Throughout the remainder of his life, Brown made public speeches in schools and continued to advocate the importance of education in school. Upon filing his will in 2002, Brown advised that most of the money in his estate go into creating the I Feel Good, Inc. Trust to benefit disadvantaged children and provide scholarships for his grandchildren. His final single, "Killing Is Out, School Is In", advocated against murders of young children in the streets. Brown often gave out money and other items to children while traveling to his childhood hometown of Augusta. A week before his death, while looking gravely ill, Brown gave out toys and turkeys to kids at an Atlanta orphanage, something he had done several times over the years.
Education advocacy and humanitarianism
James Brown
James Brown | Education advocacy and humanitarianism
He made public speeches in schools and continued to advocate the importance of education in school. Brown made public speeches in schools and continued to advocate the importance of education in school. Try Me", "Bewildered", "Think", "I Don't Mind", "I'll Go Crazy", are some of this famous songs. "I Want You So Bad", "Think", "Bewildered","I Don't Mind", "This Old Heart", and "I'll Go Crazy", to name a few.
how much did the blues brothers movie cost to make
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More than $17.5 million
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who directed it?
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John Landis
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who did its background score?
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By rhythm and blues (R&B), soul, and blues singers James Brown, Cab Calloway, Aretha Franklin, Ray Charles, Chaka Khan, and John Lee Hooker
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who starred in this film?
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John Belushi and Dan Aykroy
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what is this r&b refers to?
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Rhythm and blues,  is a genre of popular music that originated in African American communities in the 1940s
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and the next one of r&b?
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Soul music is a popular music genre that originated in the African American community throughout the United States in the 1950s and early 1960s
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you have mentioned a list of singers; is the first one related to any band?
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Yes. The Famous Flames
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is this band involved in any controversy?
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Yes when James Brown was one of the Hall of Fame's first charter members to be inducted
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did he first start the concept of concert?
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Sorry. I cannot find the answer based on the context.
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what other works has he done in his career?
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Throughout the remainder of his life, Brown made public speeches in schools and continued to advocate the importance of education in school. Upon filing his will in 2002, Brown advised that most of the money in his estate go into creating the I Feel Good, Inc. Trust to benefit disadvantaged children and provide scholarships for his grandchildren. His final single, "Killing Is Out, School Is In", advocated against murders of young children in the streets. Brown often gave out money and other items to children while traveling to his childhood hometown of Augusta. A week before his death, while looking gravely ill, Brown gave out toys and turkeys to kids at an Atlanta orphanage, something he had done several times over the years.
James Brown | Education advocacy and humanitarianism
Brown's main social activism was in preserving the need for education among youths, influenced by his own troubled childhood and his being forced to drop out of the seventh grade for wearing "insufficient clothes". Due to heavy dropout rates in the 1960s, Brown released the pro-education song, "Don't Be a Drop-Out". Royalties of the song were donated to dropout-prevention charity programs. The success of this led to Brown meeting with President Lyndon B. Johnson at the White House. Johnson cited Brown for being a positive role model to the youth. A lifelong Republican, Brown gained the confidence of President Richard Nixon, to whom he found he had to explain the plight of Black Americans.
James Brown | Education advocacy and humanitarianism
James Brown's performances were famous for their intensity and length. His own stated goal was to "give people more than what they came for — make them tired, 'cause "that's" what they came for.'" Brown's concert repertoire consisted mostly of his own hits and recent songs, with a few R&B covers mixed in. Brown danced vigorously as he sang, working popular dance steps such as the Mashed Potato into his routine along with dramatic leaps, splits and slides. In addition, his horn players and singing group (The Famous Flames) typically performed choreographed dance routines, and later incarnations of the Revue included backup dancers.
James Brown | Concert repertoire and format
People called "Black and Proud" militant and angry – maybe because of the line about dying on your feet instead of living on your knees. But really, if you listen to it, it sounds like a children's song. That's why I had children in it, so children who heard it could grow up feeling pride ... The song cost me a lot of my crossover audience. The racial makeup at my concerts was mostly black after that. I don't regret it, though, even if it was misunderstood.
James Brown | The Boston Garden concert
Male performers in the Revue were required to wear tuxedoes and cummerbunds long after more casual concert wear became the norm among the younger musical acts. Brown's own extravagant outfits and his elaborate processed hairdo completed the visual impression. A James Brown concert typically included a performance by a featured vocalist, such as Vicki Anderson or Marva Whitney, and an instrumental feature for the band, which sometimes served as the opening act for the show.
James Brown | Concert repertoire and format
Brown received $15,000 from them via the city. White also persuaded management at the Garden to give up their share of receipts to make up the differences. Following this successful performance, Brown was counseled by President Johnson to urge cities ravaged from riots following King's assassination to not resort to violence, telling them to "cool it, there's another way". Responding to pressure from black activists, including H. Rap Brown, to take a bigger stance on their issues and from footage of black on black crime committed in inner cities, Brown wrote the lyrics to the song "Say It Loud – I'm Black and I'm Proud", which his bandleader Alfred "Pee Wee" Ellis accompanied with a musical composition.
