Ernst Haeckel
Born	(1834-02-16)February 16, 1834 Potsdam
Died	August 9, 1919(1919-08-09) (aged 85) Jena
Nationality	German
Author abbreviation (zoology)	Haeckel

Ernst Haeckel.

Sea anemones from Ernst Haeckel's Kunstformen der Natur (Art forms of Nature) of 1904.

Ernst Haeckel: Christmas of 1860 (age 26)

Haeckel (left) with Nicholai Miklukho-Maklai, his assistant, in the Canaries, 1866.

Ernst Heinrich Philipp August Haeckel (February 16, 1834 – August 9, 1919),^[1] also written von Haeckel, was an eminent German biologist, naturalist, philosopher, physician, professor and artist who discovered, described and named thousands of new species, mapped a genealogical tree relating all life forms, and coined many terms in biology, including anthropogeny, ecology, phylum, phylogeny, stem cell, and the kingdom Protista. Haeckel promoted and popularized Charles Darwin's work in Germany and developed the controversial recapitulation theory ("ontogeny recapitulates phylogeny") claiming that an individual organism's biological development, or ontogeny, parallels and summarizes its species' evolutionary development, or phylogeny.

The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures (see: Kunstformen der Natur, "Art Forms of Nature"). As a philosopher, Ernst Haeckel wrote Die Welträtsel (1895–1899, in English, The Riddle of the Universe, 1901), the genesis for the term "world riddle" (Welträtsel); and Freedom in Science and Teaching^[2] to support teaching evolution. In the United States, Mount Haeckel, a 13,418 ft (4,090 m) summit in the Eastern Sierra Nevada, overlooking the Evolution Basin, is named in his honor, as is another Mount Haeckel, a 2,941 m (9,649 ft) summit in New Zealand; and the asteroid 12323 Haeckel. Ernst Haeckel house ("Villa Medusa") in Jena, Germany contains a historic library.

Life[link]

Ernst Haeckel was born on February 16, 1834, in Potsdam (then part of Prussia). ^[3] In 1852, Haeckel completed studies at Cathedral High School (Domgymnasium) of Merseburg.^[3] He then studied medicine in Berlin and Würzburg, particularly with Albert von Kölliker, Franz Leydig, Rudolf Virchow (with whom he later worked briefly as assistant), and with anatomist-physiologist Johannes Peter Müller (1801–1858).^[3] Together with Hermann Steudner he attended botany lectures in Würzburg. In 1857, Haeckel attained a doctorate in medicine (M.D.), and afterwards he received a license to practice medicine. The occupation of physician appeared less worthwhile to Haeckel, after contact with suffering patients.^[3]

Haeckel studied under Karl Gegenbaur at the University of Jena for three years, earning a doctorate in zoology,^[3] before becoming a professor of comparative anatomy at the University of Jena, where he remained for 47 years, from 1862 to 1909. Between 1859 and 1866, Haeckel worked on many invertebrate groups, including radiolarians, poriferans (sponges) and annelids (segmented worms).^[4] During a trip to the Mediterranean, Haeckel named nearly 150 new species of radiolarians.^[4] Haeckel named thousands of new species from 1859 to 1887.^[5]

From 1866 to 1867, Haeckel made an extended journey to the Canary Islands with Hermann Fol and during this period, met with Charles Darwin, in 1866 at Down House in Kent, Thomas Huxley and Charles Lyell.^[3] In 1867, he married Agnes Huschke. Their son Walter was born in 1868, their daughters Elizabeth in 1871 and Emma in 1873.^[3] In 1869, he traveled as a researcher to Norway, in 1871 to Dalmatia, and in 1873 to Egypt, Turkey, and to Greece.^[3] Haeckel retired from teaching in 1909, and in 1910 he withdrew from the Evangelical church.^[3] Haeckel's wife, Agnes, died in 1915, and Haeckel became substantially more frail, with a broken leg (thigh) and broken arm.^[3] He sold the mansion Medusa ("Villa Medusa") in 1918 to the Carl Zeiss foundation.^[3] Haeckel died on August 9, 1919.

Politics[link]

Haeckel's political beliefs were influenced by his affinity for the German Romantic movement coupled with his acceptance of a form of Lamarckism. Rather than being a strict Darwinian, Haeckel believed that racial characteristics were acquired through interactions with the environment and that ontogeny directly followed phylogeny. He believed the social sciences to be instances of "applied biology". Most of these arguments have been shown to be over-generalizations at best and flatly incorrect at worst in modern biology and social studies.^[4] In 1905, Haeckel founded a group called the "Monist League" to promote his religious and political beliefs. This group lasted until 1933 and included such notable members as Wilhelm Ostwald, Georg von Arco, Helene Stöcker and Walter Arthur Berendsohn.^[6]

"First World War"[link]

Haeckel was the first person known to use the term "First World War". Shortly after the start of the war Haeckel wrote:

There is no doubt that the course and character of the feared "European War"...will become the first world war in the full sense of the word.

