James Brown, the ONE is really African 2 against 3 polyrhythm

 

https://www.youtube.com/watch?v=8ePgZPuhCAo

So that visualizes the polyrhythm of 2 against 3....

 so notice that only the ONE is played by both hands... as emphasis.

Since the 1960s, when James Brown essentially invented funk music by building on rhythms introduced to him by two New Orleans-schooled drummers, the relationship between “second line” and “funk” rhythms has been increasingly symbiotic

https://ethnomusicologyreview.ucla.edu/journal/volume/18/piece/699

 Likewise, Alexander Stewart’s 2000 article “Funky Drummer” demonstrates the roots of funk rhythm in specific Afro-Cuban and second line rhythms from New Orleans through historical investigation and comparative analysis.

 The first measure of the clave is known as the tresillo. Although tresillo literally means “triplet,” in practice it refers to the pattern of beats with a duration of 3-3-2 (in 4/4, two dotted quarter notes followed by a regular quarter note). This pattern and other 3-3-2 patterns are examples of what African music scholar J.H. Kwabena Nketia calls “additive rhythm” (1974). In contrast to the divisive rhythm typical of Western classical music, in which larger rhythmic units are divided equally, in additive rhythms the larger rhythmic or metrical unit is divided unequally. Where a Bach chorale might divide a measure of 4/4 into two groups of four eighth notes, for instance, the clave or tresillo of West African bell patterns, Cuban son and rumba, and New Orleans second line rhythms would divide this same measure into two groups of three eighth notes (or two dotted quarter notes) and one group of two eighth notes (or one quarter note). When repeated regularly, additive rhythms often function as a “time line,” a common organizing feature of Afro-diasporic musics that Richard J. Ripani defines as “a short rhythmic pattern that serves as a reference rhythm for the entire ensemble” (2006:50). Another crucial feature of New Orleans second line rhythm and the jazz and funk traditions that sprung from it is the use of unequal or “swung” eighth notes. In his book The World That Made New Orleans, Ned Sublette writes that this rhythmic feature, derived both from the musical traditions of the Senegambia region in West Africa and from the notes inégales of French baroque music, is evident in existing records of New Orleans music from as far back as the 1730s (2008:72).

Harmonically, “The 2^nd Line” is essentially a 12-bar blues. The lyrics of a 12-bar blues typically feature an African-derived “call and response” structure, with the first eight bars containing a four-bar lyrical “call” on the I chord, a four-bar repetition of the call on the IV chord, and a four-bar “response” which begins on the V chord, passes through the IV and concludes on the I chord.