tape recorder (VTR). In 1951 the first video tape recorder captured live images from television cameras by converting the camera's electrical impulses and saving the information onto magnetic video tape.

Video recorders sold for $50,000 in 1956, and videotape cost $300 per one-hour reel.^[1] However, prices steadily dropped over the years; in 1971, Sony began selling videocassette recorder (VCR) tapes to the public. After the invention of the DVD in 1997 and Blu-ray Disc in 2006, sales of videotape and tape equipment plummeted.

Later advances in computer technology allowed computers to capture, store, edit and transmit video clips.

Characteristics of video streams[link]

Number of frames per second[link]

Frame rate, the number of still pictures per unit of time of video, ranges from six or eight frames per second (frame/s) for old mechanical cameras to 120 or more frames per second for new professional cameras. PAL (Europe, Asia, Australia, etc.) and SECAM (France, Russia, parts of Africa etc.) standards specify 25 frame/s, while NTSC (USA, Canada, Japan, etc.) specifies 29.97 frame/s. Film is shot at the slower frame rate of 24photograms/s, which complicates slightly the process of transferring a cinematic motion picture to video. The minimum frame rate to achieve the illusion of a moving image is about fifteen frames per second.

Interlaced vs progressive[link]

Video can be interlaced or progressive. Interlacing was invented as a way to reduce flicker in early mechanical and CRT video displays without increasing the number of complete frames per second, which would have required sacrificing image detail in order to remain within the limitations of a narrow bandwidth. The horizontal scan lines of each complete frame are treated as if numbered consecutively and captured as two fields: an odd field (upper field) consisting of the odd-numbered lines and an even field (lower field) consisting of the even-numbered lines.

Analog display devices reproduce each frame in the same way, effectively doubling the frame rate as far as perceptible overall flicker is concerned. When the image capture device acquires the fields one at a time, rather than dividing up a complete frame after it is captured, the frame rate for motion is effectively doubled as well, resulting in smoother, more life-like reproduction (although with halved detail) of rapidly moving parts of the image when viewed on an interlaced CRT display, but the display of such a signal on a progressive scan device is problematic.

NTSC, PAL and SECAM are interlaced formats. Abbreviated video resolution specifications often include an i to indicate interlacing. For example, PAL video format is often specified as 576i50, where 576 indicates the total number of horizontal scan lines, i indicates interlacing, and 50 indicates 50 fields (half-frames) per second.

In progressive scan systems, each refresh period updates all of the scan lines of each frame in sequence. When displaying a natively progressive broadcast or recorded signal, the result is optimum spatial resolution of both the stationary and moving parts of the image. When displaying a natively interlaced signal, however, overall spatial resolution will be degraded by simple line doubling and artifacts such as flickering or "comb" effects in moving parts of the image will be seen unless special signal processing is applied to eliminate them. A procedure known as deinterlacing can be used to optimize the display of an interlaced video signal from an analog, DVD or satellite source on a progressive scan device such as an LCD Television, digital video projector or plasma panel. Deinterlacing cannot, however, produce video quality that is equivalent to true progressive scan source material.

Aspect ratio[link]

Comparison of common cinematography and traditional television (green) aspect ratios

Aspect ratio describes the dimensions of video screens and video picture elements. All popular video formats are rectilinear, and so can be described by a ratio between width and height. The screen aspect ratio of a traditional television screen is 4:3, or about 1.33:1. High definition televisions use an aspect ratio of 16:9, or about 1.78:1. The aspect ratio of a full 35 mm film frame with soundtrack (also known as the Academy ratio) is 1.375:1.

Ratios where the height is taller than the width are uncommon in general everyday use, but do have application in computer systems where the screen may be better suited for a vertical layout. The most common tall aspect ratio of 3:4 is referred to as portrait mode and is created by physically rotating the display device 90 degrees from the normal position. Other tall aspect ratios such as 9:16 are technically possible but rarely used. (For a more detailed discussion of this topic please refer to the page orientation article.)

