The Extreme Backstage Routine That Helped James Brown Survive His Legendary Performances

 When people talk about James Brown, one phrase always comes up: “The Hardest Working Man in Show Business.” Anyone who has watched his performances from the 1960s and 1970s understands why.

 

Brown’s shows were explosive displays of energy—featuring nonstop dancing, dramatic splits, knee drops, intense vocals, and choreography that pushed the limits of human endurance.

 

But what many fans don’t realize is that behind the scenes, Brown sometimes needed serious recovery methods to keep up the pace of his grueling tour schedule.

  In fact, musicians and crew members who toured with Brown have shared stories about the extreme routines he used to survive hundreds of performances a year. 
 

 One of the most surprising details involves intravenous hydration treatments used after shows.

Let’s take a closer look at how James Brown managed to deliver some of the most electrifying performances in music history.

 

The Physical Demands of a James Brown Show

 Watching vintage footage of James Brown makes one thing clear: his performances were not typical concerts.

 

 Unlike many singers who primarily focus on vocals, Brown combined high-energy dance routines, full-band choreography, powerful soul vocals, and constant audience interaction.

 

Many of his shows lasted two to three hours, and Brown rarely slowed down during a performance. On top of that, his touring schedule was relentless. 

 

 During the height of his career, Brown sometimes performed more than 300 shows in a single year. In some cases, he even played two or three shows in one day.

 

 

 

Under hot stage lights and packed venues, it was common for Brown to lose huge amounts of fluid through sweat during a performance.

 

 The Role of IV Fluids in Recovery

 

According to several musicians and tour personnel who worked with Brown, there were occasions when he received intravenous saline (salt solution) after particularly exhausting performances. 

The purpose of these IV treatments was simple: rapid rehydration.

Intravenous saline helps restore body fluids, electrolytes, and circulation levels. This kind of treatment can help a severely dehydrated person recover much faster than drinking fluids alone. 

For an artist performing night after night with almost no rest, quick recovery methods could mean the difference between canceling a show or going back on stage the next evening.

While it may sound unusual today, rapid IV rehydration was sometimes used by performers and athletes dealing with extreme physical exertion.

 

The Famous “Cape Routine” Wasn’t Entirely Acting

 One of the most recognizable moments in a James Brown performance was the dramatic cape routine during the song “Please, Please, Please.” If you’ve seen it, the scene is unforgettable.

 During the emotional climax of the song, Brown would appear completely exhausted and collapse to his knees. A band member would rush out and gently place a cape over his shoulders, guiding him off stage.

 Then something dramatic would happen. Just as he seemed ready to leave the stage, Brown would throw off the cape, rush back to the microphone, and continue singing with renewed energy.

 

The moment became one of the most famous stage routines in soul music history. While the routine was carefully choreographed, musicians who worked with Brown said that the exhaustion behind the act was often very real, especially late in long tours.

 

The Discipline Behind the Performances

Another reason Brown could deliver such intense shows was his legendary work ethic. 

 Musicians who played in his bands—including members of the James Brown Orchestra and later the J.B.’s—often described rehearsals as extremely demanding.

Brown expected precision from every musician on stage. Band members have recalled rehearsals lasting six to eight hours, songs being stopped for even minor mistakes, financial penalties for wrong notes or missed cues, and extensive choreography practice.

While this strict environment could be challenging for musicians, it helped create the incredibly tight sound and stage presentation that became Brown’s trademark. 

The result was a live show that felt more like a perfectly synchronized machine of rhythm, dance, and soul energy.

Why This Story Isn’t Often Mentioned in Documentaries

 You might wonder why the story of Brown’s backstage recovery methods rarely appears in documentaries or films about his life. There are a few reasons for that.

 First, most biographies focus on the larger narrative of Brown’s career—his rise from poverty, his influence on soul and funk music, and his cultural impact during the civil rights era.

 

Second, the IV treatments reportedly happened backstage in dressing rooms, where there were no cameras recording the moment. 

Documentary filmmakers often rely on available footage, and without visual evidence, these stories are harder to include.

 

Finally, Brown carefully cultivated an image of unstoppable stamina. The idea that he needed medical help to recover between shows didn’t quite fit the legend of a man who seemed almost superhuman on stage.

 

The Legacy of the Hardest Working Man in Show Business

Even without the backstage stories, one thing remains undeniable: James Brown set a standard for live performance that few artists have matched.

 

His influence can be seen across generations of music. Artists from Michael Jackson to Prince studied Brown’s stage presence, dance style, and relentless energy. 

 

Today, watching his vintage concert footage still feels electrifying. Every spin, every scream, and every perfectly timed band hit reminds us why audiences were mesmerized by him night after night.

 

While the audience saw the unstoppable showman under the spotlight, the stories from behind the curtain reveal just how physically demanding those performances really were.

 

They also show something else about James Brown—his determination to deliver an unforgettable show no matter how much it demanded from him.

 
Final Thoughts

James Brown didn’t earn the title “The Hardest Working Man in Show Business” by accident. His concerts were some of the most intense live performances ever put on stage. 

 

Between relentless touring, high-energy choreography, and powerful vocals, it’s no surprise that recovery methods like rapid hydration were sometimes necessary.

 

Whether on stage or behind the scenes, Brown pushed himself to the limit to give audiences a performance they would never forget.

And decades later, the power of those performances continues to inspire musicians and fans around the world.

 

It's Your Thing: Live at Yankee Stadium (1970) – The Lost Soul Concert Film

In the late 1960s, soul music was undergoing a powerful transformation. Gospel roots still ran deep, but funk rhythms and a new sense of artistic independence were beginning to reshape the sound of R&B. 