—Indianapolis Star, September 20, 1914^[7]

The "European War" became known as "The Great War", and it was not until 1920, in the book "The First World War 1914–1918" by Charles à Court Repington, that the term "First World War" was used as the official name for the conflict.

Research[link]

Haeckel was a zoologist, an accomplished artist and illustrator, and later a professor of comparative anatomy. Although Haeckel's ideas are important to the history of evolutionary theory, and he was a competent invertebrate anatomist most famous for his work on radiolaria, many speculative concepts that he championed are now considered incorrect. For example, Haeckel described and named hypothetical ancestral microorganisms that have never been found.

He was one of the first to consider psychology as a branch of physiology. He also proposed many now ubiquitous terms including "anthropogeny", "phylum", "phylogeny", "ecology" ("oekologie"),^[5] and proposed the kingdom Protista^[3] in 1866. His chief interests lay in evolution and life development processes in general, including development of nonrandom form, which culminated in the beautifully illustrated Kunstformen der Natur (Art forms of nature). Haeckel did not support natural selection, rather believing in a Lamarckian inheritance of acquired characteristics (Lamarckism). ^[8]

Haeckel advanced a version of the earlier "recapitulation theory", previously set out by Étienne Serres in the 1820s and supported by followers of Geoffroy including Robert Edmond Grant,^[9] which proposed a link between ontogeny (development of form) and phylogeny (evolutionary descent), summed up by Haeckel in the phrase "ontogeny recapitulates phylogeny". His concept of recapitulation has been refuted in the form he gave it (now called "strong recapitulation"), in favour of the ideas first advanced by Karl Ernst von Baer. "Strong" recapitulation hypothesis views ontogeny as repeating forms of the ancestors, while "weak" recapitulation means that what is repeated (and built upon) is the ancestral embryonic development process.^[10] He supported the theory with embryo drawings that have since been shown to be oversimplified and in part inaccurate, and the theory is now considered an oversimplification of quite complicated relationships. Haeckel introduced the concept of "heterochrony", which is the change in timing of embryonic development over the course of evolution.

Haeckel was a flamboyant figure. He sometimes took great (and non-scientific) leaps from available evidence. For example, at the time that Darwin first published On the Origin of Species by Means of Natural Selection (1859), no remains of human ancestors had yet been found. Haeckel postulated that evidence of human evolution would be found in the Dutch East Indies (now Indonesia), and described these theoretical remains in great detail. He even named the as-of-yet unfound species, Pithecanthropus alalus, and charged his students to go find it. (Richard and Oskar Hertwig were two of Haeckel's many important students.)

One student did find the remains: a young Dutchman named Eugene Dubois went to the East Indies and dug up the remains of Java Man consisting of a skullcap, thighbone, and a few teeth. These remains are accepted as the first human ancestral remains ever found. Java Man originally carried Haeckel's Pithecanthropus label, though they were later reclassified as Homo erectus.

Polygenism and racial theory[link]

The creationist polygenism of Samuel George Morton and Louis Agassiz, which presented human races as separately created species, was rejected by Charles Darwin, who argued for the monogenesis of the human species and the recent African origin of modern humans. In contrast to most of Darwin's supporters, Haeckel put forward a doctrine of evolutionary polygenism based on the ideas of the linguist August Schleicher, in which several different language groups had arisen separately from speechless prehuman Urmenschen, which themselves had evolved from simian ancestors. These separate languages had completed the transition from animals to man, and, under the influence of each main branch of languages, humans had evolved — in a kind of Lamarckian use-inheritance — as separate species, which could be subdivided into races. From this Haeckel drew the implication that languages with the most potential formed human species with the most potential, led by the Semitic and Indo-Germanic groups, with Berber, Jewish, Greco-Roman and Germanic varieties to the fore.^[11] As Haeckel stated:^[12]

We must mention here one of the most important results of the comparative study of languages, which for the Stammbaum of the species of men is of the highest significance, namely that human languages probably had a multiple or polyphyletic origin. Human language as such probably developed only after the species of speechless Urmenschen or Affenmenschen had split into several species or kinds. With each of these human species, language developed on its own and independently of the others. At least this is the view of Schleicher, one of the foremost authorities on this subject.… If one views the origin of the branches of language as the special and principal act of becoming human, and the species of humankind as distinguished according to their language stem, then one can say that the different species of men arose independently of one another.