James Brown | The Boston Garden concert
Before James Brown appeared on stage, his personal MC gave him an elaborate introduction accompanied by drumrolls, as the MC worked in Brown's various sobriquets along with the names of many of his hit songs. The introduction by Fats Gonder, captured on Brown's 1963 album "Live at the Apollo" is a representative example:
James Brown | Concert introduction
Released late that summer, the song's lyrics helped to make it an anthem for the civil rights movement. Brown only performed the song sporadically following its initial release and later stated he had regrets about recording it, saying in 1984, "Now 'Say It Loud – I'm Black and I'm Proud' has done more for the black race than any other record, but if I had my choice, I wouldn't have done it, because I don't like defining anyone by race. To teach race is to teach separatism." In his autobiography he stated: The song is obsolete now ... But it was necessary to teach pride then, and I think the song did a lot of good for a lot of people ...
James Brown | The Boston Garden concert
He developed this further by analogy with arguments for the American federation, and contended that only a federation of democracies could reliably undertake humanitarian interventions to stop mass atrocity crimes. He also defended this proposal against criticisms by Stephen Schlesinger in an online exchange. G. John Ikenberry and Anne-Marie Slaughter have also called for the creation of a “Concert of Democracies” in the final report of the Princeton Project on National Security, Forging a World Under Liberty and Law: U.S. National Security in the 21st Century (September 2006). Most recently the concept has been supported by former United States Presidential candidate John McCain.
Concert of Democracies | Introduction
and asked him to play at the Montreux Jazz Festival with Alice Cooper. On the side, he decided to explore the blues in public schools and colleges throughout western Switzerland, as part of educational concerts on the history and evolution of the blues. In 2006, he planned to open a school in Cambodia for underprivileged children, financed by the sale of his latest album and concert support. During his "James Brown Tour" in 2007 (when he was nicknamed the Asian James Brown by the press), he called himself Bonny B. Brown, in honor of one of its masters.
Bonny B. | Albums and concerts
The idea of creating an organisation dedicated to young musicians sprang in Cuvelier's mind early, in 1928, as he was watching the construction of the Centre for Fine Arts, Brussels. ”I always thought of giving concerts for young people… I remember that this idea haunted me already in 1928, during the construction of the Palace of Fine Arts, when I was walking over the beams and the bars, when I walked like an insect in that huge frame that would become a concert hall, meeting rooms, offices, halls. I thought about an audience that is demanding, worthy of respect, living: YOUNG.
Jeunesses Musicales International | The creation of Jeunesses Musicales
He had a concert hall built there to give recitals by himself and his pupils.
Howard Davis (musician) | Introduction
The message of the concert, according to U.S. representative Jim McGovern, was to circumvent politicians, and using the medium of music, speak directly to young people and encourage them to think in fresh ways – to change their way of thinking – and leave behind the old politics, the old hatreds, prejudices and national enmities that have locked too many people into patterns of conflict, violence, poverty and despair, dividing them from one another. It was an attempt to break down barriers and ask people to join in common purpose.
Paz Sin Fronteras | Message
Brown's demands of his support acts were, meanwhile, quite the reverse. As Fred Wesley recalled of his time as musical director of the JBs, if Brown felt intimidated by a support act he would try to "undermine their performances by shortening their sets without notice, demanding that they not do certain showstopping songs, and even insisting on doing the unthinkable, playing drums on some of their songs. A sure set killer."
James Brown | As band leader
The same contradictions and ambiguities were endured by African Americans like the composer James A. Bland, the actor Sam Lucas, and the bandleader James Reese Europe. The classically trained African-American composer Will Marion Cook, who toured throughout the United States and gave a command performance for King George V in England, struggled to raise his music to a public perception of distinction and merit, but was thwarted by marketing that distinguished author and music only by skin color. Cook wrote what he called "real Negro melodies" and what he envisioned as "opera." He sought to market the syncopated sounds emanating from black expressive culture, but his compositions would be sold as "coon songs" suitable for variety stages.
Hokum | Artistic dilemma
While in Augusta, Brown performed buck dances for change to entertain troops from Camp Gordon at the start of World War II as their convoys traveled over a canal bridge near his aunt's home. He learned to play the piano, guitar, and harmonica during this period. He became inspired to become an entertainer after hearing "Caldonia" by Louis Jordan and his Tympany Five. In his teen years, Brown briefly had a career as a boxer. At the age of 16, he was convicted of robbery and sent to a juvenile detention center in Toccoa. There, he formed a gospel quartet with four fellow cellmates, including Johnny Terry.
James Brown | Early life
White arranged to have Brown's performance broadcast multiple times on Boston's public television station, WGBH, thus keeping potential rioters off the streets, watching the concert for free. Angered by not being told of this, Brown demanded $60,000 for "gate" fees (money he thought would be lost from ticket sales on account of the concert being broadcast for free) and then threatened to go public about the secret arrangement when the city balked at paying up afterwards, news of which would have been a political death blow to White and spark riots of its own. White eventually lobbied the behind-the-scenes power-brokering group known as "The Vault" to come up with money for Brown's gate fee and other social programs, contributing $100,000.
James Brown | The Boston Garden concert
In 1947, he wrote a short work on the United Nations Universal Declaration of Human Rights. In 1928, he wrote "Censorship in the United States" (New York, Court Press, 1928).
James N. Rosenberg | Humanitarianism
In his college classes, Charles Lampkin divided original African-American music into four parts: Spirituals, the Shout Song, the Work Song and the Blues. Charles Lampkin's performances of the poetry of the Harlem Renaissance set to music he composed were recorded in 1957 for the National Association of English Teachers. The records were distributed to thousands of schools across the United States. The original recording are available at the Charles Lampkin Foundation web site. The centerpiece of the Charles Lampkin lecture platform was the Black American classic (whose status he helped secure) "The Creation" from the imaginative sermon series of James Weldon Johnson's "".
