James Brown and the Black Power Movement Or Was America's Soul Brother Number One a Black Nationalist?

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GRIN Verlag, 2007 - Black nationalism - 37 pages
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Seminar paper from the year 2005 in the subject American Studies - Culture and Applied Geography, grade: 1,7, Free University of Berlin (John F. Kennedy-Institut fur Nordamerikastudien), course: The Sixties and the U.S., 39 entries in the bibliography, language: English, comment: Prufer: Die Arbeit setzt sich mit dem zentralen Problem in James Browns Werk und Leben auseinander., abstract: "The Godfather of soul," "the hardest working man in show business" or "Soul Brother Number One," are the various different images of a persona who made a very important contribution to the Black Power Movement. James Brown reached his audience in concert halls and via radio and television. As a musician, performer, and role model, he touched the soul of nearly every black American at a time when Afro-Americans sought to re-define themselves. The time had come to create a black Aesthetic that would reshape the Western cultural sphere. Beside James Brown, Black America saw the rise of other cultural heroes like Muhammad Ali and Shaft. They all contributed in their own way to the black liberation struggle. However, the Black Power Movement did not only consist of a cultural branch but also of political and religious organizations. Figures like Malcolm X and Martin Luther King jr. were charismatic leaders whose importance can not be overstressed. Still, the basis of the Black Power Movement (hereafter BPM) was the individual, the group and the community. The black experience, together with black everyday life was the origin and source of the black struggle. Since James Brown grew up in a southern American black community and knew what this experience meant, he was able to authentically convey this on stage. Beyond his career as a musician, he was also interested in the fate of his people. He was in his own way an active political figure, using his popularity to change the social circumstances for black communities. Furthermore, Brown was one of the first black American music

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Page 5 - For all art must reflect and support the Black Revolution, and any art that does not discuss and contribute to the revolution is invalid...
Page 26 - No, we don't. If we're going to talk about freedom and self-determination, we need to hear our black heroes performing in other art forms. We need to talk about drug addiction, about slum landlords, about jobs, about education. But the white man gives us twenty-four hours of 'soul' because it pads his already stuffed pockets and keeps black people ignorant.
Page 10 - ... almost insuperable obstacle of attempting to define himself as a black artist, practicing a black-based art in a country that is deathly afraid of both its artists and its blacks.
Page 22 - That's the technique of rhythm-and-blues singing, man, and no academy but the genuine tradition of a people can give it to you.
Page 19 - This is a man's man's man's world But it wouldn't be nothing, without a woman or a girl.
Page 12 - This change in chart titles called attention to a new style of black music that appealed to white musicians and, in general, members of American popular...
Page 3 - Camelof in his book of the same title, describes "a metaphorical device meant to symbolize and illuminate the new world order sought by African-Americans of both the civil rights and the Black Power eras."1 ln other words, the BPM was the Afro-American quest for socio-cultural equality.
Page 26 - that the creation of personal wealth and attainment of mainstream success was a form of progressive racial politics, and of black economic and cultural...
Page 25 - Black community, and wanted to give something back in order "to help provide scholarships, to help children stay in school, to help equip playgrounds and recreation centers, and to keep kids off the...

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