George Clinton: Black Masculinity through Funk

WEEK 5

Through his work with Parliament-Funkadelic, George Clinton has been a prominent figure in the development of funk music. He represents a unique and conventional vision of black masculinity throughout his discography and stage performances. Through his fashion choices, it showcases his comfortability in his masculinity and goes directly against what society assumes to be masculine. He appears on stage wearing colorful and flamboyant outfits which sometimes include platform boots, feather boas, and elaborate headwear. His style choices challenge the idea that masculinity is limited to a narrow range of clothing choices and he instead exhibits a sense of freedom and self-expression. 

Clinton's lyrics and performances often explore themes related to sexuality and the body, which challenge traditional ideas of masculinity as stoic and unemotional. His songs frequently include references to sexual liberation and pleasure, and his performances often include provocative dance moves that blur the lines between masculinity and femininity.

From the film, “George Clinton: The Tales of Dr. Funkenstein,” there are many artists presented that have been greatly influenced by Clinton and his embrace of black masculinity. André 3000 from Outkast is just one example from the film who has been shown to explore his masculinity through works such as the “Hey Ya!” music video. He and Big Boi are shown wearing bright green button-ups paired with plaid flared pants and suspenders. Their dance moves are another indication of embracing their black masculinity through their art. This is a prime example of gender norms being broken in the form of music, dance, and fashion.