First US exhibition by BREYER P-ORRIDGE in the United States.

“CHANGE THEE WAY TO PERCEIVE AND CHANGE ALL MEMORY”

Artist: BREYER P-ORRIDGE

(Genesis and Lady Jaye…)

CURATED by LIA GANGIATANO.
At
PARTICIPANT INC.,
95 RIVINGTON STREET ( near Stanton)
(Lower East Side)
NEW YORK CITY. NY 10002
Tel: 212-254-4334

Runs from Sunday October 16th 2005 until November 15th
2005.

OPENING on Sunday October 16th 6pm-9pm.

The exhibition is of new works, sculptures,
installations, collage/paintings and mysteries
exploring PANDROGENY and their journey through mental
and medical proceedures to represent evolution through
mutation, the creation of a third being ( as Burroughs
and Gysin explored with writing to generate the Third
Mind) by the artists which they call THEE PANDROGYNE.
They also explore identity and behaviour as a
fictional muteable medium in which NOTHING especially
the physical body, is sacred. Many of the works on
show include detailed geologies of their ritual
directed orgasms and processes. This is the first
exhibition by BREYER P-ORRIDGE in the United States.

Bush's Chat With Troops Draws Flak

Los Angeles Times

War critics and some military leaders disapprove of the president’s carefully staged videoconference with soldiers in Iraq.

By Warren Vieth and Mark Mazzetti
Times Staff Writers

October 14, 2005

WASHINGTON ó President Bush touched off a new round of controversy over his policies in Iraq on Thursday when he conducted a videoconference interview about this weekend’s constitutional referendum with a small group of handpicked troops stationed in Iraq who reinforced his upbeat view of the conflict.

The closely coordinated exchange drew disapproval from Democratic critics of the war as well as some Pentagon military leaders.

The soldiers were carefully coached. Before the session began, a Pentagon communications official, Allison Barber, was heard asking one of them, “Who are we going to give that to?”

Barber later told reporters that the soldiers were told only about broad themes Bush wanted to discuss, not specific questions.

White House Press Secretary Scott McClellan said he did not think the soldiers had been told what they could or could not say.

“The troops can ask the president whatever they want,” he said. “They’ve always been free to do that.”

Bush did not invite the soldiers to ask any questions, however, and none chose to do so.

Pentagon spokesman Lawrence Di Rita later issued a statement saying: “On behalf of these fine young men and women, we certainly regret any perception that they were told what to say. It is not the case.”

The president spoke into a video screen to 10 U.S. soldiers and one Iraqi officer seated outdoors in Tikrit, the hometown of ousted President Saddam Hussein.

“What’s your strategy, and how do you think it’s going?” Bush asked.

Capt. Brent Kennedy of the Army’s 42nd Infantry Division said U.S. and Iraqi forces were working together to secure more than 1,250 polling places for Saturday’s vote. “We’re working right alongside with the Iraqis as they lead the way in securing these sites,” Kennedy said.

With Iraqi troop readiness at the center of the war debate, Bush’s discussion with the troops was questioned by war critics such as Senate Minority Leader Harry Reid (D-Nev.), who complained that it was “highly scripted,” and by military officers.

“Officers are upset that military people would be coached as to how to talk to the president,” said a senior military official who spoke on condition of anonymity. “It’s against everything that people in uniform stand for.”

Sgt. Corine Lombardo of Scotia, N.Y., told Bush that Iraqi forces had shown significant improvement over the last 10 months.

“Since we began our partnership, they have improved greatly,” Lombardo said.

Added 1st Lt. Gregg A. Murphy of Tennessee: “The important thing here is that the Iraqi army and the Iraqi security forces, they’re ready, and they’re committed. They’re going to make this thing happen.”

Capt. David Williams of Los Angeles told Bush that voter registration had increased by 400,000, or 17%, in areas patrolled by the 42nd Infantry Division. He said Iraqi citizens had indicated they “are ready and eager to vote in this referendum.”

Meanwhile, the Pentagon released its second quarterly report to Congress on the war, saying that although the number of Iraqi battalions capable of fighting alongside U.S. units had increased, infiltration of the Iraqi police by insurgents remained a significant problem.

SUV Drivers in Paris Get Wind Knocked Out of Them – Los Angeles Times

Oct 10 Los Angeles Times
A clandestine group lets air out of tires as a form of protest. The vehicles’ owners are not amused.

By Sebastian Rotella, Times Staff Writer

PARIS ó If the French marauders known as The Deflated waged their brand of urban subversion in Southern California, the mecca of the sport utility vehicle, by now they would probably have been jailed, beaten, shot or at least sued.

