Welcome to the Deep Dive, where we take your
source materials and really just plunge right
into the knowledge they hold. Yeah, let's get
into it. Today, we are strapping on our star
-shaped glasses, tuning our antennas to the mothership,
you know, because we are embarking on a, well,
a truly cosmic exploration of William Earl Bootsy
Collins. Oh, yeah. This is a deep dive into a
real... Innovator. I mean, his fingerprints are
just everywhere. You look at the tight discipline
funk of the 70s all the way to like the architecture
of modern hip hop. Totally. Boosie Collins is
well, he's more than just a musician. He's like
the foundational architect of the low end, turning
soul into pure spectacle. Exactly. And that's
our mission today, right? To unpack the sources
that chronicle this this magnificent transformation.
How does this incredibly talented teenage rhythm
master from Cincinnati find his groove under?
probably the toughest taskmaster in music history,
then morph into this psychedelic cosmic phenomenon
and finally end up as this revered mentor and
activist. It's quite a story. It really is. And
when you talk about. the greats the pantheon
of bass players collins isn't just there he's
like caramount we gotta start with just the sheer
recognition he gets okay like in 2020 rolling
stone didn't just put him high on the list they
ranked him number four number four in their 50
greatest bassists of all time wow number four
globally period and that's you know separate
from all the group honors right like being inducted
into the Rock and Roll Hall of Fame in 1997.
That was as part of Parliament Funkadelic, right?
Right. Which is a huge group. Oh, massive. 16
members inducted, I think. And his genres alone
tell a story called funk. Psychedelic soul, R
&B, hip hop. It's a lifetime of just bending
and blending genres. Yeah, absolutely. But yeah,
to understand the cosmic star, you really do
have to go back, back to that rigorous school
of rhythm you came through. Okay, let's unpack
this. Where did the legend actually begin? It
starts in Cincinnati, Ohio, born there in 1951.
And he's got one of the best origin stories for
a stage name, you know, the nickname Bootsy.
It wasn't some calculated marketing thing. He
confirmed his mom gave it to him, just looked
at him and said, basically, you look like a Bootsy.
just like that just like that and that kind of
spontaneity it's actually a beautiful preview
of the funk freedom he'd later embody. That makes
sense. And that family connection, that was really
key early on, wasn't it? Playing with his older
brother, the guitarist Phelps Catfish Collins.
Yeah, Catfish. Eight years older, born in 43.
So it wasn't just some random band. It was literally
a family rhythm section right from the start.
By 1968, that core group had formed the Pacemakers.
That's Bootsy, Catfish, and drummer Frankie Cashwadi.
They were tight. They were hungry. Definitely
responsible. Right. But their path took this
like hard left turn into the deep end of the
music world in March 1970. And that kicks off
our first major section, the School of Soul Power,
the James Brown apprenticeship. OK. The James
Brown era. This is where that legendary precision
gets hammered in. Yeah. We hear the story all
the time. James Brown's previous band basically
just walked out over a pay dispute. Exactly.
Staged a walkout. The pacemakers, they were just
there, ready -made, tight, rehearsed. They stepped
right into that huge void and immediately became
Brown's new backing band, the famous original
JBs. The JBs, wow. And rigorous. I mean, that
word barely covers it. Bootsy's time with Brown
was a crucible. It's kind of crazy because the
lineup only lasted 11 months. Less than a year.
Only 11 months. Yeah. But in that short time,
they created some of Brown's most genre defining,
just intense funk recordings. These tracks weren't
just hits. They were like instructions for the
next 50 years of music. We're talking about the
engine behind stuff that's now just fundamental.
Get Up, I Feel Like Being a Sex Machine, Superbad,
Soul Power, Talkin' Loud and Sayin' Nothin',
and those instrumentals like The Grunt, which,
my God, hip -hop producers sampled that for decades.
For decades. And what's really fascinating about
those specific recordings is how Bootsy's approach
was different from the bassists Brown had before
him. How so? Up until then, Brown's rhythm section
was often really, really percussive. The bass
and drums were almost like another rhythm guitar
and conga set, you know, super focused on just
keeping time, locking it down. Bootsy brought
this revolutionary level of like syncopation
and fluidity. He was technically brilliant using
ghost notes, slurred rhythms, but still locking
into that impossibly tight groove. So he's innovating
within this super strict structure. Exactly.