Charles Lampkin | Lecture-recitations
Said spearheaded concerts to draw people together after the 2006 riots in immigrant suburbs across France, and to bring about solidarity between all religions.
Samira Said | Philanthropy and humanitarian work
Paul Green began giving traditional individual music lessons in his home in 1996. He invited a group of his students to sit in, or "jam", with his own band with disappointing results. But by the third week, he found that the students who played in a group had advanced much more than the students who received only traditional solo instruction. He modified his teaching method to supplement traditional instruction with group practice, with the goal of putting on a concert. He compared it to the difference between "...shooting hoops and playing basketball". In 1999, the most advanced students played their first public concert at an art gallery.
School of Rock (company) | History
Paul Green began giving traditional individual music lessons in his home in 1996. He invited a group of his students to sit in, or "jam", with his own band with disappointing results. But by the third week, he found that the students who played in a group had advanced much more than the students who received only traditional solo instruction. He modified his teaching method to supplement traditional instruction with group practice, with the goal of playing a show. He compared it to the difference between "...shooting hoops and playing basketball". In 1999, the most advanced students played their first public concert at an art gallery.
Paul Green (musician) | The Paul Green School of Rock Music
She did, however, give annual benefit concerts open to the public in 1792, 1794 and 1795 which were accompanied by Joseph Haydn on the piano.
Harriett Abrams | Biography
During the early 1960s, civil rights sit-ins were held in front of the Brown Theatre.
James Graham Brown | Later career
Brecht would later refer to Cage as his 'liberator', whilst, in the opinion of some critics, moving beyond Cage's notion of music; Cage was still writing scores to be performed. Brecht had replaced this with a world permeated with music. "No matter what you do," he said, "you're always hearing something." In October 1959, fresh from studying with Cage, Brecht organised his first one-man show at the Reuben Gallery, New York. Called "Towards Events: An Arrangement", it was neither an exhibition of objects or a performance, but somewhere in between. Comprising works that emphasised time, the works could be manipulated by the viewer in various ways, revealing sounds, smells and tactile textures.
George Brecht | John Cage and the New School for Social Research
René Nicoly organized concerts and musical courses to introduce all people, never mind their social status, to the beauty of music. His initiative spread to Parisian high-schools and attracted many musicians and speakers: ”From the very beginning, René Nicoly’s idea had been that of a music awakening – introducing young people from all walks of life, including the least fortunate in society, to music by offering them programmes of a very high artistic standard in order to create a new generation of music-lovers.”
Jeunesses Musicales International | Musical concerts and courses
His first official gospel performance piece was James Cleveland's, "Joy of My Salvation". In Charlottesville, he directed, on occasion, The Lane High School Choir, The Trinity Episcopal Church Youth Choir, The Pilgrim Baptist Church Youth Choir, The First Baptist Church Gospel Choir, The HTYC of the Church of God in Christ. He founded The Interdenominational Gospel Choir (renamed the Dimensions of Gospel), co-founder and founding director of The Black Voices of The University Of Virginia. Mr. Brown also founded the Genesis Gospel Choir at Smith College in Northampton, Massachusetts. He was accepted at Berklee School of Music in Boston, Massachusetts However, he decided to study African American vocal technique with noted author, ethnomusicologist, Professor Horace Clarence Boyer (editor of the Episcopal, African American Service Hymnal), at the University of Massachusetts.
Nehemiah Hunter Brown | Early years
At the next concert, April 1, vocal works of young composers introduced at the historic concert were performed. The Dobronić works performed were choral pieces from the collection "Songs of Unrealised Love".
Antun Dobronić | Biography
Riley's first-ever all-night concert, conceived by McWilliams and performed with Young and Zazeela on November 17-18, 1967, raised fears of litigation among school administrators. McWilliams's idea was that people could bring their families and sleeping bags and spend the night at the gallery, but because the school had never been open overnight before, administrators required him to personally carry liability insurance for the event.
Jim McWilliams | Artist's books, design, and teaching
During a sabbatical year in 1970, Brown gained a D.Sc. from the University of Edinburgh and delivered 63 lectures and demonstrations in Europe and the USA.
James Boyer Brown | Later work
Cornelia Bradley-Martin's idea was to give a costume ball at so short notice that her guests would not have time to get their dresses from Paris, and instead support local businesses. This overlapped with the idea that it was much better for the laboring people if the wealthy spent their money locally instead of taking it to Europe. The Reverend Dr. Rainsford believed in the rich giving money to be distributed as charity, whereas others, including the members of the Musical Mutual Protective Union (MMPU), disagreed. They believed in the wealthy spending their wealth in enjoying themselves, and thus giving hundreds and thousands of working people an opportunity to earn money and maintain their self-respect instead of having to accept charity.
Bradley-Martin Ball | Concept
He was later invited to give stage performances of his escape story in England. Brooks describes Brown's performance of his “traveling entrapment” in the box as “a metaphor of physical resistance to the antebellum period’s rigorous literal and figurative colonization of black bodies”. “Literal colonization” is the institution's enslavement of Brown's body and “figurative colonization” is its simultaneous deprivation of his subjectivity. Brown begins to undergo his “self-making” process when the inevitable enslavement of his family evoked his desire for liberation and self-determination. Singing is a significant tool of resistance in Brown's performance. Improvising on biblical verse to create his celebratory hymns, Brown's songs essentially express his hope and ecstasy for deliverance by God.