But five weeks after the clandestine crew of environmentalists launched a low-intensity war on SUVs in Paris, there are no casualties to report. Except, of course, for dozens of deflated gas-guzzling vehicles, said Sous-Adjudant Marrant (Sub-Warrant Officer Joker), the mysterious, masked leader of Les DÈgonflÈs.

Under cover of night, Marrant’s troops target Jeep Cherokees, Porsche Cayennes and other four-wheel-drive vehicles parked on the tree-lined avenues and cobblestoned lanes of wealthy neighborhoods. The eco-guerrillas deflate tires without damaging them, smear doors with mud and paste handbills on windshields proclaiming that the vehicles are dangerous, polluting behemoths that do not belong in the city.

“We use the mud to say that if the owners will not take the four-wheel-drives to the countryside, we will bring the countryside to the four-wheel-drives,” said Marrant, 28, who uses an alias because angry drivers deluge his website, http://degonfle.blogg.org with e-mails threatening mayhem and questioning his manhood.

Although his nom de guerre was inspired by Subcommander Marcos, the masked Mexican guerrilla revered by leftists, Marrant insists he is not violent or even particularly serious. “Deflated” is a self-deprecating name that also means “coward” in French. The group wants to send a mischievous message while avoiding damage to the vehicles, injury and prosecution, the thin, mop-haired activist said during an interview in a corner cafe on the Seine’s left bank, longtime turf of radicals and revolutionaries.

“We emphasize the comic, the burlesque side,” Marrant said with the earnest, wide-eyed look of a prankster trying to keep a straight face. “It would be hard to take us to court. We don’t slash tires, we deflate them. Air doesn’t cost anything. As for getting cars dirty, that’s nothing. I would plead guilty to that. Our rules are to never run from the police. And always run from the owners.”

The rise of anti-SUV activism in France shows that one man’s vandal can be another man’s avenger. The deflators are on the fringe of a movement that has considerable support at City Hall, which is governed by an alliance of the Socialist and Green parties.

Christophe Delabre, the president of a French association of SUV owners, has appeared in a television debate with Marrant, who wore sunglasses, a baseball cap and a bandanna to conceal his identity. Delabre does not find his adversary amusing.

“It’s comparable to extremism, to discrimination, to inciting hate,” Delabre said. “You can’t stigmatize a category of the population with impunity under the pretext that they drive a kind of vehicleÖ. [The Deflated] put others’ lives in danger, and that’s unacceptable. It’s out of the question that this kind of action is tolerated in France. I don’t understand how the police can arrest deflators and let them go a few hours later.”

Although city leaders don’t condone vandalism, officials have gone as far as proposing that Paris ban sport utility vehicles. Deputy Mayor Denis Baupin, who oversees transportation programs, has called the SUV “a caricature of a car.”

Baupin spoke during a recent rally of about 200 activists at a Jeep dealership where the manager had agreed to shut down early for the day. The decision drew cheers from children wearing cow and buffalo masks, cyclists hoisting bikes triumphantly aloft.

“An SUV is totally useless for Paris,” Baupin said in his speech, blaming the recent devastating hurricanes in the U.S. on climate change caused by pollution. “The situation is striking: The country that refused to sign the Kyoto Protocol suffered from a climatic catastropheÖ. We all feel sorry for the dead in New Orleans. But now maybe the United States should start considering that their development pattern is not to be repeated worldwide and that it causes environmental problems.”

In the United States, sport utility vehicles account for one of every four automobiles sold, but in France, SUVs represent only about 5% of the market. The prices are high for middle-class families, but sales jumped about 20% last year.

Overt official hostility has encouraged antisocial attacks masquerading as activism, Delabre charged.

“This reflects the impact of the statements made during the last two years by Mr. Baupin,” he said. “He has told anyone listening, and the media helped him a lot, that four-wheel-drives should be banned. I criticized him because that kind of talk surprised me coming from an elected representative.”

Like other historic European capitals, Paris struggles with overwhelming traffic that challenges even the smallest cars and steeliest drivers. Double-parked delivery trucks block narrow streets. Swarms of motorcyclists zoom the wrong way on congested boulevards. Parking garages, impossibly small, seem designed by sadists.

Spurred by the take-back-the-streets attitude of the Greens, City Hall is trying to discourage cars in favor of mass transit, biking and walking. In addition, the national government has imposed a new tax on high-polluting vehicles that works out to about $300 per owner, but varies depending on emission levels.

