#MinneapolisFunk towered in the '80s. But what defined it? Metro, futuristic. How'd it differ, say, from Parliament circa 1978? Band leader George Clinton had the sound of tomorrow, too. Listen: That croc-toothed bassline's no bass. It's three Minimoog synthesizers stacking pyramidal funk up and down in the background -- a zig-zag skyline. Extraterrestrial; electric; suitable for a group popularizing Afrofuturism. And isn't that similar to Minneapolis funk? Both are electric, but they're not the same. Parliament is large, soulful upbeats clapped, background singers harmonized. Bigness will beget disco. Winnowing that sound to its funkiest electro-filament leaves something for MN. Tight, airless, popping. (Plus, Afrofuturism never conscripted Prince. Afro-surrealism did, for his floaty sexuality, effete air and rococo humor, but not Afrofuturism.) This track cratered Minneapolis, all the same, its robo-bassline especially. Musicians would strip away the groovy scrap, one most famously.