Daphne Brooks | "Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910"
This was immediately followed by a surge of ovations which brought the concert to a standstill for nearly five minutes.
Henry Lewis (musician) | Performance style
He wrote plays, advocated the claims of the stage as a moral educator, and tried to improve its tone. He also wrote religious books. Besides pamphlets, letters, single sermons, and hymns, he published:
James Plumptre | Works
Leventhal produced concerts at venues such as Carnegie Hall for artists such as Pete Seeger, Johnny Cash, Bob Dylan, Neil Young, Phil Ochs, Arlo Guthrie, Peter Paul and Mary, Neil Diamond, Joan Baez, Joni Mitchell, Judy Collins, and many others. He had a knack for producing big shows that could focus the energy of an era. A birthday benefit concert for Martin Luther King, Jr. at Carnegie Hall in 1961 helped King appeal to the white general public. He produced fund raising tribute concerts for Phil Ochs, Paul Robeson, the Spanish civil war's Abraham Lincoln Brigade and, most memorably, for Woody Guthrie.
Harold Leventhal | Other Genres
The concert was the idea of impresario Robert Stigwood, the Bee Gees, and David Frost, who originally conceived it as an annual event. Not all of the performances were truly live, with ABBA lip-synching their new song "Chiquitita" and the Bee Gees lip-synching their song "Too Much Heaven". It raised less than one million dollars at the time for UNICEF, although this figure did not include longer-term royalties from the songs and repeat performances.
Music for UNICEF Concert | Introduction
According to a theory, by Jane Bennett, when people sing in the presence of other people, and that happens in benefit concerts, they become connected to each other and are more likely to work together towards a goal. Critics also say that benefit concerts are just a way for the rich West to forgive itself by helping the poor and distressed. These critiques argue that concerts like the Live Aid "rob Africans of agency, reinforces Western ethnocentrism and racisms and see famine as a natural disaster rather than as a political issue".
Benefit concert | Celebrity charity
On 7 July 2007, he performed at the Live Earth concert at Wembley Stadium, London. He contributed to the charity single, "Everybody Hurts" in aid of the 2010 Haiti earthquake appeal.
James Blunt | Charitable and environmental causes
Paul’s would become a building block for his lifelong musical pursuits.
J. E. Goodson | Early life, family, and education
James Brown Humphrey, also known as "Professor Jim" Humphrey (1859 -1937) was a musician, bandleader, and music instructor in New Orleans, Louisiana, United States and central figure in the formation of jazz as a contemporary musical art form. Humphrey predates the jazz genre as an active performer and is not himself considered a jazz musician. However, his involvement in the formal training of large numbers of musicians along the southern plantation belt of the Mississippi River delta during the immediate years following the reconstruction era resulted in many virtuoso performers who would go on to originate jazz as a distinct musical genre.
James Brown Humphrey | Introduction
On April 5, 1968, a day after the assassination of Martin Luther King, Jr. in Memphis, Tennessee, Brown provided a free citywide televised concert at the Boston Garden to maintain public order and calm concerned Boston residents (over the objections of the police chief, who wanted to call off the concert, which he thought would incite violence). The show was later released on DVD as "". According to the documentary "The Night James Brown Saved Boston", then-mayor Kevin White had strongly restrained the Boston police from cracking down on minor violence and protests after the assassination, while religious and community leaders worked to keep tempers from flaring.
James Brown | The Boston Garden concert
The six concerts were the first of what subsequently became known collectively as the Human Rights Concerts – a series of music events and tours staged by Amnesty International USA between 1986–1998.
A Conspiracy of Hope | Introduction
During some of his concert performances, Brown danced in front of his band with his back to the audience as he slid across the floor, flashing hand signals and splaying his pulsating fingers to the beat of the music. Although audiences thought Brown's dance routine was part of his act, this practice was actually his way of pointing to the offending member of his troupe who played or sang the wrong note or committed some other infraction. Brown used his splayed fingers and hand signals to alert the offending person of the fine that person must pay to him for breaking his rules.
James Brown | As band leader
James Francis Brown (born 7 December 1969, in London, England) is an English composer. He studied composition with the Viennese émigré Hans Heimler (a pupil of Alban Berg) and then at the Royal Academy of Music, London. Francis Brown's significant chamber works include sonatas for Piano (1994), for Viola (1995), the String Trio (commissioned by the Leopold String Trio, 1996) and a Piano Quartet (2003). Larger concert works include the Fantasy for Violin and Orchestra (premiered by Jack Liebeck and the English Chamber Orchestra at the Barbican Centre in 2001), the Sinfonietta, commissioned by Faber Music and premiered at the Queen Elizabeth Hall in 2002 by the London Chamber Orchestra, Trio Concertante for string trio and orchestra (2006) and the Clarinet Concerto (2008).
James Francis Brown | Introduction
During the 1980s, Browne performed frequently at benefit concerts for causes he supported, including Farm Aid, Amnesty International (making several appearances on the 1986 A Conspiracy of Hope Tour), post-Somoza revolutionary Nicaragua, and the Christic Institute. The album "World in Motion", released in 1989, contains a cover of Steven Van Zandt's "I am a Patriot", a song which he has performed at numerous concerts.