 

One of the most fascinating visual documents of this moment is the 1970 concert film It's Your Thing: Live at Yankee Stadium.

 

 

 Filmed at Yankee Stadium in New York City on June 21, 1969, the concert was organized by The Isley Brothers to celebrate the success of their hit single “It’s Your Thing.”

The event brought together a diverse lineup of soul, gospel, and pop performers for a massive outdoor concert.

 

Although the movie received a limited theatrical release in 1970, it has never been widely distributed on home video.

As a result, it has become something of a legendary “lost” soul concert film among collectors and historians.

More than fifty years later, the film remains an exciting snapshot of a pivotal moment in Black music history.

 

The Isley Brothers – Hosts and Headliners

The stars of the show are The Isley Brothers, who organized and financed the event themselves. 

At the time, the group had recently left Motown Records and launched their own label, T-Neck Records. Their new single “It’s Your Thing” became a huge hit and a defining early funk anthem.

 In the film, the Isleys deliver a passionate performance filled with crowd participation. Ronald Isley’s soulful vocals lead the audience through several songs, including their classic “Shout.”

 

 

 

 

 One of the most memorable moments comes when members of the crowd join the band on stage during the finale.

 

The energy is spontaneous and celebratory, capturing the excitement of a band that had just achieved artistic independence.

 Their performance anchors the entire concert and serves as the emotional centerpiece of the film.

 

Patti Austin – A Future Star

One of the most intriguing appearances in the film is by a young Patti Austin, performing early in her career.

 Even at this stage, Austin demonstrates a polished vocal style and confident stage presence. 

 Her performance hints at the major career she would later enjoy as a Grammy-winning jazz and R&B vocalist.

 

For viewers today, her appearance feels like discovering a future star in the making.

 

The Five Stairsteps and Cubie – Family Soul

 

Chicago family group The Five Stairsteps and Cubie bring youthful charm and harmony-rich soul music to the stage.

 Often called “The First Family of Soul,” the group mixes pop sensibilities with smooth R&B vocals. 

Their segment adds a lighter tone to the concert and demonstrates the broad range of styles that existed within the soul music scene.

 

Their upbeat performance fits perfectly into the festival atmosphere of the show.

 

The Edwin Hawkins Singers – Gospel Power

A highlight of the film comes from The Edwin Hawkins Singers, whose gospel performance electrifies the stadium.

 

 

 

 

 

 

Fresh off the massive success of their crossover hit “Oh Happy Day,” the choir delivers a powerful display of spiritual energy. Their harmonies fill the stadium as the crowd claps along.

The segment reminds viewers how closely soul music remained connected to gospel traditions during this era.

 

Jackie “Moms” Mabley – Comedy Interlude

 Legendary comedian Jackie “Moms” Mabley provides comic relief between musical performances.

By the late 1960s, Mabley was already an established figure in Black entertainment. Her witty observations and storytelling bring laughter to the enormous crowd.

 Her presence also reflects the structure of many soul revues of the time, which often included comedy alongside music.

The Clara Ward Singers – Gospel Tradition

Another powerful gospel segment comes from The Clara Ward Singers, one of the most influential gospel groups of the twentieth century.

Their performance is intense and emotionally charged. The group’s dramatic delivery transforms the concert atmosphere into something resembling a church revival meeting.

 

The segment demonstrates how gospel music continued to influence the sound and spirit of soul music during this period.

 

 

Judy White – Smooth Soul Vocals

Soul singer Judy White contributes one of the concert’s more intimate moments.

 

Her smooth vocals and expressive delivery showcase the romantic side of R&B. Backed by a tight band, White delivers a polished performance that highlights the songwriting talent associated with the Isley Brothers’ musical circle.

 

Although she never achieved the fame of some of the other performers, her segment adds depth to the film’s lineup.

The Young Gents – Up-and-Coming Soul

The group The Young Gents represents the emerging wave of soul acts during the late 1960s.

 

Their performance features upbeat rhythms and lively harmonies that capture the youthful energy of the era.

 While not widely remembered today, their appearance provides a valuable glimpse into the broader soul music scene of the time.

The Brooklyn Bridge – Pop-Soul Crossover

Pop-soul band The Brooklyn Bridge adds stylistic diversity to the concert lineup.

Known for blending rock, pop, and soul influences, the group had achieved chart success with their hit “The Worst That Could Happen.”

Their appearance demonstrates how soul music was increasingly crossing over into mainstream pop audiences.

The Winstons – Rhythm and Funk

The concert also features The Winstons, a soul group known for their rhythm-heavy sound.

Their music emphasizes strong grooves and energetic instrumentation, hinting at the emerging funk movement that would dominate the early 1970s.

Their performance adds momentum to the concert and reinforces the film’s role as a snapshot of soul music in transition.

Ike & Tina Turner – Explosive Finale

One of the most electrifying segments in the film comes from Ike & Tina Turner.

Although their performance was filmed separately and later added to the movie, it fits perfectly with the high-energy spirit of the concert.

 

 

Tina Turner’s stage presence is extraordinary. Her powerful vocals and dynamic dancing turn the segment into one of the most unforgettable moments in the film.

 

Backed by the Ikettes and Ike Turner’s band, the performance delivers pure rock-soul intensity.

 

Why This Concert Film Matters

It's Your Thing is more than just a concert movie. It is a cultural time capsule documenting a pivotal moment in the evolution of soul music.