He transformed the groove. but he had to do it
under intense pressure. And to really get that
pressure, we have to talk about the core concept
of funk, the thing that defined his whole apprenticeship,
the elusive one. Ah, yes. The one. Absolutely.
The term the one is so central to Booth's whole
story, we probably need to pin down what it means.
Good idea. In music, especially funk and R &B,
the one is the first downbeat of the measure.
Right. Most music builds tension towards the
end of a phrase, maybe. but funk funk is unique
the whole groove the whole feel is built around
that first beat it's the anchor okay if you hit
the one right everything just locks in it feels
relentless urgent and james brown was the ultimate
drill sergeant making sure that urgency that
precision was there every single night The sources
mentioned Bootsy saw Brown as a father figure
coming from a fatherless background. Yeah. And
that adds this whole other layer of weight to
Brown's teaching methods. It wasn't just a boss.
It was deeper. Definitely. It makes the whole
thing more psychological than just professional.
Bootsy often talked about the post -show routine.
Brown would call them back every single night,
give them a lecture, always criticizing the sound,
never satisfied. Always. Pretty much always.
The standard line was, nah, not on it, son. I
didn't hear the one. You didn't give me the one.
It was designed to just break down their egos,
force them to rehearse constantly. Wow. Relentless.
But the really crucial story, the one that kind
of unlocks Brown's game, is when the opposite
happened. Right. I remember reading about this.
Yeah. Bootsy and Catfish talked about this one
gig where they knew instinctively they were playing
badly. just exhausted, a bit sloppy, fundamentally
off. They were bracing for the worst tongue lashing
ever. And instead, instead, Brown calls them
back, smiles and says, uh -huh. Now that's what
I'm talking about. Y 'all was on it tonight.
Y 'all hit the one. That must have messed with
their heads completely, especially for musicians
who trust their own instincts. Totally. That
was the light bulb moment. Bootsy realized Brown
wasn't always critiquing the actual music. He
was using reverse psychology. By constantly holding
back praise, even when they nailed it, he forced
them to internalize the criticism, practice like
madmen, aim for this perfection that was always
just out of reach. Okay, I get it. But then praising
them when they knew they sucked. That maintained
his control, made sure Bootsy never got complacent
or thought he'd figured it all out. That is a
staggering way to learn. A foundation built on
musical perfection through like intense psychological
discipline. Yeah. It makes total sense of his
next move though. exploding from that military
rigor into, well, cosmic freedom. Exactly. That
transition defines everything that comes after.
After the sheer intensity of the James Brown
boot camp, Bootsy and Catfish briefly formed
a band called the House Guests. Okay. But the
real cosmic shift, the big one, happened when
they got introduced to George Clinton. This was
in Detroit, Michigan, around 1972. And singer
Malia Franklin made that connection. That's right.
She orchestrated it. And suddenly Bootsy, Catfish,
and Waddy, that super tight JB's rhythm section,
they joined Funkadelic. And that was the exact
moment the P -Funk Collective got its like...
indestructible deep groove backbone you can really
hear the shift in the sound oh absolutely and
you have to think about the cultural shift they
went through personally james brown was disciplined
tailored suits grounded in soul power george
clinton was unhinged flamboyant launching into
orbit with the mothership total opposites almost
Pretty much. And Bootsy became totally integral
to this new P -Funk universe. He was contributing
bass, songwriting on most of the Parliament and
Funkadelic albums right through the early 80s.
And they were putting out so much music. It almost
needed its own dedicated vehicle, right? Which
led to Bootsy's rubber band in 76. Exactly. It
was a distinct, separate touring and recording
unit, but still very much part of the whole P
-Funk thing. Who was in the core rubber band
lineup? It featured that core trio Bootsy, Cat...
Fish and Waddy, plus other key P -Funk players,
and crucially, that phenomenal brass section,
The Horny Horns. The Horny Horns, great name.
Isn't it? The rubber band was maybe a bit more
concentrated, arguably more commercially focused
than some of the wilder P -Funk stuff. It mixed
the collective psychedelia with Boosie's own
unique... kind of cartoonish humor. And the success
was pretty immediate, wasn't it? The sources
call those first three albums quintessential
P -funk recordings. Yeah, they really nailed
it. And we have to talk about the peak of that
run. The 1978 album, Bootsy, Player of the Year,
it didn't just hit the R &B chart, it went to
number one. And it gave us his signature number
one R &B single, Bootsilla. That track really
cemented the whole persona. The myth became inseparable
from the music itself. Right. This is where the
strict rhythm master fully transforms into the
intergalactic superstar. George Clinton loved
all that mythology. Dr. Funkenstein, the mothership.