Jackson Browne | Activism and music
For several years she traveled with "The Wilberforce Grand Concert Company", an organization for the benefit of Wilberforce College. She read before hundreds of audiences, and tens of thousands of people. She possessed a magnetic voice, seeming to have perfect control of the muscles of the throat, and could vary her voice as successfully. As a public reader, Brown enthused her audiences. In her humorous selections, she often caused "wave after wave" of laughter; in her pathetic pieces, she often moved her audience to tears.
Hallie Quinn Brown | Elocutionist
Boston's School Committee used the money to fund the already existing African School and establish two primary schools in the 1820s.
James George Barbadoes | Education for Boston's Children of Colored
Brown's use of music in his speeches emphasizes music's role in the anti-slavery movement of the 1840s. He "traveled with a slavery-themed travelling panorama". While living in Buffalo, Brown also organized a Temperance Society, which quickly gained 500 members. At the time there were only 700 blacks living in Buffalo.
William Wells Brown | Move to New York
He returned to perform a second concert at the Peace Arch in 1953, and over the next two years two further concerts were scheduled.
Music and politics | Blues and African-American music
After 19 years of working in social services and education, Wert and family are presently embarking on varied projects while continually teaching. "There must be a bond between the world of music performance and the world of social justice"; a strong theme in which the PPJ Family believes in and hopes to accomplish.
Possessed by Paul James | Current projects
He will therefore make an indirect request conditional on the elimination of the obstacle and ask, “Do you remember what time the concert is tonight?” which will mean “Do you remember what time the concert is, and can you tell me?” Therefore, if the friend does not remember, he can simply answer “no.” The second way is illustrated in more frequent and general situations where the obstacle isn't well known or specific. So if the speaker were to ask a passing stranger near the arena about the start time of the concert, he might formulate, “Can you tell me when the concert starts?” The expected obstacle is formed by lack of ability and willingness of the stranger to answer the question.
Herbert H. Clark | Speech acts
11 – 13) / Completed: 24 January 1984 Text: late 15th Century, from Trinity College, Cambridge MS 0.3.58 (adapted) / Completed: 1982 Completed: 1963 Text: The Song of Songs Ch. 8 vs. 6 and 7 / Completed: 14 January 1980 Text: Shakespeare / Completed: 18 July 1983 Words: Christina Rossetti / Composed: 1985 Text: National Library of Scotland Ms. Advocates 193.1; f.59a / Completed on 26 December 1983 Text: attrib. Rabanus Maurus (776–856) / Completed: 7 December 1974
John Kelsall | Chamber concert
Brown founded the Oscar Brown Jr. H.I.P. Legacy Foundation to continue his humanitarian work. He participated in an anti-apartheid protest rally in Compton College in 1976. Brown wrote the vocalese lyrics to the Duke Pearson melody "Jeannine" as sung by Eddie Jefferson on the album "The Main Main" recorded in October 1974 and covered by The Manhattan Transfer on their 1984 album "Bop Doo-Wopp". "Somebody Buy Me a Drink", a track from "Sin & Soul", was covered by David Johansen and the Harry Smiths on their eponymous first album. "Hymn to Friday" from "Between Heaven and Hell" is played on jazz radio stations such as WDCB.
Oscar Brown | Humanitarian work
In his essay, he says: "The popular white man's theatre like the popular white man's novel shows tired white lives, and the problems of eating white sugar, or else it herds bigcaboosed blondes onto huge stages in rhinestones and makes believe they are dancing or singing." This, having much to do with a white aesthetic, further proves what was popular in society and even what society had as an example of what everyone should aspire to be, like the "bigcaboosed blondes" that went "onto huge stages in rhinestones". Furthermore, these blondes made believe they were "dancing and singing" which Baraka seems to be implying that white people dancing is not what dancing is supposed to be at all.
Black Arts Movement | The Revolutionary Theatre
He also was the first African American to give public concerts and the first to participate in racially integrated concerts in the United States. He led the first American musical ensemble to present concerts abroad, and he introduced the promenade concert style to America.
Francis Johnson (composer) | Introduction
The art created at concerts has also raised funds for charities through auctions. He is also patron of Magic Lantern, an arts education charity. Mayhew currently lives in Suffolk with his partner "Toto" (the Catalonian artist Antonio Reche-Martinez).
James Mayhew | Other projects
Following the publication of some of his arrangements of Negro spirituals in James Weldon Johnson's "Book of American Negro Spirituals", Brown published his own "Negro Folk Songs" in 1930. His arrangements were performed by Paul Robeson in concert in 1925 at the Greenwich Village Theatre, and he continued a professional relationship and friendship with Robeson for the next 40 years, Brown accompanying Robeson in concert during tours of "Show Boat", with Brown harmonizing with his tenor voice. They toured internationally, including in Paris, London, Ireland, for the King of Spain and the Prince of Wales.
Lawrence Benjamin Brown | Folk songs and spirituals
Examples exist in musical history of concerts being staged for philanthropic purposes. In 1749, the composer George Frideric Handel wrote his "Foundling Hospital Anthem", and put on annual performances of "Messiah", to support an orphans' charity in London. While many composers and performers took part in concerts to raise donations for charitable causes, it was also not unusual in the 18th and 19th centuries for musicians to stage performances to raise funds for their own professional work, such as Ludwig van Beethoven's 1808 "Akademie" concert. The modern understanding of a benefit concert is of a large-scale, popular event put on to support a charitable or political cause.