Pixels on computer monitors are usually square, but pixels used in digital video often have non-square aspect ratios, such as those used in the PAL and NTSC variants of the CCIR 601 digital video standard, and the corresponding anamorphic widescreen formats. Therefore, an NTSC DV image which is 720 pixels by 480 pixels is displayed with the aspect ratio of 4:3 (which is the traditional television standard) if the pixels are thin and displayed with the aspect ratio of 16:9 (which is the anamorphic widescreen format) if the pixels are fat.

Color space and bits per pixel[link]

Example of U-V color plane, Y value=0.5

Color model name describes the video color representation. YIQ was used in NTSC television. It corresponds closely to the YUV scheme used in NTSC and PAL television and the YDbDr scheme used by SECAM television.

The number of distinct colors that can be represented by a pixel depends on the number of bits per pixel (bpp). A common way to reduce the number of bits per pixel in digital video is by chroma subsampling (e.g. 4:4:4, 4:2:2, 4:2:0/4:1:1).

Video quality[link]

Video quality can be measured with formal metrics like PSNR or with subjective video quality using expert observation.

The subjective video quality of a video processing system may be evaluated as follows:

• Choose the video sequences (the SRC) to use for testing.
• Choose the settings of the system to evaluate (the HRC).
• Choose a test method for how to present video sequences to experts and to collect their ratings.
• Invite a sufficient number of experts, preferably not fewer than 15.
• Carry out testing.
• Calculate the average marks for each HRC based on the experts' ratings.

Many subjective video quality methods are described in the ITU-T recommendation BT.500. One of the standardized method is the Double Stimulus Impairment Scale (DSIS). In DSIS, each expert views an unimpaired reference video followed by an impaired version of the same video. The expert then rates the impaired video using a scale ranging from "impairments are imperceptible" to "impairments are very annoying".

Video compression method (digital only)[link]

A wide variety of methods are used to compress video streams. Video data contains spatial and temporal redundancy, making uncompressed video streams extremely inefficient. Broadly speaking, spatial redundancy is reduced by registering differences between parts of a single frame; this task is known as intraframe compression and is closely related to image compression. Likewise, temporal redundancy can be reduced by registering differences between frames; this task is known as interframe compression, including motion compensation and other techniques. The most common modern standards are MPEG-2, used for DVD, Blu-ray and satellite television, and MPEG-4, used for AVCHD, Mobile phones (3GP) and Internet.

Bit rate (digital only)[link]

Bit rate is a measure of the rate of information content in a video stream. It is quantified using the bit per second (bit/s or bps) unit or Megabits per second (Mbit/s). A higher bit rate allows better video quality. For example VideoCD, with a bit rate of about 1 Mbit/s, is lower quality than DVD, with maximum bit rate of 10.08 Mbit/s for video. HD (High Definition Digital Video and TV) has a still higher quality, with a bit rate of about 20 Mbit/s.

Variable bit rate (VBR) is a strategy to maximize the visual video quality and minimize the bit rate. On fast motion scenes, a variable bit rate uses more bits than it does on slow motion scenes of similar duration yet achieves a consistent visual quality. For real-time and non-buffered video streaming when the available bandwidth is fixed, e.g. in videoconferencing delivered on channels of fixed bandwidth, a constant bit rate (CBR) must be used.

Stereoscopic[link]

Stereoscopic video can be created using several different methods:

• two channels — a right channel for the right eye and a left channel for the left eye. Both channels may be viewed simultaneously by using light-polarizing filters 90 degrees off-axis from each other on two video projectors. These separately polarized channels are viewed wearing eyeglasses with matching polarization filters.
• one channel with two overlaid color coded layers. This left and right layer technique is occasionally used for network broadcast, or recent "anaglyph" releases of 3D movies on DVD. Simple Red/Cyan plastic glasses provide the means to view the images discretely to form a stereoscopic view of the content.
• One channel with alternating left/right frames for each eye, using LCD shutter glasses which read the frame sync from the VGA Display Data Channel to alternately cover each eye, so the appropriate eye sees the correct frame. This method is most common in computer virtual reality applications such as in a Cave Automatic Virtual Environment, but reduces the effective video framerate to one-half of normal (for example, from 120 Hz to 60 Hz).

