2016年5月14日 星期六

Amar Bose. James Brown (1933-2006)


This week we’re recognizing IEEE Fellow, educator and entrepreneur, Dr. Amar Bose. Although primarily known for his acoustics patents, there was more to Dr. Bose than meets the ear. As a professor, he was considered a legend at MIT, having influenced thousands of electrical engineering students. In 2010, Bose received the IEEE/RSE Wolfson James Clerk Maxwell Award. He was also the Chairman and Technical Director of Bose Corporation. IEEE Awards






James Brown - Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/James_Brown

James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer and dancer. The founding father of funk music and a major figure of ...

JAMES BROWN Make It Funky cd set


https://www.youtube.com/watch?v=04aIN3T7whg





Get on Up
2014 film
6.9/10·IMDb
80%·Rotten Tomatoes
71%·Metacritic
3/5·The Telegraph
James Brown (Chadwick Boseman) was born in extreme poverty in 1933 South Carolina and survived abandonment, abuse and jail to become one of the most influential musicians of the 20th century. He joined a gospel group as a teenager, but the jazz and blues along the "chitlin' circuit" became his sprin… More

Initial release: August 1, 2014 (Canada)
Director: Tate Taylor
Running time: 2h 19m
Initial DVD release: January 6, 2015 (USA)
Producers: Mick Jagger, Brian Grazer, Victoria Pearman, Erica Huggins


Get On Up
 'Chadwick Boseman's portrayal of Brown is strong.' Photograph: Sportsphoto Ltd/Allstar/Universal Pictures

Since the spoof music biopic Walk Hard: The Dewey Cox Story came out in 2007, it’s become difficult to take this genre entirely seriously – what with the obligatory childhood poverty, drugs, sex, and make-or-break epiphanic moment in the recording studio. Sadly, writer-producer Jez Butterworth and director Tate Taylor (The Help) stick to old cliches with this movie about James Brown, the legendary godfather of soul, and the music-biopic formula is tested to destruction and beyond. Chadwick Boseman’s portrayal of Brown is strong and the movie certainly delivers some big songs. But its “jukebox” narrative style flashes back and forth between glibly mythologised scenes of Brown’s childhood and adulthood, which could frankly have come from many other films. And the dark episodes – Brown terrifying people with guns, beating his wife – are treated by this film as instantly forgivable and forgettable aberrations from an adorable, quirky personality. The film never gets below the surface. In particular, the all-important adult reunion with his mother is muddled and fractured. The music gives you some big, sugar-rush moments, but it’s a disappointing response to one of pop culture’s most brilliant and complicated figures.

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