Benefit concert | History
Brown knew Charles Avison, the Newcastle organist and composer, who published in 1752 "An Essay on Musical Expression". The following year William Hayes defended Handel against Avison in a pamphlet, and stated that his "Essay" had been written for him by a "Junto". Brown had certainly contributed to it, with a number of others including William Mason. He went on to write "A dissertation on the rise, union, and power, the progressions, separations and corruptions of poetry and music" (1763). Avison's work prompted other such British aesthetic syntheses, from James Beattie, Thomas Twining and Daniel Webb; and the theme was picked up by German writers.
John Brown (essayist) | Aesthetics
In 1960, the venue hosted its first concert by soul singer James Brown.
Fillmore Auditorium (Denver) | History
Kraut organized a dissemination strategy that included all possible formats: the published lecture transcripts, the television airing, and the videocassettes. This strategy required extensive planning because the lectures were recorded off-site, at WGBH, immediately following the lecture at Harvard Square Theater. Most of the orchestral examples were recorded in advance, in December 1972, with the Boston Symphony Orchestra. Bernstein provided much of the funding for this elaborate project himself.
The Unanswered Question (lecture series) | Background
James Duff Brown (1862–1914) was a British librarian, information theorist, music biographer and educationalist. Most of his life was spent in London.
James Duff Brown | Introduction
The theatre became the main theme of his works.
Maciej Urbaniec | Early years and education
If inequality was not such a powerful force in America, resources, funds, and schools would be distributed more evenly.
Concerted cultivation | Inequality
In 1990, he helped promote his wife Olivia's Romanian Angel Appeal on behalf of the thousands of Romanian orphans left abandoned by the state following the fall of Communism in Eastern Europe. Harrison recorded a benefit single, "Nobody's Child", with the Traveling Wilburys, and assembled a fundraising album with contributions from other artists including Clapton, Starr, Elton John, Stevie Wonder, Donovan and Van Morrison. The Concert for Bangladesh has been described as an innovative precursor for the large-scale charity rock shows that followed, including Live Aid. The George Harrison Humanitarian Fund for UNICEF, a joint effort between the Harrison family and the US Fund for UNICEF, aims to support programmes that help children caught in humanitarian emergencies.
George Harrison | Humanitarian work
Bernstein's children's concert series with the New York Philharmonic, the "Young People's Concerts", included a concert titled, "What does Music Mean?" This concert took place in 1958, and it gives us a glimpse Bernstein's beliefs about musical meaning before his Norton Lectures. He first eliminates the idea that musical meaning is tied to stories or pictures. He then concludes that music means what it makes the listener feel, and that having various, strong feelings during a performance equates to understanding the piece. This is a radical step away from the suggestion that music means a series of overlapping transformations, even though in the Norton Lectures Bernstein mentions this program and claims his opinions about the meaning of music remained the same.
The Unanswered Question (lecture series) | The meaning of music
JHC's signature school program, "Striving For Freedom," is a site-specific, interactive play based on historic records which engages middle and high school students in a discussion of Jay's complicated role in the abolition of slavery in New York State. The program is provided free thanks to a long time grant from Con Edison; free bus transportation is provided as well for qualifying schools. The play has been performed for over 15 years and the average size class that attends is 100 students.
Jay Heritage Center | American History, Social Justice, African American History
This was one of a number of problems that hindered Harrison's Bangladesh project following the Madison Square Garden shows, and the British politician would allegedly tell him: "Sorry! It is all very well for your high ideals, but Britain equally needs the money!"
The Concert for Bangladesh | Aftermath
For Norris Houghton that effort represented the culmination of a life devoted to theatre on terms he helped create, balanced with devotion to future generations through teaching and public policy supporting arts as a priority.
Norris Houghton | Advocacy for arts education as national policy
Flanzer also distributed the concert footage and his company produced various portions of the event from Paris. The concerts were all released on CD, iTunes and DVD (as a box set or individually) in 2013 by SHOUT! Factory.
Human rights concerts | The Struggle Continues
The OCA built water systems, schools, clinics, and orphanages for villages, and established teacher training programs that within a few years had trained thousands of teachers. By the 1970s, over 4,000 students had served in the OCA.
James Herman Robinson | Humanitarianism
As a composer and arranger Brown has worked in theater. Spike Lee's "School daze" musical prologue, "I'm building me a Home," was written by Brown in the late 1970's but was recorded for the soundtrack in 1987 by the Morehouse Glee Club when the choir was on tour. He has been nominated for the AUDELCO award in black theater as outstanding musical director and arranger for his work in an off-Broadway musical play called ZION. Outside of theater, Dr. Brown has been president of the National Association of Negro Musicians. While being president, he was featured in the first official publication of the documentary history of the National Association of Negro Musicians by the Center for Black Music Research in Chicago, Illinois.
Uzee Brown Jr | Biography
On June 26, 1944, he conducted Paul Robeson and the APC at the historic Negro Freedom Rally at Madison Square Garden. Uta Hagen and Cardinal Spellman were in attendance. He composed a piano concerto in G minor before 1955 and in 1969 was appointed Artist-in-Residence, Professor of Music and Theatre Arts, at Santa Clara University until 1981.
Charles Lampkin | Career
According to Etta James, Brown and his group came up with the idea for their first song, because Brown "used to carry around an old tattered napkin with him, because Little Richard had written the words, 'please, please, please' on it and James was determined to make a song out of it".