The lineup reflects the rich diversity of Black music during the late 1960s, from gospel choirs to funk-driven soul bands. 

 

The film also highlights the entrepreneurial spirit of the Isley Brothers, who financed and produced the project independently.

 

Despite its historical importance, the movie remains largely unavailable today. Archive prints exist, but it has never received a proper commercial home-video release.

For collectors and fans of classic soul, this makes the film one of the most intriguing lost concert documentaries of the era.

Final Thoughts

Watching It's Your Thing: Live at Yankee Stadium is like stepping into the heart of the late-1960s soul music scene.

 

From the gospel power of the Edwin Hawkins Singers to the explosive stage energy of Ike & Tina Turner, the film captures a vibrant mix of musical styles.

  At the center of it all are the Isley Brothers, celebrating their success and showcasing the artists around them.

If the film were ever restored and widely released, it would undoubtedly become an essential entry in the catalog of classic soul concert films.

Until then, it remains a fascinating and rare glimpse into one of the most exciting periods in soul music history.

James Brown and the Civil Rights Movement: The Story Behind “Say It Loud, I’m Black and I’m Proud”

James Brown’s anthem “Say It Loud – I’m Black and I’m Proud” became a Civil Rights Movement rallying cry. Discover its history, impact, and legacy.

 

 Why James Brown Mattered in the Civil Rights Movement

 

James Brown, the “Godfather of Soul,” is remembered for his electrifying stage presence, innovative sound, and relentless work ethic. But his legacy stretches beyond music—he became a cultural icon during the Civil Rights Movement. 

 

His 1968 anthem “Say It Loud – I’m Black and I’m Proud”* went beyond entertainment; it was a declaration of identity, a rallying cry for empowerment, and one of the most important songs of its era.

This article explores James Brown’s influence during the Civil Rights era, the significance of his anthem, and why his music continues to inspire conversations about race, pride, and resilience.

 

 James Brown’s Early Life and Career: Roots of Resilience

Born in 1933 in Barnwell, South Carolina, and raised in Augusta, Georgia, James Brown grew up under Jim Crow laws in extreme poverty. He worked odd jobs as a child, shined shoes, and even spent time in juvenile detention. These hardships instilled in him both survival instincts and a hunger for success.

By the early 1960s, Brown had already risen to fame with hits like *“Please, Please, Please”* and *“Papa’s Got a Brand New Bag.”* His explosive performances and innovative rhythms redefined soul and gave birth to funk. 

 

But Brown’s rise wasn’t just about music—his determination to own his publishing rights, control his business decisions, and demand respect for his band made him a trailblazer for Black self-determination.

These values would later align with the Civil Rights Movement and fuel his role as more than just a performer.

America in the 1960s: Civil Rights Backdrop

The 1960s were years of both hope and heartbreak. The Civil Rights Act (1964) and the Voting Rights Act (1965) delivered landmark victories, but racial inequality persisted. 

 

African Americans continued to face systemic discrimination, violence, and limited economic opportunities.

When Dr. Martin Luther King Jr. was assassinated in April 1968, anger and despair swept across the nation. Meanwhile, the rise of the Black Power movement encouraged pride in African identity, natural hairstyles, and independence. 

Against this tense backdrop, James Brown’s voice carried weight. He wasn’t a politician or preacher, but he had something perhaps even more powerful: a global stage.

---

The Making of “Say It Loud – I’m Black and I’m Proud”

### Lyrics That Defined Black Pride

In August 1968, James Brown released *“Say It Loud – I’m Black and I’m Proud.”* The timing could not have been more urgent. The chorus, shouted by a group of children, rang with pride and defiance:

*“Say it loud, I’m Black and I’m proud!”*

Brown’s choice to include children emphasized generational empowerment. He wanted young African Americans to see their identity as a source of dignity, not shame. The verses tackled systemic oppression while promoting independence and self-respect. Unlike earlier civil rights anthems that focused on freedom or justice, Brown’s message was about pride in being unapologetically Black.

### Why the Song Became a Civil Rights Anthem

The song soared to **#1 on the R\&B charts** and reached **#10 on the Billboard Hot 100.** Its commercial success ensured the anthem reached audiences far beyond activist circles.

But more importantly, it captured the mood of the time. For a community that had been told for centuries to be silent or submissive, Brown’s call to shout one’s identity proudly was radical. The song became a staple at rallies, protests, and gatherings, embodying the shift from civil rights to Black Power.

---

## James Brown’s Role Beyond the Music

James Brown’s influence on the Civil Rights Movement extended far beyond this single anthem.

### Calming Riots After Martin Luther King Jr.’s Assassination

On April 5, 1968, the night after Dr. King’s assassination, Brown was scheduled to perform in Boston. With riots breaking out nationwide, officials considered canceling the show. Instead, Brown persuaded them to let it continue and even arranged for it to be broadcast live on local TV.

During the performance, he spoke directly to the crowd, urging peace and unity. His ability to keep the city calm is still credited with preventing Boston from erupting in violence.

### Promoting Black Economic Empowerment

Brown consistently emphasized financial independence. He urged his audiences to pursue education, buy property, and support Black-owned businesses. His own ventures included radio stations, record labels, and food enterprises. Brown embodied the principle that economic power was just as important as political change.

### Fighting Segregation in the Music Industry

Brown also broke barriers in entertainment. He refused to perform at segregated venues and demanded fair treatment for his band. His insistence on professionalism and respect forced the mainstream music industry to acknowledge the influence of Black performers and audiences.

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## Criticism and Contradictions

James Brown’s political involvement was not without controversy.