Blu-ray Discs greatly improve the sharpness and detail of the two-color 3D effect in color coded stereo programs. See articles Stereoscopy and 3-D film.

Video formats[link]

There are different layers of video transmission and storage, each with its own set of formats to choose from.

For transmission, there is a physical connector and signal protocol ("video connection standard" below). A given physical link can carry certain "display standards" which specify a particular refresh rate, display resolution, and color space.

Many analog and digital recording formats are in use, and digital video clips can also be stored on a computer file system as files which have their own formats. In addition to the physical format used by the data storage device or transmission medium, the stream of ones and zeros that is sent must be in a particular digital "video encoding", of which a number are available.

Transport medium[link]

Video can be transmitted or transported in a variety of ways. Wireless broadcast as an analog or digital signal. Coaxial cable in a closed circuit system can be sent as analog interlaced 1 volt peak to peak with a maximum horizontal line resolution up to 480. Broadcast or studio cameras use a single or dual coaxial cable system using a progressive scan format known as SDI serial digital interface and HD-SDI for High Definition video. The distances of transmission are somewhat limited depending on the manufacturer the format may be proprietary. SDI has an negligible lag and is uncompressed. There are initiatives to use the SDI standards in closed circuit surveillance systems, for Higher Definition images, over longer distances on coax or twisted pair cable. Due to the nature of the higher bandwidth needed, the distance the signal can be effectively sent is a half to a third of what the older interlaced analog systems supported.^[2]

Video connectors, cables, and signal standards[link]

• See List of video connectors for information about physical connectors and related signal standards.

Video display standards[link]

Digital television[link]

New formats for digital television broadcasts use the MPEG-2 video codec and include:

• ATSC - USA, Canada, Korea
• Digital Video Broadcasting (DVB) - Europe
• ISDB - Japan
  • ISDB-Tb - Uses the MPEG-4 video codec. Brazil, Argentina
• Digital Multimedia Broadcasting (DMB) - Korea

Analog television[link]

Analog television broadcast standards include:

• FCS - USA, Russia; obsolete
• MAC - Europe; obsolete
• MUSE - Japan
• NTSC - USA, Canada, Japan
• PAL - Europe, Asia, Oceania
  • PAL-M - PAL variation. Brazil, Argentina
  • PALplus - PAL extension, Europe
• RS-343 (military)
• SECAM - France, Former Soviet Union, Central Africa

An analog video format consists of more information than the visible content of the frame. Preceding and following the image are lines and pixels containing synchronization information or a time delay. This surrounding margin is known as a blanking interval or blanking region; the horizontal and vertical front porch and back porch are the building blocks of the blanking interval.

Many countries are planning a digital switchover soon.

Computer displays[link]

See Computer display standard for a list of standards used for computer monitors and comparison with those used for television.

Recording formats before video tape[link]

• Phonovision
• Kinescope

Analog tape formats[link]

• 1" Type B video tape (Robert Bosch GmbH)
• 1" Type C videotape (Ampex, Marconi and Sony)
• 2" Quadruplex videotape (Ampex)
• 2" Helical Scan Videotape (Rank Cintel)
• Betacam (Sony)
• Betacam SP (Sony)
• Betamax (Sony)
• S-VHS (JVC) (1987)
• W-VHS (JVC) (1994)
• U-matic 3/4" (Sony)
• VCR, VCR-LP, SVR
• VERA (BBC experimental format ca. 1958)
• VHS (JVC)
• VHS-C (JVC)
• Video 2000 (Philips)

(See List of video recording formats.)