Please, Please, Please | Background
In 1950, Harrison moved to New York and worked as a color mixer for a textile manufacturer to support himself, still with aspirations of becoming a recognized artist.
James C. Harrison | Life and education
Through his speeches, writings, and other advocacy efforts for more than fifty years he has contributed in important ways to the continuing effort to ensure that the arts remain a part of the education of every child in America.
Paul R. Lehman | Introduction
When young, Lascelles had classical piano and drum lessons, and claims that "John Tavener 'taught' him to improvise" by performing duets on a church organ. He then became interested in jazz, blues, and rock and roll.
James Lascelles | Music
Bob Geldof himself responded to criticisms about the lack of African artists on the Live 8 by stating that, although those musicians produce great works, they do not sell many albums—and, for the sake of reaching as many people as possible, his concert had to include only popular artists. Finally, the quality of entertainment is key to the creation of a public sphere where discussions about the concert's cause can occur. The better the entertainment, the more people watch the concert, and thus the more people become aware of the cause. Furthermore, the music played in the concerts can lead spectators to interconnect and become more likely to act towards the cause.
Benefit concert | Celebrity charity
Though Brown performed at benefit rallies for civil rights organizations in the mid-1960s, Brown often shied away from discussing civil rights in his songs in fear of alienating his crossover audience. In 1968, in response to a growing urge of anti-war advocacy during the Vietnam War, Brown recorded the song, "America Is My Home". In the song, Brown performed a rap, advocating patriotism and exhorting listeners to "stop pitying yoursel[ves] and get up and fight". At the time of the song's release, Brown had been participating in performing for troops stationed in Vietnam.
James Brown | Civil rights and self-reliance
Conlon recently completed a two-year artist residency with his alma mater, the Juilliard School. During the residency, Conlon worked with the school's young artists in its three divisions – dance, drama, music – in an educational project meant to promote growth and historical curiosity in students and audience members alike. The cross-genre project consisted of performances, symposia, master classes, and coaching. In addition to study and performance of the lesser-known repertoire of composers affected by the rise of Nazism and the events of World War II, of which he is an ardent champion, Conlon moderated symposia and spoke about the role of the artist in current times.
James Conlon | Pedagogy
Publications containing interviews, lectures, and newspaper articles flowed from Rosenberg's extensive work to achieve humanitarian goals. Throughout his adult life he wrote articles, books, and opinion pieces aimed at protecting freedom of speech, ending the persecution of minority communities, aiding refugees, mitigating conflict among nations, and preventing the recurrence of genocide. In 1918, he wrote a treatise on President Wilson's proposals for a world court and in 1925 wrote two articles on strengthening the world court that had been set up by the League of Nations, one in the "Columbia Law Review" and the other in "The Nation". In 1938 he wrote an article on freedom of speech in "Public Opinion Quarterley".
James N. Rosenberg | Humanitarianism
The idea was a history, starting with spirituals and leading up to big swing bands, involving African American performers. Hammond had difficulty gaining sponsorship for the event because it involved African American artists and an integrated audience. However, "The New Masses", the journal of the American Communist Party, agreed to finance it. According to the liner notes of the boxed set, "[i]n 1938... conceived a concert at Carnegie Hall in New York City to showcase African-American music from its raw beginnings to the most current jazz. Hammond... was one of the most influential talent scouts and record producers in history, having 'discovered' artists from Billie Holiday and Count Basie to [much later - Varlet] Bob Dylan and Bruce Springsteen.
From Spirituals to Swing | Concert
His most important legacy was his 1850 book, "Vocal Music Simplified", which was one of the earliest public-school music texts in the U.S.
James Monroe Deems | Introduction
Brown, and Viola Davis. The letter was released in the aftermath of the George Floyd protests.
Kamilah Forbes | Theater work
The singer and education campaigner Shakira also participated and presented the #UpForSchool petition signatures to the UN Special Envoy for Global Education Gordon Brown, during the same General Assembly.
Sarah Jane Brown | #UpForSchool petition
Tax troubles and questionable expenses later tied up many of the proceeds, but Harrison commented: "Mainly the concert was to attract attention to the situation ... The money we raised was secondary, and although we had some money problems ... they still got plenty ... even though it was a drop in the ocean. The main thing was, we spread the word and helped get the war ended."
George Harrison | The Concert for Bangladesh: 1971
In November of 2015, Harvard students held widespread demonstrations and marches in support of the Black Lives Matter movement. During this time, Campbell first conceived and performed "Sing Out/March On". He considers writing and performing this song his most personally gratifying experience at Harvard. At the time, he imagined the song would soon lose its relevance, but realized that as we continue to find ourselves with "more and more reasons to fight injustice and oppression its call to action still rings true".
Sing Out March On | Inspiration and first performance
He arranged appearances at these concerts by artists such as the baritone Harry Plunket Greene, the tenors Steuart Wilson and Gervase Elwes, the pianists Fanny Davies, Leonard Borwick and Donald Tovey, the violinists Adolf Busch and Jelly d'Arányi, and the violist Lionel Tertis. These concerts often featured works then hardly known in England, such as César Franck's Violin Sonata in A major, and songs by Joseph Marx and Richard Strauss. He was for many years an examiner and member of the Board of Studies for music, and he did much to improve the standard of the B.Mus and D.Mus degrees.
