Roots of Techno: Black DJs and the Detroit Scene - Indiana University

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JAMES BROWN, 1933-2006 James Brown Memorial Service in Augusta, Georgia In December of 2006, IU Folklore Professor John McDowell and his wife, Patricia Glushko, were visiting relatives in Augusta, Georgia when the legendary James Brown passed away on Christmas Day. Brown grew up in Augusta, and the town had erected a life-size bronze statue on Broad Street to honor the “Godfather of Soul.” For several days after Brown’s death, fans gathered in front of the statue, leaving tributes of flowers and other mementos. Glushko was able to document the street scene, and donated the photographs to the AAAMC. Gail Glushko, Patricia’s sister, also contributed to the documentation effort by taping Augusta’s public memorial service (CBS) broadcast on December 30th over local station WRDW-TV as A Tribute to James Brown: Live from the James Brown Arena (a memorial service was also held at New York’s Apollo Theater on Dec. 28th). The four-hour program features news coverage of the memorial service, including a video of Brown’s last performance in Augusta, a eulogy by Rev. Al Sharpton, and speeches by various family members, Brown’s manager, and Michael Jackson. Also included are many live musical tributes featuring some of Brown’s greatest hits: Derek Monk singing “God Has Smiled on Me;” the Soul Generals (Brown’s last back-up band) performing “Soul Power;” Vickie Anderson singing “It’s a Man’s Man’s Man’s World;” Tommi Rae Brown (his widow) singing “Hold On, I’m Comin’;” Marva Whitney singing “Kansas City;” the Bittersweets (Brown’s backup singers) performing “I Feel Good;” and Bootsy Collins, Fred Wesley, and Bobby Byrd (one of the original Famous Flames) joining together on “I Know You Got Soul.” The tribute has been transferred to four DVDs, complete with chapter indices, which may be viewed in the AAAMC’s reading room. McDowell and Glushko also donated copies of The Augusta Chronicle (December 30 and 31, 2006), and the Augusta weekly Metro Spirit (January 4-10), which include additional coverage of the funeral procession through downtown Augusta, the memorial service, and special feature sections about James Brown and his musical legacy. These materials are now housed together as SC 32: James Brown Memorial Service (Augusta, Georgia), 2006. We are very grateful to Dr. John McDowell, Patricia Glushko, and Gail Glushko for their role in documenting this extraordinary tribute to one of the greatest musicians of all time. -Brenda Nelson-Strauss 22
Remembering James Brown The year was 1963 in Orlando, Florida. The event was the James Brown Show. A dimly lit stage spotlighted Bobby Byrd, Brown’s MC and a member of his Famous Flames, who introduced the star of the show in a highly dramatic style: “Ladies and Gentlemen. It’s star time. Are you ready for star time? I say, are you ready for star time?” Byrd then announced the titles of Brown’s hit songs, each punctuated with a one note hit by the horn section. The list began with “I’ll Go Crazy” and ended with his latest hit, “Prisoner of Love.” Byrd concluded his introduction saying: “Let’s bring out the hardestworking man in show business, James Brown. Let’s hear it for James Brown,” stretching out every syllable each time he pronounced Brown’s name. Then Brown entered the stage spinning, strutting, shuffling, dropping into splits, and grabbing and performing kinetic moves with the microphone to the high energy, syncopated, and percussive musical style—fast tempo, choppy guitar, brassy and rhythmic horn riffs, funky polyrhythmic grooves—of the immaculately dressed (black tuxedos, white shirts and shined black shoes) band. I remember every detail of this show because I was there. The venue was a skating rink located in the all-black neighborhood on the west side of Orlando, Florida. The audience consisted of teenagers, who had that rare opportunity to see “Mr. Dynamite,” as he was known at that time. James Brown performed regularly in Orlando and the surrounding area, but only at adult venues such as the Quarterback Club, TK9, and Club Eaton (the latter located in Eatonville, the home of folklorist and novelist Zora Neal Hurston). My friends and I were drawn to the funkiness and earthiness of the James Brown sound. We loved his music, and most of us had bought every 45 rpm he had recorded. As a musician (I studied classical music, James Brown leaves the stage after a concert at the Sam Houston Coliseum in Houston, Texas, circa 1968. SC89:George Nelson Collection played piano and organ for various churches, French horn in the middle/ high school band, and led a popular music group), I was especially inspired by his show—the verbal, visual, and musical components— the emceeing; the costumes; the choreographic moves of Brown, the back-up singers, and the band; and the featured instrumental songs. I liked the way Brown programmed and interpreted the songs, juxtaposing fast and slow songs while building and contrasting intensity through the manipulation of timbre, texture, and rhythm, and through his musical exchanges with the band and audience. Most of all, I liked Brown’s strident vocal quality and the way he used his voice as an instrument, weaving it into and around the funky instrumental arrangements. His show was electrifying and influenced the way I thought about performance. The bands I formed in college, graduate school, and at Indiana University (IU Soul Revue) all were modeled after James Brown’s musical and live production concepts. Even my original soul and funk-based compositions and arrangements bore aspects of his musical signature—the repetitive bass lines, brassy and funky horn riffs, and polyrhythmic structures. Brown’s music also inspired my scholarly interest in African American popular music. I viewed him as a pioneer because of his musical innovations (along with those of Ray Charles and Sam Cooke) that provided the transition from rhythm and blues to soul and the transition from soul to funk. Brown was especially influential during the era of Black Power, promoting the nationalist message of black empowerment. Songs such as “Say It Loud – I’m Black and I’m Proud” (1968), “I Don’t Want Nobody to Give Me Nothing (Open up the Door, I’ll Get it Myself)” (1969), and “Get Up, Get into It, Get Involved” (1970) spread the concept of black pride, black solidarity, and black empowerment to the masses. Some radio deejays, however, believed that these songs were too overtly militant and musically intense for broadcast, and they initially didn’t play them. Nevertheless, through these and the songs of other soul singers, black Americans began to identify with and embrace the concepts of Black Power. Although we lost a legend on December 25, 2006, Brown’s musical legacy will continue to resonate throughout the nation and world through radio broadcasts, hip hop samples, and soundtracks for commercials and television programs, as well as for Hollywood, documentary, and independent films. The brother lives on through his music. -Portia K. Maultsby 23
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Page 9 and 10: During the afternoon panels, the DJ
Page 11 and 12: In Memorium: The life of Phyllis T.
Page 13 and 14: Now that hip hop is approaching its
Page 15 and 16: female member of the audience told
Page 17 and 18: McCutchen has continued to find way
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Page 27 and 28: Various Artists The Complete Motown

Roots of Techno: Black DJs and the Detroit Scene - Indiana University

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