Digital tape formats[link]

• Betacam IMX (Sony)
• D-VHS (JVC)
• D-Theater
• D1 (Sony)
• D2 (Sony)
• D3
• D5 HD
• Digital-S D9 (JVC)
• Digital Betacam (Sony)
• Digital8 (Sony)
• DV
• HDV
• ProHD (JVC)
• MicroMV
• MiniDV

Optical disc storage formats[link]

• Blu-ray Disc (Sony)
• China Blue High-definition Disc (CBHD)
• DVD (was Super Density Disc, DVD Forum)
• Professional Disc
• Universal Media Disc (UMD) (Sony)

Discontinued[link]

• Enhanced Versatile Disc (EVD, Chinese government-sponsored)
• HD DVD (NEC and Toshiba)
• HD-VMD
• Laserdisc (old, MCA and Philips)

Digital encoding formats[link]

• CCIR 601 (ITU-T)
• H.261 (ITU-T)
• H.263 (ITU-T)
• H.264/MPEG-4 AVC (ITU-T + ISO)
• M-JPEG (ISO)
• MPEG-1 (ISO)
• MPEG-2 (ITU-T + ISO)
• MPEG-4 (ISO)
• Ogg-Theora
• VP8-WebM
• VC-1 (SMPTE)

• See also: Video codec and list of codecs

Standards[link]

• System M
• System B

See also[link]

Wikimedia Commons has media related to: Video

• General
  • Audio
  • List of video topics
  • Video clips
  • Video editing

• Video format
  • Analog television
  • Cable television
  • Color space
  • Digital television
  • Digital video
  • Film formats
  • Interlaced
  • Progressive scan
  • Satellite television
  • Telecine
  • Television
  • Timecode
  • Video codec

• Video usage
  • Closed-circuit television
  • Fulldome video
  • Optical feedback
  • Video art
  • Interactive video
  • Video production
  • Video projector
  • Video synthesizer
  • Video teleconference
  • Video communication
• Video screen recording
  • Screencast

• Projects
  • Redesign project

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (August 2008)

External links[link]

• Video as Arts at the Open Directory Project
• Video as Media Production at the Open Directory Project
• Programmer's Guide to Video Systems: in-depth technical info on 480i, 576i, 1080i, 720p, etc.

Cee Lo Green
Cee Lo Green at a Gnarls Barkley concert in July 2010.
Background information
Birth name	Thomas DeCarlo Callaway[1]
Also known as	Cee Lo Green, Cee Lo
Born	(1974-05-30) May 30, 1974 (age 38)[1] Atlanta, Georgia, United States
Genres	Soul, hip hop, neo soul, R&B, funk, alternative hip hop, hip hop soul
Occupations	Singer-songwriter, rapper, record producer, actor
Instruments	Vocals, piano
Years active	1992–present
Labels	Arista, Elektra
Associated acts	Gnarls Barkley, Goodie Mob, TLC, Kid Cudi, OutKast, Jazze Pha, Bruno Mars
Website	ceelogreen.com

Thomas DeCarlo Callaway (born May 30, 1974),^[1] better known by his stage name Cee Lo Green, is an American singer-songwriter, rapper, record producer and actor. Originally came to prominence as a member of the southern hip hop group Goodie Mob, later launching a critically acclaimed solo career^[2] and forming Gnarls Barkley with DJ Danger Mouse.

Internationally, Cee Lo is best known for his hip hop work, his most popular was Gnarls Barkley's 2006 worldwide hit "Crazy", which reached number one in various singles charts worldwide, including the UK. In the United States, "Crazy" reached number two on the Billboard Hot 100. Parent album St. Elsewhere was also a hit, reaching number one on the UK Albums Chart and number four on the US Billboard 200 album charts. Gnarls Barkley's second album, The Odd Couple (2008), was less successful and missed the top ten in both the UK and U.S., where it charted at number 12 in the U.S. and 18 in the UK.

In 2010, Cee Lo took a break from recording with Gnarls Barkley and released the single "F**k You!" on August 19 as a solo recording artist. The song was an instant hit, with the radio-edit version "Forget You" reaching the top spot in the UK and the Netherlands and charted at number two on the U.S. Billboard Hot 100. The parent album, The Lady Killer (2010) saw similar success, peaking within the top five of the UK Albums Chart and debuting within the top ten on the Billboard 200 album charts, and received a Gold certification from the BPI in the UK shortly after its release. His second single "It's OK" was a hit in Europe and the third single, "Bright Lights Bigger City" has also seen similar charting success. Cee Lo is also currently a vocal coach on the NBC reality talent show The Voice with Adam Levine, Christina Aguilera, and Blake Shelton.