* **Relationship with Politicians:** He sometimes associated with leaders like President Richard Nixon, a move that angered many African Americans who saw Nixon as unsupportive of civil rights.
* **Conservative Views:** Brown often stressed discipline, self-reliance, and personal responsibility, themes that some activists felt aligned more with conservative values than with radical activism.
* **Personal Life:** His later years were marred by legal troubles and personal controversies, complicating his image as a cultural role model.

Despite these contradictions, Brown’s contributions to the Civil Rights Movement and Black cultural pride remain undeniable.

---

## Lasting Legacy of “Say It Loud – I’m Black and I’m Proud”

### Influence on Future Generations

More than fifty years later, *“Say It Loud – I’m Black and I’m Proud”* remains a touchstone. Hip-hop artists like Public Enemy and Kendrick Lamar have sampled or referenced the anthem, while Beyoncé has drawn inspiration from Brown’s unapologetic celebration of Black culture.

### The Song in Classrooms and Black History Studies

Today, the anthem is studied in schools and universities as part of African American history. It’s not just a song—it’s a case study in how popular music can influence politics and culture. Teachers often use it to illustrate how cultural pride became a key component of the Civil Rights Movement.

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## Conclusion: James Brown’s Message of Pride

James Brown was more than the hardest working man in show business. Through *“Say It Loud – I’m Black and I’m Proud,”* he gave voice to a generation searching for affirmation and strength during a turbulent time in American history.

The song was more than entertainment—it was empowerment. It urged millions to embrace who they were with pride, strength, and dignity. By blending music with activism, Brown secured his place not just as the **Godfather of Soul**, but as one of the cultural architects of the Civil Rights era.

James Brown vs. Joe Tex: Soul Music’s Most Explosive Rivalry

 

In the world of classic soul, few rivalries burned as brightly or as bitterly the one between 

James Brown and  Joe Tex.

 

 

 These two Southern-born legends clashed on and off stage, creating not just unforgettable music but an unforgettable feud.

From diss tracks to gunshots, this rivalry had it all. Let’s rewind to explore the drama, competition, and creative sparks that defined one of soul music’s most iconic face-offs.

Two Icons, One Path to Greatness

James Brown, the self-proclaimed “Hardest Working Man in Show Business, came from Augusta, Georgia, and rose through pure grit and showmanship. 

 Joe Tex, born in Baytown, Texas, was equally electric—a preacher-like singer who infused soul with humor and charm.

Both men were born in the 1930s, started recording in the 1950s, and hit their commercial stride in the 1960s. They shared fans, stages, and even romantic interests—but neither was willing to share the spotlight.
 

 

Musical Competition Heats Up

Brown’s revolutionary hits like:

"Papa’s Got a Brand New Bag"

"I Got You (I Feel Good)"

...set the blueprint for funk and high-energy stagecraft.

Tex fired back with his own brand of down-home soul, producing gems like:
 

"Hold What You’ve Got"

"Skinny Legs and All"

"Show Me"

Each new single was a punch. Each performance is a challenge.



Joe Tex—witty, emotional, and unafraid to speak his mind (Photo via Wikimedia Commons)*



The Gunfight at Macon: When Rivalry Turned Violent


The feud exploded in 1963. At the center of the storm was Bea Ford, a singer romantically linked to both artists. 

 

Joe Tex wrote a diss track titled “You Keep Her” directly aimed at James Brown, mocking him for taking his ex-lover.

Brown did not take it lightly.

That same year, during a show in  Macon, Georgia, Brown reportedly brought guns to the venue and opened fire on Tex and his entourage. No one was killed, but the incident cemented the feud’s place in soul music infamy.

📰 *Suggested Image:* A newspaper clipping (real or re-created) with a dramatic headline like *“Shooting at Soul Show – James Brown Involved?”*


Battle of the Stage: Capes, Collapses, and Comedy

James Brown’s legendary cape routine, where he collapsed on stage only to rise and continue performing, became a signature act. But Joe Tex often parodied it, adding comedy and mockery to his shows.

Was it tribute or theft?

Brown believed Tex was stealing his act. Tex believed Brown was taking himself too seriously. Fans were split, but they watched both men with religious devotion.
 

 *Suggested Image:* A side-by-side shot of James Brown in a cape and Joe Tex mimicking the move

Business Smarts and Behind-the-Scenes Jabs

Despite their feud, both men were ahead of their time when it came to business. Joe Tex was among the first soul stars to own his publishing rights, a bold move that Brown would later mirror.

Yet the bitterness never fully faded. Tex accused Brown of **pressuring promoters** to remove him from concert lineups. Brown downplayed Tex’s talent in interviews, calling him **“a clown”** compared to his artistry.

🎤 *Quote Card Graphic:*

> *“James, I got your letter... You said I could have my baby back. But I don’t want her that way.”*
> – Joe Tex, “You Keep Her”

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## 🙏 The Final Years: No Reconciliation

Joe Tex stepped away from music in the late ’70s and became a **minister in the Nation of Islam**, while Brown battled personal demons and legal issues into the 2000s.

Tex died in 1982 at just 47. Brown passed in 2006. Despite decades of tension, they never reconciled publicly.

There Was A Time 

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Legacy: A Rivalry That Pushed Soul Forward

While the feud had its ugly moments, it **pushed both artists to greater heights**. Brown’s innovations in funk might not have been so relentless without a competitor like Tex nipping at his heels. Likewise, Tex’s stage banter and storytelling were sharpened by his need to stand apart.