And the Deflated are stepping up their stealthy fight. Marrant is writing a children’s song as an anthem for the cause. He also hopes to record a dance-mix version before Saturday, when activists plan an international wave of anti-SUV operations ó by daylight, this time ó in France, Britain, Canada and Australia.

“The point is to focus on consumers,” he said, spewing smoke from a Gaulois cigarette into the haze shrouding the crowded cafe. “We have to get past the idea that there’s always a single, identifiable villain: the president, the corporation, the chief executive. Our campaign has to be very marketing, shocking, provocative. I want to make it fashionable to be anti-4X4.”

Marrant is unemployed, though he has dabbled in journalism. His brother works for a major European corporation. His group numbers about 20, he said. They come from a mix of middle- and working-class backgrounds and anti-globalization and environmental groups.

The Deflated have made contact with like-minded activists in the United States. Marrant is familiar with the U.S. television advertising campaign that equated buying an SUV with financing Islamic terrorism. But he finds it too gloomy.

He says the French public supports his group’s approach. People send e-mails asking to participate or suggesting tactics, such as a special tool the activists now use for lightning-fast deflations.

“It’s a kind of key that deflates a tire very fast and completely, in two seconds,” he said. “A mechanic sent an e-mail telling us about it. He said, ‘You can do better than you have been doing.’ ”

Delabre, meanwhile, fears an eventual confrontation.

“I put myself in the place of an owner of a four-wheel-drive who sees people messing up his vehicle,” he said. “I worry that things will get out of control. We can’t accept that in our fine democracy. People have died for the freedom we have today.”

*

Claire Rocher and Achrene Sicakyuz in The Times’ Paris Bureau contributed to this report.

SOME UNTRIED COMBINATION OF PIGMENTS: A beginner’s guide to the music of Jon Hassell, by John Adamian

Originally published in Arthur No. 18 (Sept. 2005)

The timbre of Jon Hassell’s effects-drenched trumpet is unmistakable. There’s nothing else like it. Imagine being a painter who stumbled on a color — some untried combination of pigments — that no one had ever seen before, and you get an idea of the ear-opening shock of Hassell’s music. The nebulous sound of Hassell’s tricked-out trumpet has almost no attack whatsoever. The tones swell and bloom. It’s as if the swarming and droning music is the product of some extreme humidity. Hassell’s visionary approach to playing and composing has earned him admirers and collaborators in practically every genre — jazz, pop, classical, experimental and world music. Even if you’ve never heard of him, you may already have several recordings of Jon Hassell’s music.

On Remain in Light, Talking Heads’ landmark 1980 Brian Eno-produced record, Hassell provided the horn arrangement and trumpet on “Houses in Motion.” If you’re not paying attention you might not hear the restrained punctuated trumpet dabs that Hassell applies in the verses, but you can’t miss his solo — it’s part elephantine blast, part storm ululation and part muezzin’s call.

Hassell’s “Pano Da Costa” (Cloth from the Coast) is performed by the Kronos Quartet on their 1987 release White Man Sleeps. The quartet takes inspiration from the sound of Hassell’s horn, gamely mimicking the barometrically charged tone, the insectoid flutters and the dizzy phrasing. Strong percussion often propels Hassell’s music, and with shakers, rattles and aggressive bowing, Kronos conjure the right friction and mystery.

Along with numerous other Eno projects, Hassell appears on Ambient 4: On Land, and his horn supplies that ominous touch that keeps Eno’s ambient music from being solely soothing. Hassell helps to unsettle things. (If you can fathom this, Hassell also plays on records by k.d. Lang, Ani DiFranco, Manhattan Transfer, Baaba Maal and Bjork, and many others. If you’re looking to dig deeper, Hassell has scads of other projects worth checking out, if you can find them.)

Years before West Africa became the favorite stomping ground of world music collaboratists and record producers, Hassell took up the idea. This collaboration was a logical extension of Hassell’s philosophy of Fourth World music. On 1993’s Flash of the Spirit, Hassell teamed up with Farafina, an excellent percussion and balafon group from Burkina Faso. The Eno-produced record, which draws its title from scholar Robert Farris Thompson’s legendary study of Africanisms in the New World, shows how suitable the pairing of West African polyrhythm, tumbling phrasing, call-and-response and all-around kinetic music energy is with Hassell’s approach.