Early life[link]

Cee Lo Green was born Thomas DeCarlo Callaway in Atlanta, Georgia. He graduated high school from Riverside Military Academy, Gainesville, GA., an All-Boy Boarding School. Both of his parents were ordained ministers and he started his music career in his church. His father died when he was two years old. His mother, Sheila J. Tyler-Callaway, was also a volunteer firefighter.^[3][4] She was involved in a car crash, leaving her paralyzed, and died two years after the accident. At the time, Cee Lo's career with Goodie Mob had just begun taking off. His mother's death led Cee Lo into depression, as is reflected in various songs throughout his career, including "Free" by Goodie Mob, songs on St. Elsewhere, and on The Odd Couple ("She Knows", "A Little Better").^[5][6] Cee Lo also expresses his love for his mother in the song "Guess Who" from Goodie Mob's Soul Food album. In an excerpt of "Cee Lo Distilled", a mini documentary produced by Absolut and The Fader released on YouTube, Cee Lo explained that his mother's death was a defining moment to "crossing that threshold over into a career".^[7]

Music career[link]

Goodie Mob[link]

Along with Big Gipp, T-Mo, and Khujo, Cee Lo was an original member of the Atlanta hip hop group Goodie Mob. He is the youngest of the four.^[8] The Goodie Mob were a part of the Atlanta rap collective the Dungeon Family, which also included OutKast. The group released their debut album, Soul Food in 1995. The album received much critical praise as a pioneering record for the then emerging Southern rap scene. It featured a distinctive soulful southern sound by production team Organized Noize, who had also produced OutKast's debut Southernplayalisticadillacmuzik. Cee Lo got considerable praise for his rapping and singing of hooks, particularly on the hit singles "Cell Therapy" and "Soul Food". The band has recently published a single "Fight to Win" and performed it on The Voice.

The group's second album, Still Standing came out in 1998 and also received much critical praise. Its commercial performance was slightly lower than the group's previous effort however. At this time, Cee Lo focused primarily on rapping over singing. While he did frequently sing hooks and did some singing, at this point he was a rapper first and foremost. Cee Lo took more creative control on the group's next album, World Party. Released in 1999, this album was more of a party record than the group's previous output, getting away somewhat from their socially conscious lyricism.^[9]

During the making of the album World Party, Cee Lo left the group to pursue a solo career under Arista and the remaining members continued to perform together under the Goodie Mob name with Koch Records. They did however collaborate in combinations in the Dungeon Family album Even in Darkness. Although the next Goodie Mob album seemed to mock Cee Lo with its title, One Monkey Don't Stop No Show, the group expressed that it was more of a jab at Arista and the music industry as a whole.

The song "Hold On" from Big Boi of OutKast's Got Purp? Vol. 2 album was the first newly recorded Goodie Mob song with all four members since World Party. (Khujo later revealed to fans at an album signing^{[original research?]} for his new album "Mercury", that the song "Hold On" was originally recorded in 1995 before Soul Food was released.)

Santana[link]

In 1999, Cee Lo, credited as "Cee-Lo" was one of ten famous guest musicians who contributed to the Santana album Supernatural. Lauryn Hill wrote "Do You Like The Way," and the two of them trade off on lead vocals.

Solo career[link]

Cee Lo at a Gnarls Barkley concert in the Netherlands, July 2008.

Cee Lo's Arista career was short lived, as he was dropped after only two albums due to low record sales. His first album, Cee-Lo Green and His Perfect Imperfections, was heavily in the vein of various other Dungeon Family releases, with southern soul/funk/jazz backings produced solely by himself and boasting appearances by fellow Dungeon Fam members Big Gipp and Backbone. The album explored his departure from Goodie Mob and his solo growth in the song "El Dorado Sunrise (Super Chicken)", as well as socio-political issues, and showcased his singing. The album did not sell very well, but Cee Lo achieved some airplay with the single "Closet Freak".

