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Old 12-26-2006, 12:37 PM   #46
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I'll tell you what! There's no disputing that a long time ago James Brown was a great performer, but he was no model citizen at all. He had a habit of hitting women and he was always getting busted by the cops. His last hurrah was in 1985 when he made a cameo appearance in Rocky IV. Who has given a shit about him since then?
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Old 12-26-2006, 02:26 PM   #47
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IWho has given a shit about him since then?
Uhhh, people that listen to his music? Maybe?
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Old 12-26-2006, 02:30 PM   #48
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I didn't know he had a habit of hitting women, of course I certainly don't endorse that. He's dead now and I think all anyone here was doing was admiring him for what he contributed to music history, whatever that may be.

No one is a model citizen, we all have our sins and failings and demons.
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Old 12-26-2006, 02:34 PM   #49
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Uber, do you own a James Brown album?
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Old 12-26-2006, 02:44 PM   #50
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Originally posted by MrPryck2U
I'll tell you what! There's no disputing that a long time ago James Brown was a great performer, but he was no model citizen at all. He had a habit of hitting women and he was always getting busted by the cops. His last hurrah was in 1985 when he made a cameo appearance in Rocky IV. Who has given a shit about him since then?

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Old 12-26-2006, 02:53 PM   #51
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I'll amend my statement about the Godfather of Soul. You know who has given a shit about James Brown? All of the artists who have sampled his music over the years.
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Old 12-26-2006, 03:15 PM   #52
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RIP Mr. James Brown...
Thank you for all the good music.
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Old 12-26-2006, 04:28 PM   #53
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R.I.P.
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Old 12-26-2006, 07:56 PM   #54
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Originally posted by MrPryck2U
I'll tell you what! There's no disputing that a long time ago James Brown was a great performer, but he was no model citizen at all. He had a habit of hitting women and he was always getting busted by the cops. His last hurrah was in 1985 when he made a cameo appearance in Rocky IV. Who has given a shit about him since then?
He was inducted into the UK hall of fame just months ago, obviously somebody gives a shit.

RIP Godfather of Soul.
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Old 12-26-2006, 08:01 PM   #55
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Old 12-26-2006, 08:01 PM   #56
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This was a shock.
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Old 12-26-2006, 11:32 PM   #57
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Touche RedHot! In his prime, back in the 60's, Brown was the ultimate showman. Plus, he did put on many great performances in the decades to follow. But, there's one thing I just don't understand. How come the UK waited so long to induct him. If I'm not mistaken, Bon Jovi was inducted the same night. Bon Jovi started at least 20 years after Brown. What's up with that?
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Old 12-26-2006, 11:37 PM   #58
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Touche RedHot! In his prime, back in the 60's, Brown was the ultimate showman. Plus, he did put on many great performances in the decades to follow. But, there's one thing I just don't understand. How come the UK waited so long to induct him. If I'm not mistaken, Bon Jovi was inducted the same night. Bon Jovi started at least 20 years after Brown. What's up with that?

I dunno, the UK is a whole new world. But that is cool that they like inducting american artists. One love, baby, one love.
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Old 12-27-2006, 09:13 AM   #59
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The UK Music Hall Of Fame has only been going 2-3 years at the most. James Brown is a legend but there are other artists too who demand as much musical attenton as he does (although just for the record - James Brown>>>>>>>>>>>>>>>>>>>>Bon Jovi). Suppose he had to wait his turn i guess. Anyway, i'm glad he got inducted before he passed away.
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Old 12-27-2006, 10:19 AM   #60
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I heard Say It Loud I'm Black And I'm Proud on the radio last night, that song was freaking fantastic

Boston Globe

" Only Elvis Presley had more records make the music charts than Mr. Brown . Ninety-four of Mr. Brown's recordings reached the Top 100, and he had more Top 20 singles than any other recording artist.