Haeckel's view can be seen as a forerunner of the views of Carleton Coon, who also believed that human races evolved independently and in parallel with each other. These ideas eventually fell from favor.

Haeckel also applied the hypothesis of polygenism to the modern diversity of human groups. He became a leading proponent of scientific racism, stating for instance:^[13]

The Caucasian, or Mediterranean man (Homo Mediterraneus), has from time immemorial been placed at the head of all the races of men, as the most highly developed and perfect. It is generally called the Caucasian race, but as, among all the varieties of the species, the Caucasian branch is the least important, we prefer the much more suitable appellation proposed by Friedrich Müller, namely, that of Mediterranese. For the most important varieties of this species, which are moreover the most eminent actors in what is called "Universal History," first rose to a flourishing condition on the shores of the Mediterranean.… This species alone (with the exception of the Mongolian) has had an actual history; it alone has attained to that degree of civilization which seems to raise men above the rest of nature.

Haeckel divided human beings into ten races, of which the Caucasian was the highest and the primitives were doomed to extinction.^[14] Haeckel claimed that Negros have stronger and more freely movable toes than any other race which is evidence that Negros are related to apes because when apes stop climbing in trees they hold on to the trees with their toes, Haeckel compared Negros to “four-handed” apes. Haeckel also believed Negros were savages and that Whites were the most civilised.^[15]

However, Robert J. Richards notes: "Haeckel, on his travels to Ceylon and Indonesia, often formed closer and more intimate relations with natives, even members of the untouchable classes, than with the European colonials."^[16]

Asia hypothesis[link]

Haeckel claimed the origin of humanity was to be found in Asia, he believed that Hindustan (South Asia) was the actual location where the first humans had evolved. Haeckel argued that humans were closely related to the primates of Southeast Asia and rejected Darwin’s hypothesis of Africa.^[17][18]

Haeckel later claimed that the missing link was to be found on the lost continent of Lemuria located in the Indian Ocean, he believed that Lemuria was the home of the first humans and that Asia was the home of many of the earliest primates, he thus supported that Asia was the cradle of hominid evolution. Haeckel also claimed that Lemuria connected Asia and Africa which allowed the migration of humans to the rest of the world.^[19][20]

In Haeckel’s book The History of Creation (1884) he included migration routes which he thought the first humans had used outside of Lemuria.

Embryology and recapitulation theory[link]

Illustrations of dog and human embryos, looking almost identical at 4 weeks then differing at 6 weeks, shown above a 6 week turtle embryo and 8 day hen embryo, presented by Haeckel in 1868 as convincing proof of evolution. The pictures of the earliest embryonic stages are now considered inaccurate.^[21]

When Haeckel was a student in the 1850s he showed great interest in embryology, attending the rather unpopular lectures twice and in his notes sketched the visual aids: textbooks had few illustrations, and large format plates were used to show students how to see the tiny forms under a reflecting microscope, with the translucent tissues seen against a black background. Developmental series were used to show stages within a species, but inconsistent views and stages made it even more difficult to compare different species. It was agreed by all European evolutionists that all vertebrates looked very similar at an early stage, in what was thought of as a common ideal type, but there was a continuing debate from the 1820s between the Romantic recapitulation theory that human embryos developed through stages of the forms of all the major groups of adult animals, literally manifesting a sequence of organisms on a linear chain of being, and Karl Ernst von Baer's opposing view that the early general forms diverged into four major groups of specialised forms without ever resembling the adult of another species, showing affinity to an archetype but no relation to other types or any transmutation of species. By the time Haeckel was teaching he was able to use a textbook with woodcut illustrations written by his own teacher Albert von Kölliker, which purported to explain human development while also using other mammalian embryos to claim a coherent sequence. Despite the significance to ideas of transformism, this was not really polite enough for the new popular science writing, and was a matter for medical institutions and for experts who could make their own comparisons.^[22]

Darwin, Naturphilosophie and Lamarck[link]

Darwin's On the Origin of Species, which made a powerful impression on Haeckel when he read it in 1864, was very cautious about the possibility of ever reconstructing the history of life, but did include a section reinterpreting von Baer's embryology and revolutionising the field of study, concluding that "Embryology rises greatly in interest, when we thus look at the embryo as a picture, more or less obscured, of the common parent-form of each great class of animals." It mentioned von Baer's 1828 anecdote (misattributing it to Louis Agassiz) that at an early stage embryos were so similar that it could be impossible to tell whether an unlabelled specimen was of a mammal, a bird, or of a reptile, and Darwin's own research using embryonic stages of barnacles to show that they are crustaceans, while cautioning against the idea that one organism or embryonic stage is "higher" or "lower", or more or less evolved.^[23] Haeckel disregarded such caution, and in a year wrote his massive and ambitious Generelle Morphologie, published in 1866, presenting a revolutionary new synthesis of Darwin's ideas with the German tradition of Naturphilosophie going back to Goethe and with the progressive evolutionism of Lamarck in what he called Darwinismus. He used morphology to reconstruct the evolutionary history of life, in the absence of fossil evidence using embryology as evidence of ancestral relationships. He invented new terms, including ontogeny and phylogeny, to present his evolutionised recapitulation theory that "ontogeny recapitulated phylogeny". The two massive volumes sold poorly, and were heavy going: with his limited understanding of German, Darwin found them impossible to read. Haeckel's publisher turned down a proposal for a “strictly scholarly and objective” second edition.^[24]