His second Arista album, Cee-Lo Green... Is the Soul Machine brought a more branched-out sound and more deeply explored southern rap music. This is evidenced by collaborations with Ludacris, T.I., and Pharrell Williams, as well as production from Timbaland, The Neptunes and Jazze Pha, among others. The only other Dungeon Family member that appeared on his second release was Big Rube. This album saw Cee Lo delve into other styles besides traditional rap. Timbaland proved to be Cee Lo's single producer as their song "I'll Be Around" received mild airplay. They performed the single on an episode in the second season of Chappelle's Show. "The One" featuring Jazze Pha and T.I. was also released as a single. On the heels of the success of Gnarls Barkley, Arista released a 17-track greatest hits collection of Cee Lo songs, Closet Freak: The Best of Cee-Lo Green the Soul Machine. It features predominantly Cee Lo solo tracks and several Goodie Mob songs. His new song "What Part of Forever" has been included in The Twilight Saga: Eclipse Original Motion Picture Soundtrack.^[10]

After his second solo album, Cee Lo joined the group Gnarls Barkley (see below) with Danger Mouse, temporarily putting his solo career on hold. He would release two albums with that group, before again releasing solo material in 2010.

On August 14, 2010, Cee Lo released the single "Fuck You!" to YouTube ahead of his planned solo album release, due to its partial leak on April 13. "Fuck You!" was an instant viral smash hit,^[2] registering over two million plays in less than a week. Two weeks later on September 1, Cee Lo released to YouTube an official music video of the song.^[11] "Fuck You" made a debut at No.1 on the UK charts, notably beating out "Shame" from the recently reunited Robbie Williams and Gary Barlow. On December 1, 2010, Cee Lo received five Grammy nominations for "Fuck You!", which has been certified Gold in the United States^[12] and Denmark.^[13] The single achieved platinum status in Canada,^[14] New Zealand,^[15] and the UK;^[16] and multi-platinum status in Australia.^[17]

When discussing his most recent album, The Lady Killer (released on November 9, 2010, by Elektra Records and Roadrunner Records),^[18] Cee Lo said: "I suppose this is a more clear, concise, consistent, conceptual, entire album. It's a complete thought, because it's written to be like a score. The album's meant to be a motion picture, you know? I've never taken that approach to doing an album before."^[19] The album was certified Gold in the UK on December 6, 2010.^[20]

Green is touring with an all-female backing band named "Scarlet Fever" (made up of Sharon Aguilar, Brittany Brooks, Theresa Flaminio, and Regina Zernay Roberts), performing for Taratata,^[21] the BBC,^{[22][23][24][25]} Late Show with David Letterman,^[26] W's Symmetry Live Concert Series,^[27][28] Saturday Night Live,^[29][30] the Jimmy Kimmel Live! special show following the Academy Awards,^[31] and many other venues. Green also performed "Forget You", a sanitized version of his hit "Fuck You", with Gwyneth Paltrow and several puppets provided by The Jim Henson Company at the 53rd Annual Grammy Awards on February 13, 2011, a shoutout to Elton John, who wore a very similar costume in a Muppet show performance in 1977.^[32] At the 2011 BRIT Awards two days later, he was joined by British vocalist Joelle Bennett in another duet of "Fuck You".^[33][34] Shortly thereafter, it was announced that Green will be joining Rihanna and J. Cole on the North American leg of Rihanna Loud Tour in the summer of 2011.^[35] However, he later dropped out of the tour citing that his busy work schedule which includes his commitment to judging “The Voice”, writing a new book and recording a new album as the reason for his withdrawal.^[36] On August 14, 2011, Green performed at WWE SummerSlam performing "Forget You" and the event's theme, "Bright Lights, Bigger City".

Cee Lo released his debut album The Lady Killer as a Platinum Edition on November 28, 2011.^[37] The repackaged album contained the original 16 tracks (including remixed versions of Bright Lights Bigger City (feat. Wiz Khalifa) and I Want You (Hold On To Love) plus one extra track, written by Bruno Mars, Anyway. The new track, Anyway, served as the album's sixth overall single and first Platinum Edition single.

