Hey all, I am studying English in Germany to become a High School teacher and am currently writing a Bachelor Thesis about the Funkadelic Album covers with a focus on the culture war depicted on “Standing on the Verge of Getting it on”. My goal is to connect Pedro Bell’s illustrations to the times cultural discourses and especially to Franz Fanon. I was lucky to score an interview with the Uhuru Maggot Rickey Vincent who told me that Pedro deserves a much higher recognition. I love this topic, but the pressure is quite high to live up to my own expectations. I have found several articles and Interviews in the Motorbooty, Juxtapose, Stuck Between Stations, Lodown, and Roctober Magazines, as well as his appearance on Chic-A-Go-Go and the article on George Clinton’s website. I am furthermore working with George Clinton’s autobiography and Rickey Vincent’s Funk Book. I have also gotten a chance to look through the Book by Arno Konings and Marcel Visser about the P-Funk cover art. Are there any further recommendations that could help me carry on Sir Lleb’s legacy?
That sounds really interesting! You should try to get in contact with Seitu Hayden, he worked a lot with Pedro in the later years. He has a site where you can find his email and number. And here’s his fb page and ig page.
Maybe you could also get some info from @Bruse_Anthony.
Welcome to the forum and good luck with your thesis!
Good morning, P-Funk Family! I’ve been credited for assisting on two of Pedro’s album design that are in Rolling Stones Top 100 and it was laughable considering that I know the magnificent work of his other crew members in later projects. The reality is that my brother was screwed by too many people which included Clinton, his POA Aki Antonia who’d ripped off the last of his artwork and disappeared when he was abandoned in a nursing facility. Why would I help promote anything attached to these vampires when countless money is lining other people’s pockets from his art and produced merchandise and the family has received nothing? Ronald Stozo was his best friend during his final years and the best choice to speak favorable of P-Funk and my brother. I can only speak of the human experience with Pedro and all the deep art conversations have to be directly elsewhere, fam. Peace.
I just wanna clarify that I didn’t mean that you could help to get in contact with (or promote) Seitu. But rather that you maybe had some insight on Pedro’s early years (1974 in this case) that perhaps could be of interest in writing this thesis. Anyhow. I didn’t know that about Aki. Damn.
I have no problem with Seitu, but I haven’t spoken with him in several years, he can be found on Facebook. I don’t have his number currently, but my brother Maillo may still have it. I can’t speak on any deep shit in relationship to where Dro was creatively in 1974. I can only speak about his women during those days, how he was living and how I was trying to get him to work a regular job because he was not making any money at that time for his creations. I’ve avoided a few interviews after his death because I was not interested in impressing people via his legacy and many people could not separate that although we sounded alike, our lifestyles were different and we talked in two conflicting languages. If anyone wants to do some lightweight chatting, then they can inbox me on Facebook Messenger and I’ll hit them. I don’t know if that helps any, but I can’t assume what people really want and too many people don’t know a thing about him other than his magnificent work with P-Funk.
I knew that many of the P-Funk members were treated badly but i didn’t know it was that bad in the case of Pedro thanks a lot for the inside. Unfortunately I do not have the space to go into greater detail on the conflicts or on Pedro’s biography besides some background information. I will have to stick to the cultural context of mostly this one cover art so there is definitely going to be a focus on the P-Funk universe and spiritualiy. However, I do definitely aim to promote Pedro’s work and to point out the impact that he had which includes explaining why others capitalized so much from his ideas while he didn’t. But since I’m from Germany I will mainly have to explain the meaning of the Funk in general.
@Bruse_Anthony I’ve seen your name on the cover art of Standing on the Verge it would be an honor to talk to you. I’m not on Facebook but I will send you a private message.
@silentboatman thanks for the contact I have only gotten to know the P-Funk about a year ago and can’t believe how deep I would get into the whole thing
Thats a damn shame and brings me tears. This is the story that needs to be told. This giant, this genius. Man oh man.
Do you have any access to his Zeep Magazine?
I’m not trying to change anyone’s opinion about the music of P-Funk, I was a fan, because of my brother, long before everyone jumped on the imaginary spaceship and made George Clinton some type of god. This is the last of my negative remarks in this forum because I’m on a different page in my life, music family. Peace.
They’re out of print, but I have 2 copies that my brother had given me.
I have found a download link in this forum it looks incredible
I am going to do my best to differenciate art and artist in my thesis especially when it comes to George Clinton. Hopefully I will be able to transport a perspective that pays respect where respect is due. Regardless of personal conflicts the P-Funk and the whole idea of the Funk needs to be promoted outside of the US and I will do my best to attach Pedro’s name to it and point out his influence.