Embryological drawings[link]

Haeckel's aim was a reformed morphology with evolution as the organizing principle of a cosmic synthesis unifying science, religion, and art. He was giving successful "popular lectures" on his ideas to students and townspeople in Jena, in an approach pioneered by his teacher Rudolf Virchow. To meet his publisher's need for a popular work he used a student's transcript of his lectures as the basis of his Natürliche Schöpfungsgeschichte of 1868, presenting a comprehensive presentation of evolution. In the Spring of that year he drew figures for the book, synthesising his views of specimens in Jena and published pictures to represent types. After publication he told a colleague that the images “are completely exact, partly copied from nature, partly assembled from all illustrations of these early stages that have hitherto become known.” There were various styles of embryological drawings at that time, ranging from more schematic representations to “naturalistic” illustrations of specific specimens. Haeckel believed privately that his figures were both exact and synthetic, and in public asserted that they were schematic like most figures used in teaching. The images were reworked to match in size and orientation, and though displaying Haeckel's own views of essential features, they support von Baer's concept that vertebrate embryos begin similarly and then diverge. Relating different images on a grid conveyed a powerful evolutionary message. As a book for the general public, it followed the common practice of not citing sources.^[25]

In 1868 Haeckel illustrated von Baer's observation that early embryos of different species could not be told apart by using the same woodcut three times as dog, chick and turtle embryos: he changed this in the next edition.

The book sold very well, and while some anatomical experts hostile to Haeckel's evolutionary views expressed some private concerns that certain figures had been drawn rather freely, the figures showed what they already knew about similarities in embryos. The first published concerns came from Ludwig Rütimeyer, a professor of zoology and comparative anatomy at the University of Basel who had placed fossil mammals in an evolutionary lineage early in the 1860s and had been sent a complimentary copy. At the end of 1868 his review in the Archiv für Anthropologie wondered about the claim that the work was "popular and scholarly", doubting whether the second was true, and expressed horror about such public discussion of man's place in nature with illustrations such as the evolutionary trees being shown to non-experts. Though he made no suggestion that embryo illustrations should be directly based on specimens, to him the subject demanded the utmost "scrupulosity and conscientiousness" and an artist must “not arbitrarily model or generalize his originals for speculative purposes” which he considered proved by comparison with works by other authors. In particular, "one and the same, moreover incorrectly interpreted woodcut, is presented to the reader three times in a row and with three different captions as [the] embryo of the dog, the chick, [and] the turtle." He accused Haeckel of "playing fast and loose with the public and with science", and failing to live up to the obligation to the truth of every serious researcher. Haeckel responded with angry accusations of bowing to religious prejudice, but in the second (1870) edition changed the duplicated embryo images to a single image captioned "embryo of a mammal or bird". Duplication using galvanoplastic stereotypes (clichés) was a common technique in textbooks, but not on the same page to represent different eggs or embryos. In 1891 Haeckel made the excuse that this "extremely rash foolishness" had occurred in undue haste but was "bona fide", and since repetition of incidental details was obvious on close inspection, it is unlikely to have been intentional deception.^[26]

The revised 1870 second edition of 1,500 copies attracted more attention, being quickly followed by further revised editions with larger print runs as the book became a prominent part of the optimistic, nationalist, anticlerical "culture of progress" in Otto von Bismarck's new German Empire. The similarity of early vertebrate embryos became common knowledge, and the illustrations were praised by experts such as Michael Foster of the University of Cambridge. In the introduction to his 1871 The Descent of Man, and Selection in Relation to Sex, Darwin gave particular praise to Haeckel, writing that if Natürliche Schöpfungsgeschichte "had appeared before my essay had been written, I should probably never have completed it." The first chapter included an illustration: "As some of my readers may never have seen a drawing of an embryo, I have given one of man and another of a dog, at about the same early stage of development, carefully copied from two works of undoubted accuracy" with a footnote citing the sources and noting that "Häckel has also given analogous drawings in his Schöpfungsgeschichte." The fifth edition of Haeckel's book appeared in 1874, with its frontispiece a heroic portrait of Haeckel himself, replacing the previous controversial image of the heads of apes and humans.^[27]

1874 illustration from Anthropogenie showing "very early", "somewhat later" and "still later" stages of embryos of fish (F), salamander (A), turtle (T), chick (H), pig (S), cow (R), rabbit (K), and human (M).