Today, fans and music historians recognize this not just as a feud—but as a **creative duel** that helped shape the future of soul, funk, and even hip-hop (Joe Tex is one of the most sampled artists in rap music).

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RAP MUSIC 80s vs RAP MUSIC 2024

Rap music has come a long way since its early days, and as someone who's watched it grow over the years, I can’t help but marvel at how much has changed from the 1980s to 2024. 

Let me walk you through ten key differences I’ve noticed along the way.

 

1. PRODUCTION TECHNIQUES

Rap 1980s

Back in the 80s, when I first started listening to rap, production was all about drum machines like the Roland TR-808, vinyl sampling, and simple looping techniques.  The sound was raw, and even though it was straightforward, it was incredibly effective. 

Artists who couldn’t play instruments made magic with drum machines, crafting beats that still resonate  today.  Not being able to read or write music didn,t stop them from creating sounds that influenced a generation ( some artists of yesterday, such as James Brown, couldn,t read a note of music).

Many talented rappers were very proficient with rhyming words on the spot. Rap battles were held in clubs, playgrounds, basketball courts, on the streets, etc.

 

 

 Rap 2024

These days, production has become a whole other beast. 

Modern rap uses advanced digital audio workstations (DAWs), complex sampling, and virtual instruments.  Producers blend trap beats, drill, and electronic sounds in ways that would’ve blown my mind back in the day. It’s amazing to see how much skill and knowledge go into mixing and recording now.

2. LYRICISM AND THEMES

 Rap 1980s

I remember when rap lyrics were mostly about social issues, partying, storytelling, and showing off.  The delivery was clear and direct, making it easy to catch every word. The party atmosphere was strong in the records, and we all felt that energy. 

I miss the days of the party jams and strong positive messages in the songs that uplifted you in mind and soul.  Straight good fun whether you were in the club, a house party or just hanging with friends listening to the music.

Rap 2024

Today, rap lyrics have taken a turn. While social issues are still in the mix, there’s a bigger focus on personal struggles, mental health, wealth, and fame.  It’s not uncommon to hear about money, sex, drugs, and violence, which has become more prevalent now that censorship isn’t as strict. 

The main concern for me is the social impact of rap music on our society.  A lot of young folks minds are being shaped by the lyrical content in today,s music.  Profanity is every other word blaring out of a rap song, with videos and concerts are performed by females in scantily clad outfits.   

Lyricism ranges from intricate wordplay to melodic, auto-tuned vocals (people suppose to be singing), which is quite a shift from the straightforward sometimes raw performances that I grew up seeing and hearing.

 

3. CULTURAL INFLUENCES

Rap 1980s
 
Back then, rap was just starting to make waves, especially in New York City. It was the voice of the youth, particularly in African American neighborhoods.I remember how rap battles and dance-offs were a big part of the culture, bringing people together in ways that felt powerful and new.

Rap 2024

Today rap isn’t just a genre—it’s a global phenomenon. It influences and is influenced by cultures and genres from all over the world. It’s amazing to see how mainstream it’s become, with sub-genres like trap, drill, and emo rap showing just how diverse and far-reaching the art of rap has grown.

 

4. COMMERCIALIZATION

 Rap 1980s

In the 80s, rap was mostly underground or independent, with little radio play and not much commercial success.  I remember artists hustling to get their music out there, often selling albums on the street or out of their car trunks.  Some even created hit records in their home studios, which was pretty impressive for the time.

Rap 2024

Today, rap is a major player in the music industry. It’s backed by big corporations, gets plenty of radio play, and established artists like Rick Ross and Lil Wayne are at the top of their game. I’ve seen more and more new artists breaking into the scene, flaunting their wealth and luxury in ways that were unheard of back in the day.

5. TECHNOLOGY AND DISTRIBUTION

Rap Music 1980s 

Back in the 80s, music was all about vinyl records, cassettes, and radio. Distribution was limited by physical media, and promotion relied on radio spots, posters, and word of mouth. There were no streaming services or internet to spread the word, so getting music out there was a different kind of grind.

Rap Music 2024

Times have changed. Now, everything’s digital.  Artists can release music instantly to a global audience through streaming platforms, and social media has become a key player in promotion. Youtube, TikTok, Instagram  and other streaming services have made it easier for people to become famous nearly overnight

 It’s wild to think about how quickly music can reach people now compared to the slower, more localized spread of the 80s.

6. FASHION AND IMAGE

Rap Music 1980s

I remember when rap fashion was all about street culture—tracksuits, gold chains, Kangol hats, and Adidas sneakers. The look was all about authenticity and staying true to where you came from.

Rap Music 2024

Fashion in rap today is a whole different story. It’s more diverse, often designer-driven, with artists blending street-wear with high fashion.  Social media plays a huge role in curating these images, and it’s fascinating to see how carefully crafted everything has become.

7.  COLLABORATIONS AND FEATURES

Rap Music 1980s

In the 80s, collaborations between artists were rare and usually happened within the same area or record label. When they did happen, it felt special and local.
 

Rap Music 2024

Today, collaborations are everywhere, crossing genres, cultures, and even international borders. It’s normal to see rap artists teaming up with pop stars, EDM producers, and more. The collaborations we see now would have been unimaginable back in the day. There were exceptions to the rule; such as the Run-DMC/Aerosmith  collaboration of "Walk This Way". The record, along with the video, was a huge hit.

 

 8. SUB-GENRES AND DIVERSITY

 Rap Music 1980s

The rap scene I grew up with was more uniform, with most artists following a similar style and sound rooted in the boom-bap tradition.  Each artist or group had their own distinct style.You could tell who they were because their vocals were their trademarks along with their unique sounds.

