Pedro Bell (June 11, 1950 – August 27, 2019) was an Americanartist andillustrator, best known for his elaboratealbum cover designs and other artwork for numerousFunkadelic andGeorge Clinton soloalbums. Bell also wrote many of the liner notes of the records under the nameSir Lleb (his surname spelled backwards).[1]: 22 [2] The liner notes contributed to P-Funk's literary mythology[3]: 238 — a sampling of his contributions include "Thumpasaurus", "Funkapus", "Queen Freakalene", "Bop Gun", and "Zone of Zero Funkativity". Bell's work was preceded and partially inspired bySun Ra[4] and was a precursor to the modern graphic novel and theAfro-punk movement.[5]
Born on June 11, 1950, Bell was born and raised inChicago,Illinois.[6][7] His family was very religious.[8] Bell had older brothers.[9]
Often sick as a child, Bell would read books and comics, especiallyAce Comics.[10]: 20 Bell said that he gained his artistic talent from his father, whom he described as frustrated artist; and his mother, who wrote and played the piano.[7]
Between late 1969 and early 1970, Bell heardFunkadelic on the underground Chicago radio station WXFM for the first time.[1]: 22 He began writing illustrated letters to the band and contacted their manager, Rod Scribner, in order to send him drawings and college-newspaper writing samples. Bell additionally created and mailed what he called "psychedelic envelopes", but since Funkadelic bandleaderGeorge Clinton was under investigation at the time by theRCMP for his involvement with theProcess Church of the Final Judgment, the envelopes also were investigated.[13]: 23
Bell was hired to produce artwork for the band, beginning with local show posters, promotional items, and press kits.[14] He moved on to album artwork, where he built a mythology that included slang, nicknames, and otherworld concepts that eventually became part of the artwork and liner notes of the Funkadelic records.[1]: 22 Bell often came up with nicknames, which he called "tags", for people.[15] The album cover artwork was credited under Bell's name, but the liner notes credited his work to Sir Lleb.[14] Bell worked to reflect the band's atmosphere of its music and stage performances in his work,[16] for which he used markers and felt-tipped pens[17] because the fumes of the paint he used were too toxic, and he often traced the markers with acrylic due to issues with color separation from the printing process. The finished works were often 300 percent larger than the actual record covers for higher printing quality.[18]: 24 Although he went to college, Bell considered himself to be self-taught. Bell said he created the original pieces on three foot square panels, and often would only have the record title, and would not have heard the music before creating the album artwork.[14]
According to his biography via George Clinton's official website, Bell's "stream-of-contagion text rewrote the whole game. He single-handedly defined the P-Funk collective as sci-fi superheroes fighting the ills of the heart, society, and the cosmos…As much as Clinton's lyrics, Pedro Bell's crazoid words created the mythos of the band and bonded the audience together."[19] However, Bell was often paid very little for his work, and if it was not through the record label, payment was either delayed or he had to ask for it up front.[17][20]: 25 He therefore held regular jobs, including working in a bank and then a post office,[2] but retained his association with the P-Funk family by often wearingday-glo wigs and psychedelic-inspired outfits.[4] Bell additionally collaborated with Clinton on album cover artwork for Clinton's 1980s solo releases,[21] but their relationship became further strained after Clinton began to collaborate withPrince.[22]
Bell had his own studio that he named Splankwerks,[23] and in 1988, he created a cartoon forMTV calledLarry Lazer.[24] In addition to working on comic books (including a compilation titledArtusi Tribe) and screenwriting, Bell started a band called Tripzilla.[25][26] In 1997, he published azine titledZEEP Magazine.[7][27] According to Bell, the word was P-Funk slang for "deeper-than-deep".[1]: 22
Warner Brothers Music censored Bell's initial artwork for Funkadelic's 1981 albumThe Electric Spanking of War Babies.[22][28] Deemed as inappropriate due to the cover featuring an overtly phallic spaceship that transported a naked woman, the work was edited, despite the fact that Funkadelic "was following up two consecutive million-selling records," while signed toWarner Bros.[3]: 249 Bell revisedThe Electric Spanking of War Babies so the image was featured with a lime-green sketch of shape covering the majority of the cover art, which says, "Oh Look! The Cover that 'They' were TOO-SCARED to print!"[29]
In August 1996, Bell was declared legally blind.[7] He struggled with health and poverty issues for much of his later life.[2] In January 2010, theBlack Rock Coalition held a fundraiser called "Miracle for a Maggot: Funkraiser for P-Funk Graphic Artist Pedro Bell" to help Bell.[32]
2018:Chicago Cultural Center,African American Designers in Chicago: Art, Commerce, and the Politics of Race (October 27, 2018 – March 3, 2019) – Chicago[23][43]
^Clinton, George; Greenman, Ben (2014).Brothas Be, Yo Like George, Ain't That Funkin' Kinda Hard on You?. New York: Atria Books. pp. 116–118, 184.ISBN978-1-476-75109-2.OCLC893679213.
Jacob, Luis (essay by); Wendt, Pan (essay by); Piper, Adrian (essay by); Fischer, Barbara (foreword by) (2009).Funkaesthetics. Toronto / Charlottetown, PEI: Justina M. Barnicke Gallery / Confederation Centre of the Arts.ISBN978-0-772-76075-3.OCLC480908851.
Southgate, Darby E. (2011). "Funk". In Price, Emmett George; Kernodle, Tammy L; Maxile, Horace Joseph (eds.).Encyclopedia of African American Music. Santa Barbara, CA: ABC-CLIO. pp. 345–346.ISBN978-0-313-34200-4.OCLC664451052.
Wax Poetics 22: George Clinton · Lord Finesse · Bootsy Collins · Pedro Bell: A Parliament Funkadelic Primer. Wax Poetics Japan. Vol. 22. Tōkyō: GruntStyle Co., Ltd. 編集. Guranto sutairu. 2012.ISBN978-4-905-29801-4.OCLC808341588.
Thompson, Ahmir Questlove; Clinton, George (2018). "Between the Lines". In Feireiss, Lukas (ed.).Legacy: Generations of Creatives in Dialogue. Amsterdam: Frame Publishers. pp. 66–73.ISBN978-9-492-31130-6.OCLC1105629409.