Controversy[link]

Later in 1874, Haeckel's simplified embryology textbook Anthropogenie made the subject into a battleground over Darwinism aligned with Bismarck's Kulturkampf ("culture struggle") against the Catholic Church. Haeckel took particular care over the illustrations, changing to the leading zoological publisher Wilhelm Engelmann of Leipzig and obtaining from them use of illustrations from their other textbooks as well as preparing his own drawings including a dramatic double page illustration showing "early", "somewhat later" and "still later" stages of 8 different vertebrates. Though Haeckel's views had attracted continuing controversy, there had been little dispute about the embryos and he had many expert supporters, but Wilhelm His now revived the earlier criticisms and introduced new attacks on the 1874 illustrations.^[28] Others joined in, both expert anatomists and Catholic priests and supporters politically opposed to Haeckel's views.^[29]

While it has been widely claimed that Haeckel was charged with fraud by five professors and convicted by a university court at Jena, there does not appear to be an independently verifiable source for this claim.^[30] Recent analyses (Richardson 1998, Richardson and Keuck 2002) have found that some of the criticisms of Haeckel's embryo drawings were legitimate, but others were unfounded.^[31][32] There were multiple versions of the embryo drawings, and Haeckel rejected the claims of fraud. It was later said that "there is evidence of sleight of hand" on both sides of the feud between Haeckel and Wilhelm His.^[33] Robert J. Richards, in a paper published in 2008, defends the case for Haeckel, shedding doubt against the fraud accusations with base on the material used for comparison and what Haeckel could access at the time.^[34] The controversy involves several different issues (see more details at: recapitulation theory).

Awards[link]

He was awarded the Linnean Society of London's prestigious Darwin-Wallace Medal in 1908.

Publications[link]

Kunstformen — plate 72: Muscinae

Kunstformen — plate 96: Chaetopoda

Medusa of Aeginura grimaldii (bottom view)

Darwin’s 1859 book On the Origin of Species had immense popular influence, but although its sales exceeded its publisher's hopes it was a technical book rather than a work of popular science: long, difficult and with few illustrations. One of Haeckel's books did a great deal to explain his version of "Darwinism" to the world. It was a bestselling, provocatively illustrated book in German, titled Natürliche Schöpfungsgeschichte, published in Berlin in 1868, and translated into English as The History of Creation in 1876. It was frequently reprinted until 1926.

Haeckel argued that human evolution consisted of precisely 22 phases, the 21st — the "missing link" — being a halfway step between apes and humans. He even formally named this missing link Pithecanthropus alalus, translated as "ape man without speech." (The missing link was what the Dutchman Eugène Dubois, discoverer of Homo erectus, would later resolve to find.)^{[citation needed]}

Haeckel's entire literary output was extensive, working as a professor at the University of Jena for 47 years, and even at the time of the celebration of his 60th birthday at Jena in 1894, Haeckel had produced 42 works with nearly 13,000 pages, besides numerous scientific memoirs and illustrations.^[35] Haeckel's monographs include:

• Radiolaria (1862)
• Siphonophora (1869)
• Monera (1870)
• Calcareous Sponges (1872)

As well as several Challenger reports:

• Deep-Sea Medusae (1881)
• Siphonophora (1888)
• Deep-Sea Keratosa (1889)
• Radiolaria (1887) — illustrated with 140 plates and enumerating over four thousand (4000) new species.^[35]

Among his many books, Ernst Haeckel wrote:

• Generelle Morphologie der Organismen : allgemeine Grundzüge der organischen Formen-Wissenschaft, mechanisch begründet durch die von C. Darwin reformirte Decendenz-Theorie. (1866) Berlin
  

  

