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Get On Up



get on up (third-person singular simple present gets on up, present participle getting on up, simple past got on up, past participle (UK) got on up or (US) gotten on up)




Get On Up


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James Brown was arguably the most important African-American artist of his generation, a musician whose work helped define his time and place while creating a sound that was his and his alone. Brown's sharp, percussive style upended R&B, gave birth to funk, and would provide the blueprint for hip-hop, while echoes of his innovative music could be heard in free jazz, new wave, electronic, and many other musical avenues. If anyone in popular music deserves a big-screen biopic, it's James Brown, and the soundtrack to Get On Up, a feature film based on Brown's life starring Chadwick Boseman as the Godfather of Soul, is a reminder that Brown was a pathbreaker in the studio and a supreme showman on the stage. Opening with the taut groove of 1970's "Get Up (I Feel Like Being A) Sex Machine," this album is dominated by Brown's sinewy, hard funk from the late '60s and '70s, such as the ferocious "Mother Popcorn," the tough but passionate "Cold Sweat," and the ominous "The Payback, Pt. 1," though there are reminders of earlier and more soulful hits like "Please Please Please," "Try Me," and "Caldonia." Along with the familiar studio recordings of several of Brown's biggest hits, Get On Up also folds in a number of vintage live recordings (including a ferocious take of "Night Train" from 1963's justifiably legendary Live at the Apollo), and if the studio was where he hatched the ideas to take his music in new and exciting directions, the stage was where he most effectively put his theories into practice, and the triple-play of 1971 live takes of "Get Up (I Feel Like Being A) Sex Machine," "Super Bad," and "Soul Power" is devastating, especially considering they were performed in real time into open mikes while some of the players were doing dance steps. With the exception of a heavily overdubbed version of "Try Me," most of these tracks appear in versions that are recognizable to fans, and while some of this material may have been tricked up for use onscreen, the bulk of the album sounds like pure James Brown, delivered in potent form. 1991's 20 All-Time Greatest Hits is still the best one-disc overview of Brown's most vital work, and Star Time remains that rare box set that's practically devoid of filler, but if a new generation of music fans is going to be introduced to the Hardest Working Man In Show Business by the movie Get On Up, at least the soundtrack album delivers a satisfying taste of what made him a legend.


"Get On Up (Everybody Move)" is a Sesame Street song about how your body parts move. The music video features clips of characters from various Magnet Alphabet segments dancing to the song.


Monitor journalism changes lives because we open that too-small box that most people think they live in. We believe news can and should expand a sense of identity and possibility beyond narrow conventional expectations.


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To be fair, Bass has been credited by many for discovering Brown, with even the late musician noting in his autobiography that Bass signed him and his then band the Famous Flames before Bart came on board.


Myles has taken some time off her job at the Natchez Grand Hotel to focus on being there for her boys on set. Myles says she never dreamed that she would be sitting on set among Hollywood stars watching her boys bring young James Brown to life on camera.


Actor David Harewood takes us on a journey across America to meet his heroes, and discover some of the true stories behind the incredible artists who captivated and inspired him, and changed the course of his life. Along the way he discovers how these African American performers, film-makers and writers have come to transform popular culture around the world.


David encounters fellow actor John Amos, who played Kunta Kinte in the groundbreaking TV series Roots, and together they discuss how the series rewrote history and forced America to reckon with its past. This resulted in a new conversation about race, power and violence, and the country could never look at itself the same way again. And meeting Blaxploitation star and Bond girl Gloria Hendry, David learns how Blaxploitation films redefined the movie business.


The soundtrack is made up of the original vocal recordings of each song, but despite some slightly distracting lip-syncing, Boseman nails the physicality required, from the swagger down to his barnstorming stage performances. The best of these comes at a memorable Boston show after the assassination of Dr. Martin Luther King, where Brown literally talks down a black audience from rioting in the face of over-zealous security- this is the moment where the charisma of both the character and the actor come through most strongly.