Oh, yeah. And Bootsy just dived right in, adopting
all these alter egos. He totally did. It was
brilliant marketing, too. He was Casper the Funky
Ghost, and his main alter ego was Bootsilla.
The world's only rhinestone rock star monster
of a doll, as he put it. I love that description.
The whole character was built around this idea
of an alien rock star, part superhero, part clown,
just a central figure in the whole P -Funk cosmology.
And the gear. The gear became just as famous
as the character. He adopted his trademark space
base around this time. Starting with that first
one, which looked futuristic, but wasn't quite
the star shape yet. That's right. That first
space base was a custom build made up in Michigan.
Mahogany body, maple neck, that cool mirror pick
guard. You can see it right on the cover of the
76 album stretching out in Bootsy's rubber band.
And what's really interesting is just his commitment
to that instrument, like the story behind it.
It got stolen at one point. Yeah, that original
bass was actually stolen. It's been devastating.
But thankfully, the story goes, it was eventually
found, like recovered at a pawn shop back in
Cincinnati and returned to him. Crazy. Good thing
he got it back. For sure. And that original model
really paved the way for the instrument that
everyone pictures when they hear Bootsy Collins,
that iconic custom built star shaped bass guitar.
Space base. The space base. That specific star
base was made for him later, though, in 1998
by a guy named Manuel Manny Salvador. It's just
a pure statement piece. You look at that star
shape and you have to wonder, was it just about
looking cool? Or did that unique shape, the sheer
size of it, actually change the sound or how
it played? Well, primarily it's visual. It's
pure spectacle. Fits the whole cosmic theme.
Designed to be flashy, instantly recognizable
on stage. You see that bass, you know who it
is. Tonally, those custom builds were definitely
engineered to get that thick, deep, resonant
funk sound he's known for. But the star shape
itself? That's a commitment to the performance.
It proves that in P -Funk, the look, the visual
presentation was just as vital as the low E string.
Yeah, the whole package. So the P -Funk years
really cemented him as this innovator, this total
showman. But the next phase of his career, I
think, shows his true musical genius, his ability
to collaborate and just refuse to be boxed in
by genre. This takes us into the 80s and 90s
where he becomes like the ultimate collaborator.
Yeah. After that first wave of rubber band albums,
the early 80s, see him branching out, exploring
production, doing more solo stuff. He released
his solo album, Ultra Wave, in 1980. And crucially,
he co -produced the debut album for Zap. Remember
Zap, the P -Funk spinoff band with Roger Troutman?
Oh, absolutely. The TalkBox Kings. That Zap connection
is huge, isn't it? Because Zap basically pioneered
that heavy TalkBox effect in funk, that distinctive
robotic voice sound that really defined the West
Coast sound for a while. Exactly. So by co -producing
their debut, Bootsy was directly involved in
launching a whole new subgenre of funk. It connects
his James Brown roots right through P -funk to
the rise of electrofunk. He was always pushing
things forward. Constantly evolving. And the
mid -80s brought some really unexpected stuff,
didn't they? Like getting political through sound.
That 1984 collaboration with Jerry Harrison from
The Talking Heads. Ah, yeah. Under the name Bonzo
Goes to Washington. Just the name itself is a...
Pretty clear political jab at Reagan. Oh, for
sure. And the music reflected it. They did that
track Five Minutes, which was this dance record
built around samples of Ronald Reagan's infamous
We Begin Bombing in Five Minutes microphone gaffe.
Wow. That's pointed. Very pointed, but wrapped
up in this calculated electro -funk groove. It
really showed Bootsy could use the power of funk
rhythm not just for psychedelic fun, but for
sharp political commentary and exploring these
new dance textures. That move towards electronic
sounds, more calculated stuff, seems linked to
his work with Bill Laswell, right? That partnership
started around 88. Yeah, the Bill Laswell partnership
was huge. Laswell is known for really experimental
industrial genre mashing productions. And that
partnership was fundamental to what the sources
call Bootsy's new sound, a sound that really
did foreshadow a lot of 90s music. Laswell encouraged
him to blend his organic funk bass lines with,
you know, emerging electronic textures, industrial
sounds, even early hip hop techniques like scratching.
