入院棟談話室の時計 (Instagramで撮影)
【鬱にならない人の傾向】
1.遅刻しやすい。
2.忘れ物をしやすい。
3.部屋が汚い。
4.ギリギリまで手がつかず、いつも一夜漬け。
5.得意な事と苦手な事では、集中力や出来の差が激しい。
6.その時々の感情や好調・不調に波がある。
1.遅刻しやすい。
2.忘れ物をしやすい。
3.部屋が汚い。
4.ギリギリまで手がつかず、いつも一夜漬け。
5.得意な事と苦手な事では、集中力や出来の差が激しい。
6.その時々の感情や好調・不調に波がある。
“
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ぜんぶ当てはまるけど、周りに迷惑掛けまくってるし、対人関係あんまり良くないし、辛い。 (via mcsgsym) |
Happy Birthday James Brown “The Godfather of Soul”
Fans and admirers refer to him, commonly and without hyperbole, as “the Godfather of Soul,” “Soul Brother Number One” and “the hardest working man in show business.” Michael Jackson cited him as “my greatest inspiration.” And the critic Robert Christgau, writing in Rolling Stone, called him “the greatest musician of the rock era, no contest.”
With some 800 songs in his repertoire, James Brown has influenced contemporary artists from virtually every popular music genre” rock, soul, jazz, R&B. His polyrhythmic funk vamps virtually reshaped dance music, and his impact on hip-hop, in particular, was huge; in the music’s early years, Brown was by far the most sampled artist. Though he would be dogged by legal troubles and controversy in later life, he was a principled artist, adamant refusing to conform to anyone’s vision. He was also an inimitable showman, and the only thing more fun than listening to James Brown was seeing him live.
Brown was born into poverty in rural Barnwell, South Carolina, around the time of the Depression (some records give his birth date as 1928; he claims it was May 3, 1933), and grew up in Augusta, Georgia. As a child, he picked cotton, shined shoes, danced for pennies on Augusta’s streets, and stole. Convicted of armed robbery at 16, he spent three years in a juvenile detention institution. While incarcerated, Brown made the acquaintance of Bobby Byrd, who performed with his family gospel group at the institution. Byrd’s family eventually helped obtain Brown’s release by taking the youngster in and getting him a job. Brown tried semi-professional sports, first as a boxer, then as a baseball pitcher, but a leg injury ruined his chances of going pro.
In the meantime, Byrd and Brown had put together a gospel group, which performed under a succession of different names at the Mount Zion Baptist Church, in Toccoa, Georgia, and at auditoriums in the area. Byrd and Brown sang duets, with three or four other members singing background vocals and harmonies. After seeing a rock & roll show featuring Hank Ballard and the Midnighters, Fats Domino, and others, Brown and Byrd left gospel music behind, transforming the group (Johnny Terry, Sylvester Keels, and Floyd Scott) into the Flames. Each Flame sang, danced, and played an instrument or two — Brown’s were piano and drums. Byrd also played keyboards and shared vocals; he would remain Brown’s sideman off and on during the next three-plus decades.
From a base in Macon, Georgia, the Flames had been touring the South for two years when Ralph Bass, head of Federal Records, signed them in 1956. Their first single, “Please, Please, Please,” a big hit in Georgia and adjacent states, eventually sold a million copies. Subsequent releases in the same gospel-influenced yet distinctly rougher R&B style made Brown a regional star until “Try Me” became a national hit in 1958, charting Number One in R&B, Number 48 in pop.
By this time, Brown had become the de facto leader of the group, now called the Famous Flames. Guided by Universal Attractions director Ben Bart, Brown created the James Brown Revue, complete with opening acts, his own emcee, and a stage band, the James Brown Band. The show was precisely choreographed, with Brown pumping his hips, twisting on one foot, and doing splits as the troupe executed their own intricate steps. Night after night, he would feign collapse and be helped from the stage, only to stop, throw off the cape, and start all over again. Despite its predictability, the gimmick never lost its power to bring fans to their feet. Sweating off a purported seven pounds a night, and breaking box-office records in every major black venue in America, Brown earned the nickname “Mr. Dynamite” and title “The Hardest Working Man in Show Business.”
As Brown’s band became one of the tightest in the field, Brown wanted to showcase them on his recordings. Federal, however, refused to let Brown use them in the studio, so he arranged for the band to record for another company as Nat Kendrick and the Swans. The resulting instrumental hit, “Mashed Potatoes,” persuaded Federal’s parent company, King, to take over Brown’s contract and to sign up the James Brown Band both for Brown’s sessions and as a separate act. From then on, Brown concentrated on pared-down, jump-and-shout dance music (“Think,” “Night Train”). If a new song made the concert crowd dance, he would record it that night, often in one take.
Simultaneously, Brown was charting such raw, emotive R&B ballads as “Bewildered” (Number Eight R&B, Number 40 pop, 1961), “I Don’t Mind” (Number Four R&B, Number 47 pop, 1961), and “Lost Someone” (Number Two R&B, Number 48 pop, 1961). In 1962, Brown wanted to cut a live album, but King label owner Syd Nathan refused to finance it, seeing no commercial potential in it. So Brown paid for it himself, and Live at the Apollo, recorded in Harlem in 1962 and patterned after Ray Charles’ live In Person, sold a million copies, reached Number Two in 1963, and stayed on the pop chart for 14 months” unprecedented for a black music album. Frustrated by King’s failure to reach into the white market, Brown and Bart formed Fair Deal Productions in 1963. “Out of Sight,” which Fair Deal released through Smash Records, hit Number One R&B, Number 24 pop.
Bio: Courtesy of Rolling Stone