Ernest Walker (composer) | Biography
Newspaper articles covered them with intense interest and vast support, the leading opinion being that Hopkins should do more of his "...theoretical work as regards music and engage less in harassing the public with his endless crusades..." The connection between the lectures and Jerome's ongoing battle with society and various personal rivals was apparently lost on those who commented thus. However, aside from managing to get himself sued for some aggravation caused to his host in England, Hopkins experienced success there and came home a little bit wealthier and somewhat restored of his inspiration. He did come home to a vandalized house, though.
Charles Jerome Hopkins | Europe
Mursell's "The Psychology of School Music Teaching" (with Kansas City music supervisor Mabelle Glenn) and "Human Values and Music Education" (both published in the 1930s) became standard texts. "Principles of Music Education" appeared as the opening chapter in the 1936 yearbook of the National Society for the Study of Education, and Mursell was also a contributing author to the 1958 yearbook "Basic Concepts in Music Education". In 1955 he published "Principles of Democratic Education".In addition, his seminal book "Music in American Schools" was published in 1943 during World War II.
James Mursell | Publications
The tour was made possible in part by a grant from the Reebok Foundation. The twenty concerts were the second stage of what subsequently became known collectively as the Human Rights Concerts - a series of music events and tours staged by the US Section of Amnesty International between 1986-1998.
Human Rights Now! | Introduction
He was asked to also teach younger students in the school district and it was at that time that he decided that music education would be his career path. He maintained an active teaching schedule as a student and performed in many groups throughout the region. As a performer Brown earned positions in the Ohio All-State Jazz Band, Regional Honor Orchestra, Honor Band, Honor Orchestra, and Honor Jazz Band. It was during his time that he started performing professionally for local events. Brown performed in multiple professional symphony orchestras and musical theater groups throughout Cincinnati while still in high school.
Adam Brown (music educator) | Early life
Borrowing from the model of the Redpath Lyceum Bureau, Judson envisioned an organized national network of traveling artists who were efficiently booked to local venues. In 1927 Judson formed "Community Concerts, Inc." which linked networks of performers and "organized audiences." This idea was also borrowed from the community fund-raising models developed by Chicago's Harry P. Harrison, Dema Harshbarger, and Ward French.
Organized-Audience Plan | Early history
For many years, Brown's touring show was one of the most extravagant productions in American popular music. At the time of Brown's death, his band included three guitarists, two bass guitar players, two drummers, three horns and a percussionist. The bands that he maintained during the late 1960s and 1970s were of comparable size, and the bands also included a three-piece amplified string section that played during the ballads. Brown employed between 40 and 50 people for the James Brown Revue, and members of the revue traveled with him in a bus to cities and towns all over the country, performing upwards of 330 shows a year with almost all of the shows as one-nighters.
James Brown | Artistry and band
This philosophy declared that every being has its place under God's rule, and that harmony between all creatures is only achieved when each accepts the duties and joys to which it has been designated. Music served as an example for pieces working together, from the overtones of the planets’ motion to the ordered motion of musical voices in an ensemble. Not everyone is a soloist, but everyone's part, in its own way, is essential to all the rest.
Concert of Nations | Philosophical foundations
Thrilled press reviews reported that the protest and sabotage were actually part of the performance, a publicity stunt staged by Stockhausen himself.) Brown disputed the accounts that he was an intentional saboteur or that any rift developed between him and his friend Kaprow. Brown's only interest was to create as outrageous a spectacle as possible and embody the persona of the "Artist." His own documentation left no evidence of being involved in any way with Maciunas. The May 1990 performance produced and directed by Randall Packer in San Francisco was presented by Zakros InterArts at Theater Artaud. It was the first West Coast performance of "Originale" and was the first time it had been performed since the 1964 New York City performances.
Originale | Performance history and protests
She associated with celebrated personalities including Samuel Coleridge-Taylor, Scott Joplin, Harry Burleigh W.E.B. DuBois, James Reese Europe, Alice Dunbar, Will Marion Cook, James Weldon Johnson, and Ada Overton Walker, the hoi-polloi of the early Harlem Renaissance. Her collaboration with Roland Hayes of Boston, a young Tenor Daisy discovered and promoted early in his career would prove lasting for both artists. Their collaboration in quartets and duets continued for two decades. This was during an era of Jim Crow when African-Americans were often subjected to negative conditions as performers and artists, which included racial violence from theatre owners and prejudice in lodgings and bookings.
Daisy Tapley | Activism
For the first time in his life, he decided to get an education and began attending night classes at a high school downtown, supporting himself by working as a busboy and deliveryman and at other odd jobs. He began to take piano lessons and sold cosmetics as he was trying to make up his mind about college. Many of his old friends were in prison or had moved on from Harlem, so he felt like he no longer had a place in Harlem. A friend had told Brown about Reverend William M. James, who was interested in helping young men from the ghetto get into college.
Claude Brown | Early life
James Clifford Brown (1923–2004) was an English composer, former Senior Lecturer in the Department of Music and Organist at the University of Leeds.
James Clifford Brown | Introduction
According to Sharkey an afternoon school charity concert in a public park had been cancelled because organisers could not supply the details of the young performers. Jon McClure, lead singer with Reverend and the Makers, set up a petition on the UK Prime Minister's website to allow protest against what he alleges as "racial discrimination". In a statement on their web site, The British Academy of Composers and Songwriters CEO Patrick Rackow stated "...the imposition of Form 696 on live music is likely to discourage the existence and growth of live music. Music has long been a positive form of free expression, for people from all walks of life to create and enjoy.
Form 696 | Opposition