One of Hassell’s most haunting records is Dream Theory in Malaya, the second volume of “Fourth World” collaborations with Eno (volume one is also worth seeking out). Thick with rhythms made from the sounds of splashing water, hypnotic gongs and the earthy ping of pottery drums, the music here achieves a shamanic intensity. It’s both startling and soothing somehow.

Maarifa Street, out this year, is a fitting cap to a roundup of Hassell’s recordings. With dubbed-out effects and clubby rhythms, Hassell summons up On the Corner or Bitches Brew-era Miles Davis, folded in with bits of Arabic singing and Senegalese drumming. Like Hassell’s aesthetic, it’s smart, expansive, experimental, global, and, most of all, ecstatic.

The North and South of Him

Originally published in Arthur No. 18 (Sept. 2005)

For decades, Jon Hassell has been making sensual,Technicolor music for a new world. John Payne catches up with the composer, trumpeter, gourmand, intellectual and hedonist. Photography by W. T. Nelson.

Jon Hassell is a wildly disciplined blurrer of boundaries. Does he write “serious” music? Does he play “jazz”? Is he an electronic skullscratcher? Does he make earth music for an ethnologically melting-down new world society? Does he in fact “rock”? And what does nouvelle cuisine have to do with it? Does it matter? Yes, it does. No, not at all.

Memphis-born and Stockhausen and Eastman School-trained, Hassell has collaborated with every kind of musician and artist, including Brian Eno; Farafina, a traditional ensemble of drummers and dancers from Burkina Faso; director Peter Sellars; fashion designers Issey Miyake and Rei Kawakubo; choreographers Merce Cunningham and Alvin Ailey, the Kronos Quartet and David Sylvian; Bjork and Ani Di Franco, even. He’s also the inventor of”Fourth World,” a hugely influential composed and improvised music that hybridizes African-derived polyrhythms, Indian microtonality and Balinese sonorities, smelted through recombinant aesthetics made possible by digital technology. On occasion, he’s moved to play his trumpet absolutely straight. Never say never, he’d say, if I didn’t just say it for him.

Fourth World is not just a musical style but a way of viewing life, or “a permanent Technicolor oasis in my spirit,” as he has called it. And that well describes the effect of his latest disc, the just-out Maarifa Street (Magical Realism 2) on his own Nyen label. A deconstruction/reconstruction of several pieces he’s either released or performed in the past, engineered and co-conceived by his producer/bandmate, bassist Peter Freeman, Maarifa is…. well, it’s music that, hearing it, one wants never to end: seven cuts of blissfully spacious yet deeply physically satisfying dubby globe-groove, familiar in tone to old fans via Hassell’s raga-inspired electronically harmonized horn lines tracing see-thru lacerie across the stars. Maarifa Street is incredibly seductive: its fragrant sound structures soothe and stimulate like a soak in ambrosial seas. It’s also the best of Hassell’s formidable achievements all rolled up in a big, round, smooth yet strangely unsettling ball.

Which is in essence what he’s done on Maarifa: the album is a digital reconceptualization-reperformance of several pieces generated in European concerts, which were themselves based on previous Hassell works from his catalogue of 13 or so albums. It reflects Hassell’s longstanding interest in making a sensual music that contained his self-generated versions of a kind of spirituality and consciousness of folklorical musical strains within the context of a darker and stranger modern digital milieu. The album’s first track, “Divine SOS,” sounds like a chapter heading in Hari Krishna training manual, but it’s actually named after the frequency-analyzing software the band used in the recording, the Divine “505” (becoming “SOS” after having been written down incorrectly in session notes). The album’s sound stage is extremely wide, the placement of sounds surprising and extraordinarily subtle evanescence made audible through sensitive balancing of a mouth on brass, old animal hides petted and prodded, the finest in massaging low and caressingly high frequencies courtesy late-issue digital instrumentation.

Structurally, these are fascinating new forms of symmetry, not just jammed out like a jazz orchestra, but containing actual interludes and episodes such as the seismic shift at the end of “Darbari Bridge,” which balloons suddenly up and out on a cloud of electronic gamelan.

“We’d been playing some version of that, ‘Darbari Extension,’ which comes from Aka/Darbari/Java, and on that record is the gamelan cloud the new piece ends with,” Hassell says. “In a way that was almost like a Darbari Suite,’ with some of the same elements, for instance the melody thing that I do comes from another track off of that record, but it’s been extended harmonically, into this whole cloud; and we took Abdou Mboup’s drum part [from a performance in Paris 20 years ago] and reconstructed it in this Divine Machine software. The thing warps into another dimension, you know.”