So albums like What's Bootsy Doing? Yeah. From
88. And Perfect Machine, also 88. They're really
fusion experts. Totally. Perfect machine especially.
It had techno -funk elements, turntables for
that scratch appeal, and even brought in smooth
vocals from Leroy Sugarfoot, Bonner of the Ohio
Players. It felt like a conscious effort to keep
funk relevant when synthesized pop and early
house music were taking over. And he wasn't just
sticking to funk electronica either. He was popping
up everywhere in rock and pop, played bass on
Keith Richards' solo album Talk is Cheap in 88.
Yep, which shows his rhythm could just slide
right into a blues rock thing, no problem. He
also produced and played on tracks for Malcolm
McLaren's album Waltz Darling in 1989. Eclectic
choices. Definitely. But I think for millions
of people like mainstream pop listeners, their
big introduction to Bootsy, the cosmic funk master,
was probably D -Lite's Groove is in the Heart
in 1990. Oh, yeah. Massive hit. And that collaboration
has a classic bit of funk trivia attached to
it. Collins did contribute those crucial extra
vocals, you know, the ad libs. And really importantly,
he's all over the music video playing. His flamboyant
bass looking amazing. Right, he's visually central
to it. Yeah, exactly. But here's the kicker.
The detail that really shows his status have
shifted. The actual bass line, that iconic driving
groove in the recording, it's a sample. No way.
A sample of what? Herbie Hancock's 1975 track,
Bring Down the Birds. Get out of here. So Bootsy's
presence in the video is more about... his image
his vibe pretty much it suggests that by 1990
bootsy collins the persona The visual embodiment
of funk, the rhinestones, the swagger, the whole
low -end authority thing was so powerful that
he was hired for his presence, maybe even more
than his actual playing on that specific track.
Wow. He brought the funk spirit, the visual legacy,
while the track itself relied on a classic funk
sample for the groove. And that brand power was
so strong that Boothie's rubber band actually
became the backing band for D -Lite's world tour
after that. That's incredible. So his influence
was just radiating out. Beyond pop, though, the
90s saw him dive into some heavier genre fusions,
too, right? Like Hardware in 92? Yeah, Hardware.
That was a funk metal fusion group he formed
with guitarist Stevie Salas and the legendary
drummer Buddy Miles. They put out one album,
Third Eye Open. Funk metal. Makes sense. Kind
of. And he kept exploring that heavier side with
the supergroup Praxis. Played bass on their first
album, Transmutation. That lineup was wild fellow
P -funk legend Bernie Worrell on keys and the
completely out there guitarist. Buckethead. Buckethead.
Wow. Talk about bridging generations and styles.
Right. It brought together the roots of funk
with really aggressive experimental rock. He
was also key in another supergroup, Axiom Funk,
around 95, another Bill Laswell project. They
did a huge remake of Jimi Hendrix's If Six Was
Nine. He just keeps popping up in these amazing
collaborations. And then maybe the most brilliantly
weird experiment of the whole decade, the Groovegrass
Boys. Groovegrass Boys. What is that? Get this.
Bootsy teamed up with actual bluegrass legends
Del McCorry and Doc Watson to create a fusion
of bluegrass and funk. Bluegrass and funk? Seriously,
why? Like, what was the idea there? I think it
goes back to his core philosophy. Funk isn't
just a genre, it's a feel. It's a rhythmic approach.
He was basically proving that the one, that syncopated
lock... could groove with anything bluegrass
is super rhythmic right driven by those acoustic
strings so by laying down his signature deep
pocket bass lines and funk drumming underneath
it they created something totally new proving
the language of funk could translate like universally
that's wild just refusing to be categorized okay
let's move into the new millennium his influence
gets recognized in different ways leading us
to uh section four modern relevance mentorship
And the big shift. Yeah, and his voice itself,
that playful, charismatic tenor, became a pop
culture thing in the early 2000s, largely thanks
to Fatboy Slim, the track Weapon of Choice from
2000. Oh yeah, huge track. His lead vocals are
unmistakable, especially that spoken word bit
he delivers, the quote from Doom. Walk without
rhythm and you won't attract the worm. Iconic.
And that track was massive commercially, won
a Grammy for Best Music Video. It really cemented
Bootsy's place in modern electronic music culture.
And he kept stretching into unexpected areas,
collaborating with Christian rap artist Toby
Mac on Diverse City in 2004. That track helped
the album win a Dove Award for a Rap Hip Hop
Album of the Year in 2005. His groove really
had no boundaries, religious, stylistic, whatever.