Get On UpBasic Information Song By Jauz & Pegboard Nerds Featured Artist(s) Tia (uncredited) Album: Monstercat 024 - Vanguard & Monstercat - Best of 2015 Brand: Uncaged In-Depth Information Release Date August 21, 2015 Released As Electro Community Genre House Sub-Genre(s) Bass House Length 3:49 Catalog Number MCS366 Beats Per Minute (BPM) 128 Key E Minor Streaming Services Spotify SoundCloud YouTube "Get On Up" is a House song by Jauz & Pegboard Nerds, with uncredited vocals from Tia Simone, release on Monstercat on August 21, 2015. This is the debut release of Jauz.


GOOD GAWD! This is an unholy mess. But in that it presents James Brown as sort of an unholy mess himself, it sort of works. And in the parts that don't work there's at least a kind of ambitious experimentation that makes this biopic different from the 40 other ones that came out this year.


My thoughts and prayers go out to Chad, and his family. I am truly heartbroken and I cannot stop thinking about this tragic and horrible occurrence. Rest in peace to an amazing person, you were taken away too quickly. ?


Doesn't really manage to elude the usual biopic traps but the whiplash time jumps carried by both the music and Boseman's intensity paint this James Brown some kind of space alien, arrived on Earth as a fully-formed icon, deliberately sublimating his own humanity.


Chadwick Boseman is absolutely marvelous as James Brown and should definitely be getting some recognition for his role here. However, the film itself is a jumbled mess with sloppy direction and a complete lack of focus. It's also far too long, even if some of the musical sections of the movie are impressive to watch. Far from great, but if anything, see it for Boseman's phenomenal performance.


Shelton MBA, assistant professor of music theater and dance at Friends University, is one of the actors who will interpret the music of James Brown at the Forum Theatre for a new show called Papa's Got A Brand New Bag, Words and Music of James Brown.


He leans down and listens intently to a track with the voice of the man dubbed "the Godfather of Soul," and spent six decades in show business before his death in 2006. MBA practices singing and dancing to Brown's music.


"He's having such a great time on stage and on the track, and you're just jamming out to it with him," MBA says. "But the moment you start to do what he does with his voice, I'm like, 'Ow,' or I'm like, 'Whoa, how did he make this? How did he sustain this?' And it kind of shows you the resilience and the durability of his voice to last throughout the years. So ... it's ... tricky, but it's a lot of fun at the same time"


That's also what Actress Adrienne DeGraftenreed wants to capture when she sings and co-hosts the show. She remembers back in the late 60s dancing with her friends at a café in Monroe, Louisiana, when a fancy car pulled up to the door.


"We were playing one of James Brown's songs, and lo and behold, James Brown stepped out of this car, and we just went just mad, just screaming and hollering and just, we had forgotten all about the music and dancing and eating and whatever else we were doing," DeGraftenreed says.


"We all ran to the little screen door. Everybody had a screen door back then. So, we were all standing in the door. The man couldn't hardly get in, you know, and we were just starstruck. It was just a wonderful time in our lives. Our hearts were beating fast. He walks in and I guess he noticed that we were playing his song because back then we had jukeboxes. So, he started singing and we were singing and dancing, and it was like we had our own little private concert."


"James Brown is very significant in the world of popular music, and I think sometimes people don't realize that," Hauptman says. "They think of him about for the flash and the dance and all the pizzazz behind him. But he was really instrumental in developing a whole new style of music, which was funk, and from funk came hip hop and the kind of music that ... we listen to ... nowadays, modern times. And he was very instrumental in getting that started. He's been honored by the Kennedy Center. He's received multiple honors, so there's much more to him than the flash of James Brown.


Associate Producer Aaron Profit is primarily responsible for the overall visual attributes of each production at the Forum. Profit says he's excited to see the dance moves and what else the show has to offer.


"I think this will encourage people to dig deeper into the things that James Brown has done for our community and for our world as a culture here," Profit says. "I love it the most because my kids get to see this, and they go home educated. They go home intrigued about what's going on here at The Forum, as well as what his contributions to the generation has done."


Actor Keith Marlo is the keyboardist for the show. He's been living and performing overseas and recently wrapped up a gig on a cruise ship. He will sing It's A Man's, Man's Man's World as a duet with Adrienne DeGraftenreed. 041b061a72


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