  'Monophyletischer Stambaum der Organismen' from 'Generelle Morphologie der Organismen' (1866) with the three branches Plantae, Protista, Animalia.
• Natürliche Schöpfungsgeschichte (1868); in English The History of Creation (1876; 6th ed.: New York, D. Appleton and Co., 1914, 2 volumes)
• Freie Wissenschaft und freie Lehre (1877), in English, Freedom in Science and Teaching, a reply to a speech in which Rudolf Virchow objected to the teaching of evolution in schools, on the grounds that evolution was an unproven hypothesis.^[35]
• Die systematische Phylogenie (1894) — "Systematic Phylogeny", which has been considered as his best book^[35]
• Anthropogenie: oder, Entwickelungsgeschichte des Menschen ("Anthropogeny: Or, the Evolutionary History of Man", 1874, 5th and enlarged edition 1903)
• Die Welträthsel (1895–1899), also spelled Die Welträtsel ("world-riddle") — in English The Riddle of the Universe, 1901^[35]
• Über unsere gegenwärtige Kenntnis vom Ursprung des Menschen (1898) — translated into English as The Last Link, 1898
• Der Kampf um den Entwickelungsgedanken (1905) — English version, Last Words on Evolution, 1906
• Die Lebenswunder (1904) — English "Wonder of Life", a supplement to the Riddle of the Universe

Books of travel:

• Indische Reisebriefe (1882) — "Travel notes of India"
• Aus Insulinde: Malayische Reisebriefe (1901) — "Travel notes of Malaysia", the fruits of journeys to Ceylon and to Java
• Kunstformen der Natur (1904) — Art forms of Nature, with plates representing detailed marine animal forms
• Wanderbilder (1905) — "Travel Images", with reproductions of his oil-paintings and water-color landscapes.^[35]
• A visit to Ceylon

See also[link]

• Dysteleology
• Embryology
• Francis Galton
• Haeckel's Tale, a horror film by John McNaughton, featuring a fictionalized version of Ernst Haeckel
• Heinrich Schmidt (philosopher)
• Karl Blossfeldt
• List of wildlife artists
• M. C. Escher
• Proteus (2004 film), an animated documentary by David Lebrun, largely focussing on Ernst Haeckel

Notes[link]

References[link]

Further reading[link]

• Di Gregorio, Mario A. From here to eternity: Ernst Haeckel and Scientific Faith, Vandenhoeck & Ruprecht, 2005, ISBN 3-525-56972-6
• Haeckel, Ernst. (1900). The Riddle of the Universe at the Close of the Nineteenth Century. Harper (reissued by Cambridge University Press, 2009; ISBN 978-1-108-00089-5)
• Haeckel, Ernst, Art Forms from the Ocean: The Radiolarian Atlas of 1862, Prestel Verlag, 2005, ISBN 3-7913-3327-5.
• Works by Ernst Haeckel at Project Gutenberg.
• Richardson, Michael K., "Haeckel, embryos, and evolution," Science Vol. 280, no. 5366 (May 15, 1998) p. 983, 985–986.
• Spiro, Jonathan P. (2009). Defending the Master Race: Conservation, Eugenics, and the Legacy of Madison Grant. Univ. of Vermont Press. ISBN 978-1-58465-715-6. Lay summary (29 September 2010). 

External links[link]

Wikimedia Commons has media related to: Ernst Haeckel

Wikisource has original text related to this article: Author:Ernst Haeckel

• E. Haeckel: Natürliche Schöpfungsgeschichte 1868 (front page of the first edition, German)
• E. Haeckel: Die Welträthsel 1899 (front page of the first edition, German)
• Woods Hole Marine Biological Laboratory Library — An exhibition of material on Haeckel, including background on many Kunstformen der Natur plates
• Works by Ernst Haeckel at Project Gutenberg
• University of California, Berkeley — Ernst Haeckel biography
• Ernst Haeckel – Evolution's controversial artist. A slide-show essay about Ernst Haeckel.
• Kunstformen der Natur, Wikimedia Commons: over 100 detailed animal drawings.
• Kunstformen der Natur, scanned (from biolib.de Stuebers Online Library)
• PNG alpha-transparencies of Haeckel's "Kustformen der natur"
• Proteus — An animated documentary film on the life and work of Ernst Haeckel
• Ernst Haeckel Haus and Ernst Haeckel Museum in Jena
• View works by Ernst Heinrich Philipp August Haeckel online at the Biodiversity Heritage Library.
• aDiatomea: an artificial life experiment with highly detailed 3d generated diatoms, influenced by the aesthetic of Ernst Haeckel

James Brown
James Brown performing on June 27, 2005
Background information
Birth name	James Joseph Brown, Jr.[1]
Also known as	"The Godfather of Soul"[2][3][4]
Born	(1933-05-03)May 3, 1933 Barnwell, South Carolina, U.S.
Origin	Augusta, Georgia, United States
Died	December 25, 2006(2006-12-25) (aged 73) Atlanta, Georgia[5][6]
Genres	R&B, funk, soul, rock and roll
Occupations	Musician, songwriter, dancer, bandleader, record producer, actor
Instruments	Vocal, guitar, harmonica, bass guitar, keyboards, drums, percussion
Years active	1956–2006
Labels	Federal, King, Try Me, Smash, People, Polydor, Scotti Bros., Dade
Associated acts	The Famous Flames, The J.B.'s, Bobby Byrd, The Soul Generals, Lyn Collins

James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, songwriter, musician, and recording artist. He is the originator of funk music and is a major figure of 20th century popular music and dance.