"He was an innovator, he was an emancipator, he was an originator. Rap music, all that stuff came from James Brown," entertainer Little Richard, a longtime friend of Mr. Brown's, told MSNBC.

Even though Mr. Brown had his last chart single in 1985, his popularity endured. The churning polyrhythms of such songs as "Cold Sweat" and "I Got You (I Feel Good)" imbue them with a freshness that has kept them a mainstay of classic hits radio formats and commercials.

Mr. Brown received numerous formal honors. Cash Box magazine named him best pop male vocalist in 1969 (the first African-American so honored). The Rock and Roll Hall of Fame included him among its inaugural inductees in 1986. He was a Kennedy Center honoree in 2003.

Yet the greatest tributes to Mr. Brown were and are less conventional. The rhythmic intensity and daring of Mr. Brown's music made it uniquely influential.

"JAMES BROWN is a concept, a vibration, a dance," he declared in the liner notes to his 1991 boxed set, "Star Time." "It's not me, the man. JAMES BROWN is a freedom I created for humanity."

He had an enormous impact on rhythm and blues and soul. All but single handedly, he created funk. And through his numerous recordings sampled by rap artists, he provided the rhythmic underpinnings for hip-hop.

"Using Brown's grooves as the mother lode and Brown's staccato lyrics as a starting point," the critic Nelson George has written, "hip-hop embraced his legacy. With the introduction of the sampling machine in the mid-'80s, Brown's actual recordings became the heart of this sound."

His recordings assured Mr. Brown's success and influence; his live performances made him a legend.

"When I played, I gave good value for the dollar," he wrote in his 1986 autobiography, "James Brown: The Godfather of Soul." It was no idle boast. Mr. Brown danced the way he sang, only more so. His voice was a leathery rasp, with a clenched-fist quality. Mr. Brown's dancing unclenched the fist -- and then some. Impressive as were the grunts, screams, yowls, shrieks, and groans his voice made, they were not as spectacular as the gyrations he put his body through, a collection of spins, splits, slides, twists, jumps, and drops.

Dubbed "the hardest-working man in show business," Mr. Brown would lose 7-10 pounds a night and frequently require an IV for rehydration after performing.

"I worked all the time," Mr. Brown wrote in his autobiography, "as many as 350 nights a year, most of them one-night stands."

Mr. Brown's most famous album was a concert recording, "Live at the Apollo," which documents a 1962 performance at Harlem's famed Apollo Theater. It rose to number two on the pop charts. Many rock critics have called it the greatest of all live albums.

"Live at the Apollo" did not only mark a turning point in Mr. Brown's career, taking him to a new level of popularity and renown. It affected the music industry as a whole, demonstrating the potential of live recordings. Previously, they had been seen as having little commercial appeal.

Mr. Brown's flair for showmanship extended beyond his dancing and singing. He spent as much time working on straightening his hair as he did rehearsing. (The photographer Diane Arbus memorably recorded Mr. Brown in curlers.) "Hair is the first thing," he wrote in his autobiography. "And teeth are second. Hair and teeth. A man got those two things he's got it all." Or there was his trademark cape. Mr. Brown would end shows by having an assistant come onstage and drape it over his shoulders. He got the idea from the wrestler Gorgeous George, who would fling his robe off in the ring.

Mr. Brown, who at one time owned several radio stations, united business and politics as a leading proponent of black capitalism. He made several overtly political records, such as "Don't Be a Drop-Out" (1966) and "Say It Loud, I'm Black and I'm Proud" (1968). Three months earlier, he recorded the explicitly patriotic "America Is My Home." His last major hit, in 1985, was another flag-waving anthem, "Living in America."

In a sometimes - incongruous blend of the radical and conservative, Mr. Brown's politics mirrored his music. His recordings provided much of the soundtrack for the black pride movement, yet he endorsed President Nixon's reelection campaign in 1972.

Mr. Brown's combination of high-profile activism and enormous popularity led Look magazine to ask in a 1969 cover story, "Is this the most important black man in America?"
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