 

Rap Music 2024 

Nowadays, rap has exploded into a variety of sub-genres—trap, drill, conscious rap, mumble rap, and hybrid forms that blend rap with pop, rock, and electronic music. It’s incredible to see how much the genre has expanded and diversified.

 

9. VISUAL AESTHETICS 

 Rap Music 1980s

I remember when music videos were pretty low-budget, focusing on performance and street scenes with a gritty, unpolished look.  Michael Jackson and Prince were the big exceptions, setting a new standard for what music videos could be.

Rap Music 2024

Now, rap visuals are on another level, with cinematic quality, CGI effects, and elaborate story lines. Visual storytelling has become central to an artist's brand, and it’s amazing to see how far things have come.

 

10. IMPACT AND REACH

Rap Music 1980s

In the 80s, rap’s impact was mostly local, resonating within urban communities in the U.S. It felt like our music, something that spoke directly to us.

 

Rap Music 2024

Today, rap is a global force. Artists from all over the world are contributing to the genre, and its influence extends beyond music into politics, social movements, and global pop culture. It is mind-boggoling incredible to see how something that started in small communities has grown into a worldwide phenomenon.

SOUL MUSICIANS: SUFFERING INJURIES FOR THE SAKE OF ART

Dedication. Focus. Persistence.

 These are qualities that one must have in order to achieve your goals in life.  We will always love the soul performances from past artists (regretfully some have passed away) that have given their all on stage and in recordings.

 James Brown, Joe Tex, Patti Labelle, and Prince are just a few performers who gave fantastic shows which became the stuff of legends.  

 

 

But how many of us really know what it takes to do what they do onstage?  

 

How many of us would be willing to pay the price for performing the way they do?

 

    

 

 Constant touring and rehearsing takes a toll on the body and mind.  Imagine (in the case of Sheila E) playing drums, congas and timbales until your fingers bleed.


James Brown (starting from the late 50s, and continuing thru the 60s and early 70s) singing, dancing and screaming night after night, knees bleeding from falling to the floor 5-6 times each show.  

Screaming so hard one night that he could hardly talk the next day( he poured a small jar of honey down his throat before each show).

 





 Prince, who not only did splits, but did them in high heels while jumping off huge amplifiers. 
 High heel shoes and boots were also part of his daily dress wear.

They all had tremendous drive and focus to do what they did on stage.  It took a lot of stamina and will power to get on stage night after night, giving audiences their all, 

making sure when people left, they talked about THAT show!


Artists thrive on the attention of others on and off stage, dressing so they would not look like anyone else. 

Injuries, aches and pains are a big part of performing and often are ignored to the point of where they become very serious issues. 

 Anyone who plays an instrument or multiple instruments(such as guitar, keyboards, drums, etc.,) is subject to carpel tunnel syndrome in fingers and hands thru repetitive motion.


 How did James Brown fall on his knees five, six times a show night after night?  How did Prince leap from the pianos and huge amps into a split every show? 

 

 

 

The answer to that; MIND POWER!  These artists endured setbacks early in the career and decided that they would reach as high as they could, no matter what it took to make it!


James Brown was examined by doctors not long before he died and was found to have very little cartilage in his knees. 

He did splits and knee drops well into his 50s, till he could not do them anymore.  

Michael Jackson would practice his dance moves until his whole body ached from pain.


 I have read about more than one artist being wheeled to the edge of a stage, getting up and doing a show and getting back into the chair waiting for them.  


Al Green appeared on Soul Train with a broken arm(all he had to do was sing, enduring the pain nevertheless) and did a 

 fantastic live show!

 

 
> Even with today,s technology artists still have to prove they have what it takes to perform(to tell the truth some are selected because of their looks, not musical ability.


Whatever your goal is in life, give it your best if you want it badly enough. Just remember there is a price to be paid somewhere along the road. As James Brown used to say; "Pay the cost to be THE BOSS!"

THE OLD SCHOOL VS THE NEW SCHOOL

Many old school artists have left us in the past few years such as:

ETTA JAMES, JIMMY CASTOR, and  WHITNEY HOUSTON.

Also, though he was not a singer, he influenced a nation as innovator, creator, and host of the show "SOUL TRAIN",  the great DON CORNELIUS.  

 

 

The list also includes; PERCY SLEDGE,  GEORGE DUKE,  MARVIN ISLEY,  JIMMY RUFFIN,  BIG BANK HANK (Of the Sugar hill Gang), LOUIS JOHNSON, LEROY "SUGARFOOT" BONNER (Ohio Players), BOBBY "BLUE"BLAND,  and quite a few others.  


The contributions these artists made to Soul Music is immeasurable and unforgettable. 


 In an era where rap music has taken over the airwaves, the old soul music of the 60s, 70s, and 80s, will never die out.  


When rap music first came out it was about having fun at a house party.

 Neighborhood rap battles abound with the winners and losers admiring each other,s talents and  having just plain old good times. 


Over the years,  gangsta rap became prevalent and to the forefront, with stories about the hood, bling, sex, dope. 

Gangstas, guns, girls, etc.,  became the norm for the listener of today, filling minds with dark images of  revenge, killing, treating women as sex objects.
  

I didn't, want to listen to my parent,s old soul collection when I was entering my teens, mainly because it was their music. 


In the same vein,  the young people of today want to form their own music expressions that mirror the times we live in. 

But can we really BLAME them for the advent of gangsta rap? 

