{"id":9567,"date":"2026-09-19T14:42:00","date_gmt":"2026-09-19T12:42:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/new-orleans-1976-parliament-2\/"},"modified":"2026-09-19T14:42:00","modified_gmt":"2026-09-19T12:42:00","slug":"new-orleans-1976-parliament","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/new-orleans-1976-parliament\/","title":{"rendered":"New Orleans 1976 – Parliament"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

La seule nuit o\u00f9 le vaisseau est arriv\u00e9 d’abord<\/h3>\n

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Municipal Auditorium, La Nouvelle-Orl\u00e9ans, 27 octobre 1976. La tourn\u00e9e P-Funk Earth Tour s’ouvre, et avec elle un accessoire que George Clinton voulait plus dynamique que Pink Floyd. Jules Fisher dessine le vaisseau. Le co\u00fbt, rapport\u00e9 plus tard autour d’un demi-million de dollars, est le pari de Neil Bogart chez Casablanca. Un plus petit engin doit passer au-dessus des t\u00eates sur un c\u00e2ble. Puis le Mothership lui-m\u00eame, lumi\u00e8res, fum\u00e9e, boules \u00e0 facettes, et Clinton en haut des marches en Dr. Funkenstein. Hugh Masekela joue. Bootsy’s Rubber Band joue. Puis Parliament-Funkadelic, qui cette ann\u00e9e-l\u00e0 est moins un groupe qu’une ville mobile : Bernie Worrell, Bootsy Collins, Garry Shider, et qui la nuit exige.<\/p>\n

Ils font atterrir le vaisseau au d\u00e9but. Archie Ivy, manager de longue date de Clinton, a d\u00e9crit la salle devenant, selon son mot, compl\u00e8tement folle. Le probl\u00e8me est musical, pas m\u00e9canique. On ne peut pas encha\u00eener apr\u00e8s sa propre apocalypse. Le lendemain, \u00e0 Baton Rouge, l’atterrissage passe \u00e0 la fin, et c’est l\u00e0 qu’il reste. La Nouvelle-Orl\u00e9ans est la seule ville qui a vu l’ordre d’origine : le vaisseau d’abord, le funk apr\u00e8s, le mythe racont\u00e9 avant les chansons qui devaient le m\u00e9riter. Les chansons, \u00e0 l’arriv\u00e9e, n’avaient pas besoin de cette longueur d’avance. Mothership Connection<\/em>, Give Up the Funk<\/em>, la cosmologie cartoon de The Clones of Dr. Funkenstein<\/em>, tout juste sorti. Mais l’erreur est le document. Un groupe qui apprend, en public, qu’un climax est un endroit o\u00f9 l’on arrive, pas d’o\u00f9 l’on part.<\/p>\n

L’atterrissage film\u00e9 que la plupart des gens connaissent, c’est Halloween \u00e0 Houston, quatre nuits plus tard, m\u00eame tourn\u00e9e, m\u00eame vaisseau. C’est la bonne machine et le script r\u00e9vis\u00e9. La nuit de La Nouvelle-Orl\u00e9ans a moins d’images et une meilleure histoire. Ivan Neville, dix-sept ans, est dans la salle. Il se souvient d’une fourrure et d’une porte qui s’ouvre. \u00c7a suffit. Le funk en 1976 est d\u00e9j\u00e0 une science de studio. Cette nuit-l\u00e0, il insiste pour \u00eatre du th\u00e9\u00e2tre, avec un budget et une chute qui arrive trop t\u00f4t.<\/p>\n

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\n

On arrive \u00e0 La Nouvelle-Orl\u00e9ans, le show commence, ils font le prologue, le Mothership descend, George sort, et la salle devient compl\u00e8tement folle.<\/p>\n<\/blockquote>\n

(Archie Ivy, Gambit)<\/em><\/p>\n

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Ce que le vaisseau a fait, au-del\u00e0 du gag, c’est donner \u00e0 une musique de danse noire am\u00e9ricaine le m\u00eame droit au spectacle que le rock tenait pour acquis. Lasers, \u00e9crans, un archet sur une guitare : Zeppelin apportera \u00e7a \u00e0 un champ trois ans plus tard. Clinton apporte un engin spatial \u00e0 une salle municipale et appelle \u00e7a un op\u00e9ra funk. Le mot op\u00e9ra n’est pas un \u00e9tirement si l’on compte les costumes, l’intrigue, et la dur\u00e9e. Ces shows pouvaient courir des heures. Le vaisseau \u00e9tait l’ouverture qui, apr\u00e8s une nuit, est devenue le final.<\/p>\n

L’accessoire a fini au Smithsonian, ce qu’une culture fait quand une blague se r\u00e9v\u00e8le avoir \u00e9t\u00e9 de l’architecture. Le 27 octobre 1976, ce n’est pas une pi\u00e8ce de mus\u00e9e. C’est un risque, descendu sur une sc\u00e8ne de Trem\u00e9, et un chanteur dans un costume que la salle n’est pas pr\u00eate \u00e0 traiter comme un costume. Ils crient. Il tient la rampe. Le funk, apr\u00e8s \u00e7a, doit m\u00e9riter le droit de se suivre lui-m\u00eame.<\/p>\n

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Le 27 octobre 1976, au Municipal Auditorium de La Nouvelle-Orl\u00e9ans, George Clinton fait atterrir le Mothership en ouverture, et la salle refuse de redescendre.<\/p>\n","protected":false},"author":1,"featured_media":9521,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[273,281],"tags":[265,815],"class_list":["post-9567","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chronicles","category-concerts","tag-discofunk","tag-parliament","post_format-post-format-video"],"yoast_head":"\nNew Orleans 1976 - Parliament - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/new-orleans-1976-parliament\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"New Orleans 1976 - 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