The album will receive further transformation as a “prequel” with Brian Eno’s reconfigured version, due for release in a few months.

For Hassell, it’s how the past can be used that spells any possibility for new things to come. “Anytime,” he says, “I love getting out of the box of, like, here’s this bass line, here’s this rhythm, here’s whatever; it’s really more like reaching back into the bag of goodies that have developed over the years. There’s always something there, and it’s seeing what somebody does with things that are already there, how to recombine. It’s interesting to think about where someone used elements that are continually refreshed by their context.”

Why not resort to food metaphors here and say that, to Hassell, the recombinance made possible by the newer digital technologies “is like `fusion cuisine’?

“Did you see that bit in The New York Times food section,” he asks, “where these super chefs make `Sci-fi Cooking,’ I think they call it? They have these incredible combinations of things, like things served on little glass tube with a burning cinnamon stick inside of it so the aroma of the thing is part of the dish. We know what prosciutto is, and we know what watermelon is, we know all these sort of elements. Well, then you combine them; in fact, one of them is even using crushed Altoids [laughs] as part of the dish. Or another guy is using Pop Rocks as a little burst.

“I want to make something that’s beautiful but sexy, you know, makes girls pay attention, and at the same time has some mysterious combination of things. Musically, a familiar sort of melody that drops back into the parallel, major triad with the harmonizer, and then this sort of resulting exotic melody—to me that’s a dish, that’s like something to eat. It has beautiful curves, but all these other things are like gurgling around it, and all these decorative Pop Rocks.”

Hassell is a fascinating hodgepodge of influences and interests, a former musical cerebralist who has rejected the straitjacket of the European classical tradition for some kind of music more deeply rooted in his own body and heart. He takes great pleasure in discussing the joys of Fellini, who once advised that it was never a good thing for an artist to be too conscious about what he was doing. He paraphrases the director: “‘For me what makes the work interesting is not where it came from or what style it is or what epoch or whatever, but whether it has vitality.’ And I think that’s important to me, for something to be vital.”

You can see, hear, read and experience much, much more about this giant in our midst on his website, jonhassell.com, which features an incredibly rich section called “Atmospherics,” an ongoing and ever-evolving collection of sound clips, visuals and whatnot accompanied by texts relating the story behind each snippet. And soon come, hopefully, will be Hassell’s completed The North and South of You, his book of musings, notes, drawings and diagrams defining the complete Fourth World paradigm and its potential uses as an inspiration bible for musicians, writers and artists alike.

Meanwhile, for Hassell it’s ancient to the future all the way.

“Faced with a choice of Brown (James) or Beethoven (Ludwig van) as my only records on a desert island, I’d say J.B. wins hands down. But the balance of structure with on-the-spot fun which is transmitted by the polyphonic after-the-hunt music of the Ba-Benzélé pygmies endures beyond both. My whole life has been toward rediscovering the North and South of You. Getting in touch with your South. And rebalancing the overbalance of the North.”

THE ARTHUR MAILING LIST BULLETIN No. 0022

“COMMAND PERFORMANCE” -THE ARTHUR MAILING LIST BULLETIN

NUMBER 22

AUGUST 11, 2005

A. YOUR CHANCE TO FIGHT THE POWER. LITERALLY.

http://www.americasupportsyou.mil/

America Supports You ‘Freedom Walk’ to Commemorate 9/11, Celebrate Freedom

By Steven Donald Smith / American Forces Press Service

WASHINGTON, Aug. 9, 2005  The Defense Department today announced the first “America Supports You Freedom Walk” to honor the victims of 9/11 and America’s military personnel, as well as to celebrate freedom….

   Defense Secretary Donald H. Rumsfeld made the announcement today at the Pentagon….

   “Every year since the Sept. 11 attacks, Americans have commemorated that anniversary. This year the Department of Defense will initiate an American Supports You Freedom Walk. The walk will begin at the Pentagon and end at the National Mall. It will include many of the major monuments in Washington, D.C., reminding participants of the sacrifices of this generation and of each previous generation that have so successfully defended our freedoms,” Rumsfeld said.

  The Freedom Walk will begin at 10 a.m. Sept. 11 in the Pentagon South parking lot, near the site where the airliner crashed into the Pentagon on 9/11. The walk route will consist of a two-mile trek through Arlington National Cemetery, over the Potomac River, and will end by the reflecting pool on the National Mall, where a free concert featuring country music star Clint Black will take place.

  “I am proud and honored to be part of the America Supports You Freedom Walk to honor the victims of 9/11 and to support our men and women in uniform,” Black said.