Gnarls Barkley[link]

Gnarls Barkley at the Mini V festival in Melbourne, 2007

Along with DJ Danger Mouse, Cee Lo was part of a duo called Gnarls Barkley. They first met when Danger Mouse took second in a talent contest and opened for OutKast and Goodie Mob at a University of Georgia concert in 1998. Afterwards, Danger Mouse gave Cee Lo an instrumental demo tape and told him to call him if he was interested.^{[citation needed]} They did not make contact again until Cee Lo was contacted to be featured in a remix of the Danger Mouse and Jemini song "What U Sittin' On?" from the album Ghetto Pop Life. They worked together again on the 2005 Danger Doom (Danger Mouse and MF Doom collaboration) album The Mouse and The Mask on the song "Benzi Box" where Cee Lo sings the chorus.

Gnarls Barkley's first collaborative album, St. Elsewhere, was released on April 24, 2006, in the UK and May 2, 2006, in the United States. St. Elsewhere entered the charts at No.1 in the UK, as did the first single "Crazy". "Crazy" is the first single to go straight to No.1 in the UK based on digital download sales alone and is ranked by Rolling Stone as the No.1 song of the decade. The album is Cee Lo's greatest selling venture yet, having shipped over 3 million copies in the United States according to Nielsen SoundScan.^[8] A second album by Gnarls Barkley, titled The Odd Couple, was released in March 2008. Its first single was released in January called "Run (I'm a Natural Disaster)".^[8]

Future projects[link]

Cee Lo is collaborating with producer Jazze Pha to release an album called Happy Hour on Jazze’s record label. The songs "Happy Hour" (as well as the remix with Bun B, Snoop Dogg & Tone Tone), "Man of the Hour", and "Disco Bitch" (featuring The Pussycat Dolls) from the album have already been released as singles and B-sides. Jazze Pha has produced numerous hit singles with many artists, but this project is his rapping and singing debut. Cee Lo is co-producing the album with him, so both artist and producer share equal roles in vocals and production. Also, Melody Thornton confirmed that she is currently in the studio with Cee Lo working on her solo album. In 2010, he recorded a song for the Sex and the City 2 soundtrack which reached number 9 in the charts and was written by him and produced by T-Pain which is called "Language of Love". He along with The Red Hot Chili Peppers and OneRepublic frontman Ryan Tedder were rumored to be appearing on British DJ Paul Oakenfold's upcoming album. Also, Cee-Lo has recorded a song with Alien Ant Farm that is expected to be released on their upcoming 2012 album.^[38] Green will voice Murray the Mummy in the upcoming film, Hotel Transylvania.

In March 2012 Green performed at a fundraiser for President Barack Obama with the president present.^[39] He began singing Fuck You! with the original profane lyrics, but then switched to the non-profane lyrics, apparently unaware that the profane lyrics were inappropriate at a presidential fundraiser.^[40]

In May 2012, The alcohol trade magazine 'The Tasting Panel' featured a cover story detailing Cee Lo Green's part ownership of an alcohol brand called TY KU. ^[41]

Television and film career[link]

Cee Lo, along with the rest of the Goodie Mob, had a cameo in the 1999 film Mystery Men as a member of the Not So Goodie Mob, in which he was credited as "Thomas Burton aka Cee lo". He also has done voice acting work, voicing Prime Cut Miggity-Mo' Macdaddy Gizzabang Doggy Dog Dog on the Brak Show episode "Brakstreet" in 2002, Frank and Buddy Z Class of 3000's Christmas special and as Godzilla in the Robot Chicken episode "Squaw Bury Shortcake" in 2007, and Rev. Rollo Goodlove in the Boondocks episodes "The S-Word" and "The Hunger Strike" in 2008. In 2010, he appeared in T-Pain's Freaknik: The Musical as Light Skin.