But even with all this global cosmic stardom,
he stayed really connected to his roots, didn't
he? Especially Cincinnati. He seemed to really
champion his hometown. Oh, incredibly strong
ties. He used his fame to be like a local hero,
a civic figure almost. In 2005, he co -wrote
and performed the Cincinnati Bengals song, Fear
Die Tiger. Uh -huh. I remember that. It featured
some Bengals players trying to rap. Yeah, hilariously.
And then a year later, he sang Marshall Law,
the theme song for the Cincinnati Marshalls indoor
football team. He wasn't just some distant star.
He was like... the city's musical ambassador.
He even opened a club there for a while, Bootsy's.
Yeah, in 2008, a restaurant and club called Bootsy's.
It only ran for a couple of years, 2008 to 2010,
but it was more than just a venue. They had live
acts and even a little museum dedicated to his
career. Cool. But maybe the biggest evolution
in this later part of his career started around
2010 when the funk master became Professor Bootsy.
Funk University or Funk U. Yeah, an online only
bass. guitar school. And this wasn't just him
slapping his name on something, right? It was
a serious project. No, not at all. He launched
it with Corey Danziger and was genuinely the
curator and lead professor. It offered a pretty
intense structured curriculum aimed at intermediate
to advanced bass players. What kind of stuff
did they teach? Well, the philosophy connected
right back to his own journey. It covered rigorous
bass theory, the actual history of funk. giving
context, you know, and details from Bootsy's
own musical life. Nice. And he brought in top
tier guest professors, too. People like Victor
Wooten, Les Claypool, real masters who understood
the funk groove inside and out. So he was consciously
passing on those lessons he learned from James
Brown. The discipline, the search for the one.
but packaging it for modern musicians online.
Shame it ended in 2021. Yeah, it was a great
resource. But the really big turning point in
this era came in January 2019. That was the moment
that really signaled his shift from being primarily
a player to being a dedicated mentor. Right.
He announced his retirement from playing live.
Yeah. And it wasn't just like... fading away
it was a necessary health decision he specifically
mentioned too much pressure on my inner ear and
right hand as the reason he had to step back
from the physical demands of playing bass live
on stage night after night that makes sense touring
is grueling totally but the key thing was The
funk wasn't retiring. He made it super clear
his focus would shift entirely to studio work
and coaching. He said he'd become a coach for
up -and -coming musicians. And he assured everyone
that Cher Ping Ping Ping will continue to funk
from the studio, but not live playing bass on
stage. It felt like a very conscious choice to
put his energy into propagation, into teaching
rather than just performance. And that focus
on mentoring kind of perfectly set the stage
for that big pop culture moment in 2021 with
Silt Sonic, didn't it? Absolutely. The Bruno
Mars and Anderson .Paak project. An evening with
Silk Sonic. Bootsy wasn't just a guest. He was
the special guest host and narrator for the whole
album. Right, fretting it all together. Yeah,
using his charisma, those spoken interludes,
acting like the DJ guiding you through this classic
R &B experience. It was perfect casting. And
the sources confirm he wasn't just hired to talk.
He actually came up with the name Silk Sonic
for them. Yep. He coined the name. Which really
solidifies his role as this kind of creative
muse, this guiding spirit for the next generation
doing funk and soul revival. His voice just kept
reaching new places too, like voicing a radio
DJ in Grand Theft Auto V in 2013. Yeah, that
was huge. The game featured a bunch of his songs
too. So he's introducing his grooves to this
massive, modern, often younger gaming audience.
He stayed relevant. Okay, so we've tracked the
artist, the innovator, the mentor. Let's dig
into section five, the Boosie Blueprint. The
lasting legacy, those iconic instruments in more
detail, and his philanthropic work. For sure.
And we got to circle back to the gear. Bootsy
is just visually inseparable from his basses,
especially that custom star -shaped one built
by Manny Salvador in 98. That thing is his cosmic
stage persona. And other companies picked up
on that iconic look, right? Traben Guitars did
the Bootsilla signature model. Yep. Inspired
by his look. And more recently, Warwick, the
high -end bass company, they've done customized
versions of their Infinity Basses for him. You
see the Bootsy Collins Black Star Signature Bass,
the Orange Star Signature Bass. They aren't just
instruments. They're like functional sculptures
designed to project that specific Bootsy image.