In a career that spanned decades, Brown profoundly influenced the development of many different musical genres.^[7] Brown moved on a continuum of blues and gospel-based forms and styles to a profoundly "Africanized" approach to music making.^[8] Brown performed in concerts, first making his rounds across the Chitlin' Circuit, and then across the country and later around the world, along with appearing in shows on television and in movies. Although he contributed much to the music world through his hitmaking, Brown holds the record as the artist who charted the most singles on the Billboard Hot 100 without ever hitting number one on that chart.^[9][10]

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.^[11] 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 ballads.^[12] 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.^[13][14] In 1986, he was inducted into the Rock and Roll Hall of Fame and in 1990 into the Songwriters Hall of Fame.

Brown died on Christmas Day 2006 from heart failure after becoming ill on December 23 and being hospitalized for hours. James Brown is buried in Beech Island, South Carolina.

Early life[link]

James Brown was born in Barnwell, South Carolina on May 3, 1933 to Susie Brown and Joseph ("Joe") Gardner (who changed his surname to Brown after Mattie Brown who raised him). Although Brown was to be named after his father Joseph, his first and middle names were mistakenly reversed on his birth certificate. He therefore became James Joseph Brown, Jr.^[1] As a young child, Brown was called Junior. When he later lived with his aunt and cousin, he was called Little Junior since his cousin's nickname was also Junior.^[1] He was of African American and Native American (Apache) descent through his father, and had Asian ancestry.^[15][16]

As a young child, Brown and his family lived in extreme poverty^[9] in nearby Elko, South Carolina, which at the time was an impoverished town in Barnwell County. When Brown was two years old, his parents separated after his mother left his father for another man.^[17] After his mother abandoned the family, Brown continued to live with his father and his father's live-in girlfriends until he was six years old.

His father sent him to live with an aunt, who ran a house of prostitution.^[18] Even though Brown lived with relatives, he spent long stretches of time on his own, hanging out on the streets and hustling to get by.^[9] Brown managed to stay in school until he dropped out in the seventh grade.^[19]

During his childhood, Brown earned money shining shoes, sweeping out stores, selling and trading in old stamps, washing cars and dishes and singing in talent contests.^[9] Brown also 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.^[17][18] Between earning money from these adventures, Brown taught himself to play a harmonica given to him by his father.^[17] He learned to play some guitar from Tampa Red, in addition to learning to play piano and drums from others he met during this time.^[17] Brown was inspired to become an entertainer after watching Louis Jordan, a popular jazz and R&B performer during the 1940s, and Jordan's Tympany Five performing "Caldonia" in a short film.^[20]

As an adult, Brown legally changed his name to remove the "Jr." designation.^[21] In his spare time, Brown spent time practicing his various skills in Augusta-area stalls and committing petty crimes. At the age of sixteen, he was convicted of armed robbery and sent to a juvenile detention center upstate in Toccoa in 1949.^[8]

In 1952, while Brown was still in reform school, he met future R&B legend Bobby Byrd, who was there playing baseball against the reform school team. Byrd saw Brown perform there and admired his singing and performing talent.^[17] As a result of this friendship, Byrd's family helped Brown secure an early release after serving three years of his sentence. The authorities agreed to release Brown on the condition that he would get a job and not return to Augusta or Richmond County. After stints as a boxer^[22] and baseball pitcher in semi-professional baseball (a career move ended by a leg injury), Brown turned his energy toward music.^[23]

Career[link]

1955: The Formation of The Famous Flames[link]

In 1955, Brown and Bobby Byrd's sister Sarah performed in a group called The Gospel Starlighters. Eventually, Brown joined Bobby Byrd's vocal group, the Avons, and Byrd turned the group's sound towards secular rhythm and blues. After the group's name was changed to The Flames, Brown and Byrd's group toured the Southern chitlin' circuit. The group eventually signed a deal with the Cincinnati, Ohio-based label Federal Records, a sister label of King Records. Brown's early recordings were fairly straightforward gospel-inspired R&B compositions, heavily influenced by the work of contemporary musicians such as Ray Charles, Little Willie John, Clyde McPhatter and Little Richard.

