The P-Funk mythology was just one tool in the conglomerate's arsenal. By the mid-1970s, Clinton was rebranding funk as many things at once, "an aesthetic, a marketing ploy, a black cultural nationalist battle-plan and a way of being if not a spiritual discipline." He was drawing on everything from "hipster lingo of the beboppers, early black radio deejays and the apocalyptic anti-slavemassa edicts of the Nation of Islam" as well as the Yippies and the Black Panthers. Clinton was positioning P-Funk as a "radical response to the American police state" and "the antithesis of everything that was sterile, one-dimensional, monochromatic, arhythmic and otherwise against freedom of bodily expression in the known universe." In its simplest iteration, Clinton posited that "funk" was equivalent with the "truth".