And his cultural legacy. I mean, his name is
basically shorthand for Deep Funk Bass. It's
the benchmark. Totally. You see it in song lyrics.
Tom Club's Genius of Love. from 81 explicitly
says, Clinton's musicians such as Bootsy Collins
raise expectation to a new intention. He's named
as someone who literally raises the bar. Wow.
And in hip hop, the Fugees used him as the ultimate
measure of bass depth in Rumble in the Jungle.
The line is, got more bass than Bootsy Collins.
You can't get a higher compliment as a bass player.
That's it. That really says it all. And visually,
his style influenced so many. Flea from the Red
Hot Chili Peppers always cites him. Yeah, Flea
consistently points to Bootsy as a primary influence.
And you see it in the Down in California video.
Flea's dressed in that unmistakable Collins style,
the rhinestones, the wild colors. The influence
is right there. He's so iconic, he even gets
parodied, right? Like on SNL. Exactly. Affectionate
parody, though. The sources mentioned his vocal
style got spoofed in a 2011 Saturday Night Live
sketch called The Essentials. Jay Pharoah played
a character named... named Dr. Blackenstein.
Yeah, like Dr. Funkenstein. Exactly. A clear
nod to the Parliament album, The Clones of Dr.
Funkenstein, which Bootsy played on. It just
shows how deep the P -Funk universe and Bootsy's
part in it is lodged in pop culture memory. What's
really inspiring, though, especially lately,
is how he's channeled all that... musical and
cultural clout into actual philanthropic work.
Yeah, he's really focused on music education
and community building. He's an honorary board
member for Little Kids Rock. He visited one of
their programs back in 2011, donated a bass,
actually sat down and gave the kids a lesson.
That's great. But the most recent big thing is
the Funk Not Fight movement, right? This feels
like a really significant evolution of his whole
philosophy. It really does. He kicked it off
with his wife, Peppamente Patty Collins, in May
2023. They launched it at the Rock and Roll Hall
of Fame in Cleveland. And the core mission is
simple but powerful to calm the violence with
the power of music and dance. It's about using
the organizing power of funk, of groove, to tackle
social issues head on. How does it work in practice?
They're setting up chapters, running events focused
on community engagement, conflict resolution,
all using music and dance as the tool. They've
got efforts going in places like Compton, Detroit,
New York. York, and of course his home base in
Cincinnati. That's amazing. Taking the power
of the one into the community. Exactly. And this
dedication to using funk for public service has
gotten major recognition. In 2024, Bootsy and
Patty Collins jointly received the U .S. Presidential
Lifetime Achievement Awards and Honorary Gold
Medal. Wow. Presidential awards. Yep. Specifically
for their philanthropic work, highlighting the
Funk Not Fight movement. It's a remarkable capstone
to a career already full of honors. The National
Rhythm and Blues Hall of Fame in 2017. the Cincinnati
Black Music Walk of Fame in 2023. Just incredible.
So, OK, if we try to wrap this whole massive
journey up, we basically see three major eras
defining Gutsy Collins. Yeah, I think so. First,
there's the foundation, that rigorous essential
funk he mastered in that intense 11 -month crucible
with James Brown, learning the absolute meaning
of the one. Right. Then second. The cosmic exploration,
the wild, brilliant theatrical explosion with
P -Funk and Bootsy's rubber band, building the
whole mythology, the alien rock star, the star
-shaped sound. And finally, the third era, the
master collaborator and mentor, navigating decades
of music, funk metal, pop, electronic, while
consciously shifting his focus from being on
stage to guiding others in the studio and through
activism. What really stands out looking at the
whole arc is that conscious choice he made in
2019. He didn't just fade out. He intentionally
redirected his life's work. He moved his energy
away from physically playing the bass live towards
teaching through Funk University and leading
the Funk Not Fight movement. Yeah. It raises
a really powerful question about legacy, doesn't
it? How so? Well, if the architect of funk himself,
the guy who literally defined the low end for
generations, decides his most important work
now is teaching the principles of rhythm and
using that rhythm for social good. Is that like
the ultimate evolution of hitting the one? Interesting
way to put it. Is passing on that fundamental
rhythm, that funk, that positivity, is that a
more profound legacy now than just performing
it himself? It definitely is something to think
about for all you funketeers listening. Yeah.
The true power of the rhythm. Yeah. That was
the deep dive into the one and only Bootsy Collin.
Deep and funky. Get you next time.