My answer is yes and no; everyone is responsible for their own actions. 


If someone puts out information about building bombs on the internet, and someone else actually follows through with that info, does that let the author off the hook? 

No!  When information is put out over the internet or printed; therefore, whatever the format it is presented in, the author is responsible. 


Some people will disagree, that the person is not responsible for what others may or will do with the words put out there.
  

It,s like opening a door; be careful what door you enter, because you may enter the wrong house. 

Back in the day, old dirty blues records were played at juke joints or private parties, stag and x-rated films were shown at theaters which catered to them. 

One example would be Clarence Carter,s hit "STROKIN" (Be forewarned, this is a borderline X-RATED song).

                                      

                 A lot of babies were made when the hit record "STROKIN"
                                              hit the airwaves lol!

 
CLARENCE CARTER,S  other hits along with the great ROY C  not only ignited sex in the bedroom. 

The backseat of a car, motel room,  a hot tub, corn field ( well you get the idea) made hormones run wild and kept the stork in business!


Is it any wonder, that with the rise of technology (dvds, twitter, facebook, streaming internet content) that the door has swung open very wide? 

 The Bible states that every generation gets wiser but weaker. 


 With all the technological advances today, people tend to throw common sense out of the window now more than ever.


Many things that were once taboo(and should have been left behind closed doors)  have come to the forefront. 


The soul music of the 60s 70s and 80s was about family unity, education,  having a good time etc. 


But there were many songs falling in or out of love, cheating or being cheated on, what happened behind closed doors, singing the blues over lost loves etc; you get the message. 





 Also this old but goodie song by RICHARD "DIMPLES" FIELD,



   

 Regardless of what direction music goes in, we have the soul artists, deceased or living, to thank for music that will never die.


  Music that we could tell where we where, what and when we were doing; who we were doing it with (when our kids were conceived lol). 


 The next wave of rising artists have studied the old school and do songs and performances in a new(?) way.  


In all actuality, they take from the best and copy or adapt. Not such a bad thing when you consider there is nothing new under the sun.  

  There is a new crop of entertainers that work very hard but mainly sell sex appeal. 


This  is not imply that there are people that have positive song messages that inspire and uplift others.

The music industry knows it can sell more by put controversial artists out front.

The old school artists nearly killed themselves trying to outdo one another when they appeared on shows together. 


Many old school artists have left the building,  but  the legacy they have left behind will live on.

"GET ON UP' MOVIE- RIGHT AND WRONG

The JAMES BROWN movie, "GET ON UP" has been released close to two months ago.  

While I thought they did an excellent job all around,  the story was not always true to his legend.

Great acting by all involved (especially Chadwick Boseman and Nelsan Ellis),  fantastic dance sequences, etc.  




 

Overall, a very entertaining movie which touched upon different time periods in JB,s life and career. 

Most biographies often include changes from real life scenarios in order to let the  movie flow properly.  In this case, there were things put in that I never read or heard about.

I have six books on JAMES BROWN;  

THE ONE,   I FEEL GOOD,  THE GODFATHER,OF SOUL, A BIOGRAPHY, SAY IT LOUD (MY MEMORIES OF JB, and THE JAMES BROWN READER. 

Also, the great FRED WESLEY biography, HIT ME FRED, detailing his life in music along with association with The Godfather Of Soul.

A tv mini-series about JB,s life would probably run about six to 10 hours to get the WHOLE story! (lol). 

With that out of the way I,m going to list things in the movie that I never read or heard about before along with things that I wished were included;

1. JB going to school:  Kids paid 10 cents to see him perform as a kid in the school auditorium. 

Despite being a brilliant student, he was sent home on more than one occasion for insufficient (raggedy) clothing.

2.  Doing odd jobs, such as picking cotton(other than buck dancing for the soldiers) to earn money to help his aunt pay rent.

 Picking up coal along railroad tracks to help keep warm during the winter months.

  3. How he went out on his own after the Flames quit ( appeared as little Richard after to fulfill the dates after Richard had  quit for evangelism).

4. More studio and rehearsal performances should have been filmed or added.

I didn,t know the the purpose of showing JB,s oldest son Teddy with a rash on his face (never read anything of the sort).  

Teddy Brown died  in  1973 at the age of 19 in a car crash.

James went back on stage the next night after the funeral.  Even though the loss of his oldest son devastated him, James Brown kept on recording and entertaining.




He turned to the stage to help him keep on going despite whatever grief and turmoil he went thru.

A lot of times, movies based on a real person show events that never actually happened in real life.  


When the "GET ON UP" dvd is released, hopefully there will be deleted scenes  added. 

UPDATE: here,s two great deleted scenes below;

   

There was one tv trailer showing JB getting in bed with a woman ( it was so quick I couldn,t see her face clearly) so maybe it will be included. 

 It is sad that the film only made just over $30 million (cost of production) and it should have been released overseas.  

When his concerts fell off in the U.S. in the late 70s and 80s, JB always had sold-out shows overseas and around the world.

It would only be fitting for the producers to put the movie out overseas, as I believe it would really become box office gold.  

 The way I see it , this movie puts the Godfather Of Soul back in the spotlight; meaning there will be other movies and documentaries heading our way.  

Case in point; HBO will show a  two hour plus documentary about James Brown on Oct. 27th with never before seen footage included. 


UPDATE;
The documentary (THE RISE OF JAMES BROWN) has been released. It is one of the best I have ever seen covering James Brown in that period of his career.



Get ready for the magic people, because it,s about to start all over again!

REVIEW OF MY FIRST JB CONCERT IN 1969

This is my review of the first James Brown concert I ever attended. 