ARTHUR HQ SEZ: This is our chance to directly confront the military at their own parade, on their own turf. This chance may never happen again. So: don’t protest. JOIN the parade. Sign up as an event volunteer. Register to walk (and get a free t-shirt? Seriously, check out the form.) Get every anti-war/anti-neo-con person you know to do the same thing. When militaries start throwing parades for themselves, it’s a sign that the public is in danger, and is being reminded of who really has the power. Remember the Nuremberg rallies of 1936 in Germany; remember the Soviets in the Red Square. We have to stop this now before it’s Krew Kut Klan time again. Celebrate your freedom to live without fear of militarism.

Sign up at

https://www.penfed.org/freedomwalk/register.asp

B. BEHIND A RED DOOR, DOWN A BLACK STAIRCASE

Inventing an Anti-War Culture event #2

hosted by the Journal of Aesthetics & Protest

Friday August 12, 2005

8:30 pm at beta-level in Chinatown area of Los Angeles

Does culture shape politics, or is it the other way around? How do you build, sustain, or incubate a culture? 

Jay Babcock, the editor/co-owner of the free national counterculture bimonthly Arthur magazine, will address these topics, sideways. This means talking about: why Arthur does what it does; what Jay’s found in our past and present for inspiration; why he has (some) hope for the future.

Free copies of certain back issues of Arthur will be available to all in attendance.

Directions to beta-level (formerly c-level):

1. Find yourself in front of “FULL HOUSE RESTAURANT” located at 963 N. Hill

   Street in Chinatown.

2. Locate the alley on the left hand side of Full House.

3. Walk about 20 feet down the alley (away from the street).

4. Stop.

5. Notice dumpster on your right hand side.

6. Take a right and continue down the alley.

7. Exercise caution so as not trip on the wobbly cement blocks underfoot

8. The entrance to Betalevel is located 10 yards down on left side, behind

a red door, down a black staircase.

9. You are here. (But then, you always are, aren’t you?)

C. ARTHURFEST ON THE RADIO….

L.A.”s “Indie 103” station will broadcast an hour of music and discussion about ArthurFest and Arthur Magazine this Sunday, August 14, from 8-10pm on the “Dead Air” show. Arthur editor Jay Babcock will guest. 

D. ARTHURFEST GROWS.

We’ve added some more artists to the bill. They are:

Day One: Sept. 4

* THE NIGHT PORTER (ex-Geraldine Fibbers/Ethyl Meatplow singer Carla Bozulich’s new rock band)

* DOS (L.A. punk legends Kira & Mike Watt in bass duet action)

Day Two: Sept 5

* POLE (German godfather of minimalist dub)

* YOUNG JAZZ GIANTS (jazz quartet from South-Central L.A.)

* plus a TOP-SECRET & PRESENTLY UNANNOUNCEABLE guest

One-day and two-day tickets are still available from ticketweb.com and stores around Southern California. More info at arthurmag.com

Ta,

Arthur Love Squad

Los Angeles, California

Clinton Gives New Funk

Clinton Gives New Funk

Colorful music legend celebrates fifty years in the biz

George Clinton will celebrate his fiftieth year in the music business with a new album, How Late Do U Have 2BB4UR Absent, due August 23rd. The funk legend — who started out with a vocal group called the Parliaments in 1955 — will be joined by members of his bands P-Funk All-Stars and Parliament Funkadelic, as well as superstar disciple Prince, on the double-disc set.

“It’s one of the best records we’ve ever done,” says Clinton.

Clinton will hit the road this summer, beginning at Los Angeles’ Greek Theater. The tour features an opening act composed of Jane’s Addiction drummer Stephen Perkins, bassist Me’Shell Ndegeocello and R&B man Raphael Saadiq, with a revolving door of special guests.

“Flea will play at some of the shows, and Big Boi from OutKast, Snoop, Redman, Flavor Flav, Chuck D, Gwen Stefani, Lenny Kravitz, Fishbone, Erykah Badu, D’Angelo, Musiq, the Black Eyed Peas and the Roots.”

Clinton has further reason to celebrate. Last week he won a court ruling that gave him the rights to the master recordings of four classic Funkadelic albums: Hardcore Jollies (1976), One Nation Under a Groove (1978), Uncle Jam Wants You (1979) and The Electric Spanking of War Babies (1981). The catalog is a goldmine, as Funkadelic samples have been staples of blockbuster hip-hop records, most notably Dr. Dre’s 1992 The Chronic.