On January 15, 2011, Cee Lo both acted and performed on NBC's Saturday Night Live hosted by Gwyneth Paltrow, who, in November 2010, covered his song "Forget You" on an episode of Glee.^[42]

Cee Lo is currently one of the coaches for contestants on the singing TV show The Voice.^[43] He also made a guest-star appearance in the episode "Tales From the Luncheonette" of Parenthood season 3.^[44][45]

On August 14, 2011, Cee Lo appeared at WWE SummerSlam and performed both "'Bright Lights Bigger City", the official theme song for the event, and his hit "'Forget You".

On September 25, 2011, Cee Lo appeared as himself in a live action/voice appearance and as the voice of a hot tub in the American Dad! episode "Hot Water".^[46]

On February 5, 2012 Cee Lo appeared in the Super Bowl halftime show with Madonna.

On March 31, 2012, Cee Lo Green appeared in the 2012 Kids' Choice Awards. Near the end of the show, he was revealed to be the evil mastermind that was trying to ruin the show, and the only reason he was evil was because he wanted to get slimed. However, the show's host, Will Smith, refused to slime him, and he "ice cream sundaed" him instead, claiming it was the "second-best thing" compared to sliming.

Personal life[link]

Cee Lo has described himself as having been a "goon" in his youth.^[47][48] At age 16 years old, Cee Lo's mother was pulled to safety from an almost fatal car accident by local volunteer firefighters. His mother also served as a volunteer firefighter herself, and these two things inspired Cee Lo's 2011 song "Thank You" (a reworking of "Forget You"), which pays tribute to firefighters.^[49]

Cee Lo was married to Christina Johnson until they divorced in 2005. Together they have a son Kingston; and Cee Lo was a stepfather to Christina's daughters, Sierra and Kalah. Sierra appeared on the MTV show My Super Sweet 16.

Controversies[link]

At the April 2011 Coachella Valley Music and Arts Festival, Cee Lo was booed by fans after he showed up late, drew fan disapproval, had his set cut off, and then stormed off stage.^[50] Cee Lo had arrived 25 minutes late, for which he apologized to disgruntled fans at the top of his set, saying, "Sorry guys, I just landed. Y'all still gonna party with me? I only have 20 minutes. It ain't my fault. They should have ... given me a better time slot." Things then took a turn for the worse, and after performing five songs, including "Fuck You" and a cover of Journey's "Don't Stop Believin'," Green's set was cut. He then stormed off stage.^[51]

On June 16, 2011, journalist Andrea Swensson of City Pages negatively reviewed one of Green's performances, writing that it "failed to measure up to the fun factor of his recorded material. Green spent most of the set stationed in front of a microphone at the center of the stage, barely moving an inch while he sang and flanked by two forgettable back-up singers and a DJ that was all but hidden behind a giant LCD display”.^[52] In response, the following day Green tweeted "I respect your criticism but be fair! People enjoyed last night! I'm guessing ur gay? And my masculinity offended u? well fuck U!”.^[53] Green promptly received angered responses from some of his followers on Twitter, to which he replied "Apologies gay community! what was homophobic about that?"^[54] In a subsequent interview with magazine Us Weekly, Green stated that his comments were in good fun, adding that "I am not harboring any sort of negative feeling toward the gay community" and that "I am one of the most liberal artists that I think you will ever meet, and I pride myself on that".^[55] Green has since deleted the tweets pertaining to this review.^{[citation needed]}

On December 31, 2011, at Times Square in New York City, Green sang John Lennon's "Imagine" just prior to the ball dropping to ring in the new year. In his rendition, Green replaced the line "and no religion, too" with the words "and all religion is true".^[56] Many saw this as a substantial revision of the meaning behind Lennon's original lyrics.^[56] Green also sang the words "imagine no possessions" while wearing a full-length fur coat and large gold watch. Shortly after the performance, Green responded via Twitter: "Yo I meant no disrespect by changing the lyric guys! I was trying to say a world where u could believe what u wanted that's all" [sic] ^[57] Green deleted a series of tweets pertaining to this event shortly thereafter.^[58]