A next door neighbor was taking her kids and asked if I wanted to go also. 


I was just entering my teens at the time, but I have been a JB fan ever since I heard "DON,T BE A DROPOUT". 


I can,t recall everything about the show as it happened that night but I will do the best I can.


My father used to listen to a radio station out of Nashville, Tennessee, that played a lot of the  R&B hits of the day. 


Only being around 5 or  6 years of age at the time, the only singer that I remember hearing was James Brown.
 

In 1969 I was taken to a  JB concert by a neighbor and witnessed a show I will never forget!



This was James Brown with his late 60s band featuring saxophonist extraordinaire, Maceo Parker.


I don,t remember all the songs but I do remember the band opening with "THE CHICKEN".  Then the band,s classic hit featuring Maceo, "THE POPCORN".

Then the lovely Miss Marva Whitney came on and performed two songs, "BALL OF FIRE" AND "IT,S MY THING".


Looking gorgeous in a long blue grown she had  the crowd in awe as she belted out her hits, then left the stage.


Let me tell you something; these songs were performed identically like the records ( most were extended in concert)!  Then Maceo blew everyone away with an imprompt  solo sax performance!


I believe  after that the announcer came onstage said a few things pertaining to concert show books and whatnot.


  Finally... he brought out the man HIMSELF...


                                Mister Dynamite,
                           JAAMES BROWNNN!


He was immaculately dressed in a white jacket,  black silk turtleneck shirt and white pants with black patent leather boots(so shiny you could see your face in them).  


Soul Brother #1 strutted on stage and  delivered a quick handshake to the announcer. 


He went into his big hit, 


"SAY IT LOUD  I,M BLACK & PROUD!"


 


The audience sang along with him as he went thru the song and when JB finished, he started rapping with the audience as the band stood silently in the background.


I did recall one thing that he said which really left an impression on me.

"The color of a man,s skin does not make a   man."

                  "A man makes himself." 
Still rapping, he held the mike, when all of a sudden...


he spun around and stood in the SAME POSE HOLDING THE MIKE!

This happened in a SPLIT SECOND!

I tell you as I saw it with my own eyes, the man was as fast as GREASED LIGHTNING!
 

JB went thru his hits from "IT,S A MAN,S WORLD"( he sang live to a tape being played while the band stood around ;at this time he no longer had the three violinists touring with him).







On "LOWDOWN POPCORN", he accompanied the band on organ, playing the song note for note.  


His footwork was dazzling as he went from one side to the stage to the other.  



The camel walk, the one-legged dance, (especially the James Brown) he performed as we all watched mesmerized!


He spun around three and four times, almost falling on one of the drum sets at one point.


You could actually see the sweat flying away from his body as he worked himself into a frenzy and the crowd along with him.


 I noticed he didn,t do the splits at all that night, (I found out later during that period in his shows he didn,t do the splits) nevertheless still had an exciting exhilarating show. 


On the live  JB concert dvds, "LIVE AT THE APOLLO 1968" and "LIVE AT THE BOSTON GARDENS 1968" ( filmed a month before the former and the night after Martin Luther King Jr. was killed) he did no splits. 



Then came his signature cape routine with "PLEASE PLEASE".  Mister Dynamite then left the stage to rest for a few minutes. 


The announcer appeared again and talked about the concert books and other things that were still available for sale.


We heard the shout, "ONE MORE TIME, LADIES AND GENTLEMEN, MISTER JAMES BROWN", as he took the stage one more time. 


 
He had removed his jacket before he left the stage the first time, but did not change his clothes before his finale.


 
All of a sudden came a familiar scream, "EEEEYOWWW!" The band immediately went into "GIVE IT UP OR TURNIT A LOOSE". followed by his current monster hit, "MOTHER POPCORN"!


The whole audience, worked into a frenzy by this time, (me included)rushed to the front of the stage. 



That,s when I noticed how his pants were made.  Instead of a belt or buttons in front, they were laced up, just like football jersey pants. 


I also noticed for the first time his dancer, the lovely Ann Norman, on an elevated platform behind the band.  


I,ve seen (what we called back then)go-go dancers before but this woman was a SUPER FINE FOX! 


She was so sexy in that tiny mini-whatever she had on, I wanted to motion to JB to move over so I could get a better look at her, lol!


Someone  hoisted a little girl up onto the stage.  The child looked bewildered as she stared into the crowd of faces looking back as her.  


 JB was oblivious to the child, as he was grooving back and forth with Maceo.  


One of the trumpet players saw the little girl, put his instrument down momentarily and gently lowered the child back down into the crowd ( so she wouldn,t get in the way or accidently get hurt).


 
The show ended with James Brown leaving the stage, drained but with a satisfied look on his face, knowing he killed them! 


  I,ve seen JB about five or six times after that, but I never, ever will forget that first show!  Im glad that 
I got a chance to see him with the late sixties band.


James Brown is gone now but...


Not only there is a movie  titled "GET ON UP" on August 1, 2014 coming out about his life, but there is quite a bit of  footage of him  available online, like  YOUTUBE, and a few officially released James Brown concert dvds out now.


So no matter what you,ve heard about JB, good or bad, mistakes and all, know this; to see him live back then was not just a concert, but an EVENT!


He was a flawed human being (we all are) that pushed himself to the top of the music world. 


He had help along the way, but did it HIS WAY!


 There will  always be imitators, duplicators, people that will take something from him and take it to the next level.  


BUT... there  will never, ever, be another...  JAMES BROWN!