We Want the Funk!: New documentary explains why you just can’t stop dancing

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In its latest 90-minute documentary titled “We Want the Funk!“, PBS’s Independent Lens series delves into the historical significance and cultural influence of funk music. The film, jointly directed by Stanley Nelson and Nicole London, starts off with Miles Davis and Luther Vandross collaborator Marcus Miller performing a short funk tune on his bass guitar. Notably versatile in various instruments, Miller chooses to play the bass for this funk piece.

The fundamental characteristic of this genre is its focus on rhythm, largely derived from the bass and drums, yet also present in various other instruments such as vocals. This isn’t new information; whether you have delved into the subject before or not, it’s likely you would have guessed this already.

As a gaming enthusiast diving deep into a captivating quest, I can’t help but compare my journey with Nelson and London’s exploration of a revolutionary form of music that surfaced in the 1960s. This musical phenomenon not only left its mark on global tunes back then, but it continues to resonate powerfully today. To unravel this enigma, they delve into the ‘what’, ‘where’, and ‘why’ by engaging with musicians, historians, and even scientists, shedding light on their fascinating subject matter.

We Want the Funk! is must-watch television on PBS

Absolutely, they possess an abundance of captivating archival recordings that span some of the most thrilling music produced during the last fifty years.

Following a short bass melody by Morris, “We Want the Funk!” seems to be posing an inquiry. Similar to Questlove’s approach in his recent Sly and the Family Stone documentary, he initiated the conversation with a question: “What defines black brilliance?” This question is particularly relevant as Sly, known for his influential work in funk music, receives significant focus in this new film.

Here, the question posed by the directors is somewhat broader: “What is funk?”

Absolutely, there isn’t a simple or brief explanation for this. George Clinton, often referred to as one of its pioneers, captures its essence well by stating that funk music is “free from all the rules.” In a more common sense approach, many people find it difficult to define it, but they can recognize it when they hear it.

The film will delve deeper into the genre’s specifics as it progresses, however, it initially lays the groundwork by depicting the historical backdrop. Both Nelson and London consult a variety of experts, not just music historians, but also dance, fashion, and cultural historians as well.

Donnie Simpson, well-known disc jockey, consistently shares his unique insights about funk, having grown up immersed in it. Being in a prime spot allowed him to closely observe its evolution and influence over time.

Following a swift overview of post-war changes and the emergence of a youth-oriented culture, Berry Gordy’s endeavor to establish Motown as a fusion of popular music, we arrive at the 1960s – a time when embracing the American dream transitioned into rediscovering Black cultural pride.

In my perspective as a passionate admirer, it all started with a powerful blast from a colossal figure in music. This titan was responsible for one of the defining anthems of the time – “Say It Loud – I’m Black and I’m Proud.

Or as Labelle’s Nona Hendryx offers, “The definition of funk – it would be James Brown.”

The film explores how funk originated from Brown, leading to an exploration of its diverse evolution. This journey took it through Sly Stone and George Clinton, reaching the disco era and beyond, encompassing Fela Kuti’s Afrobeat and other global sounds. Notably, white artists like Elton John, David Bowie, and David Byrne were also influenced by this trend, contributing to a broadening sphere of pop music and culture. In essence, funk paved the way for hip hop.

Beyond just chronicling history and music, We Want the Funk! offers a unique opportunity to learn directly from legendary musicians like Fred Wesley, James Brown’s trombonist known for playing the “funkiest trombone solo ever recorded” on “Do It to Death”, and Carlos Alomar, who collaborated with David Bowie during his funk-inspired phase in the mid-1970s. The chance to witness Larry Graham’s bass-slapping comes close to being a spiritual experience.

In an intriguing exploration, they strive to clarify exactly how and why funk music behaves in its unique way. The quirky David Byrne is paired with a real-life neuroscientist to showcase the influence of funk rhythms on the brain. To add excitement, animated characters are shown dancing to these rhythmic beats for the film.

From my perspective as a dedicated fan, I can’t help but marvel at the revolutionary impact James Brown had on music. One musician put it perfectly: he managed to thrust the background elements, particularly the rhythm section, into the limelight. His emphasis on the powerful “One” was nothing short of magical.

If you’re unfamiliar with “The One,” I strongly recommend watching this film. Its lively portrayal encapsulates the essence of funk, and by observing these talented artists, you can’t help but appreciate that it symbolizes much more than just a type of music.

Marcus Miller, who initiates the film and sets much of its musical tone, asserts that there’s no such thing as a “sad funk song.” This might be open to interpretation; tunes like “Family Affair” and “Papa Was a Rolling Stone,” renowned funk classics from the ’70s, do indeed contain somber elements.

What’s undeniable, and what ‘We Want the Funk!’ effectively demonstrates repeatedly, is that even when a funk song expresses sadness, it still incites you to dance. This appeal of funk transcends scientific, cultural, musical, or supernatural realms; we all are drawn to the funk.

We Want the Funk! is available to stream through PBS and assorted other streaming services.

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2025-04-12 13:00