Little Richard's relations with Brown were particularly significant in Brown's development as a musician and showman. Brown once called Richard his idol,^[24] and credited Richard's saxophone-studded mid-1950s road band, The Upsetters, with being the first to put the funk in the rock and roll beat.^[25] Etta James recalled her first meeting with James Brown, in Macon, Georgia, where Brown had befriended Little Richard. She said 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...".^[26] The resulting track "Please, Please, Please" ended up becoming The Flames first R&B hit in 1956,^[27] selling over a million copies. However, nine subsequent singles released by The Flames failed to live up to the success of their debut, and the group was in danger of being dropped by Federal Records. When Little Richard left pop music in October 1957 to become a preacher, Brown filled out Little Richard's remaining tour dates in his place. Further, several former members of Little Richard's backup band joined Brown's group after Richard's exit from the pop music scene. Brown's group returned to the charts, hitting #1 R&B in February 1959 with "Try Me".^[28] This hit record was the best-selling R&B single of the year, becoming the first of 17 chart-topping R&B singles by Brown over the next two decades.^[29] By the time "Try Me" was released on record, the group's billing was changed to James Brown and The Famous Flames. "The Famous Flames" was a vocal group, not a backing band.In the original group, the members were Brown, Byrd, Brown's old cellmate Johnny Terry, Sylvester Keels, Nash Knox, and NaFloyd Scott.

In 1959, Brown and The Famous Flames moved from the Federal Records subsidiary to King Records, the parent label. Brown began to have recurring conflicts with King Records president Syd Nathan over repertoire and other matters. In one notable instance, Brown recorded the 1960 Top Ten R&B hit "(Do the) Mashed Potatoes" on Dade Records, owned by Henry Stone, under the pseudonym "Nat Kendrick & The Swans" because Nathan refused to allow him to record it for King.^[30]

Early and mid-1960s[link]

Brown scored on the charts in the early 1960s with recordings such as his 1962 cover of "Night Train". While Brown's early singles were major hits across the southern United States and then regular R&B Top Ten hits, he and the Famous Flames were not successful nationally until his self-financed live show was captured on the 1963 LP Live at the Apollo. Brown financed the recording of the album himself, and it was released on King Records over the objections of label owner Syd Nathan, who saw no commercial potential in a live album containing no new songs. Defying Nathan's expectations, the album stayed on the pop charts for fourteen months, peaking at #2.^[31] In addition, Brown recorded a hit version of the ballad "Prisoner of Love", (his first Top 20 pop hit), in 1963 and founded (under King auspices) the fledgling Try Me Records, Brown's first attempt at running a record label.

In 1962, singer Tammi Terrell came to Brown's attention, and the seventeen-year-old found herself in Brown's popular Revue, becoming one of his first female headliners. In 1963 Terrell recorded for Try Me Records, releasing the ballad, "I Cried", which gave her some chart success. Terrell and Brown also had a personal relationship, which was hampered by Brown's physical abuse towards her. After a horrific incident backstage after a show, Terrell asked singer Gene Chandler (the "Duke of Earl"), who witnessed the incident first hand, to take her to the bus station so she could go home. He later called her mother to come pick her up. This ended Terrell's two-year relationship with Brown.^{[citation needed]}

Brown followed the success of Live at the Apollo with a string of singles that, along with the work of Allen Toussaint in New Orleans, essentially defined the foundation of Funk music. Driven by the success of Live at the Apollo and the failure of King Records to expand record promotion beyond the "black" market, James Brown and fellow Famous Flame Bobby Byrd formed a production company, Fair Deal, to promote sales of Brown's record releases to white audiences. In this arrangement, Smash Records, a subsidiary of Mercury Records, was used as a vehicle to distribute Brown's music. Smash released his 1964 hit "Out of Sight", which reached #24 on the pop charts and pointed the way to his later funk hits.^[32] Its release also triggered a legal battle between Smash and King that resulted in a one year ban on the release of Brown's vocal recordings.^[33]

Two of Brown's signature tunes, "Papa's Got a Brand New Bag"^[34] (which won the 1966 Grammy for Best Rhythm & Blues Recording (an award last given in 1968)) and "I Got You (I Feel Good)", both from 1965, were his first Top 10 pop hits as well as major #1 R&B hits, with each remaining the top-selling singles in black venues for over a month. Brown's national profile was boosted further that year by appearances in the movie Ski Party and the concert film The T.A.M.I. Show, in which he and The Famous Flames (Bobby Byrd, Bobby Bennett and "Baby Lloyd" Stallworth) upstaged The Rolling Stones. In his concert repertoire and on record, Brown mingled his innovative rhythmic essays with Broadway show tunes and ballads, such as his hit "It's a Man's Man's Man's World" (1966).^[34]

Late 1960s[link]

In November 1967, James Brown purchased radio station WGYW in Knoxville, Tennessee for a reported $75,000, according to the January 20, 1968 Record World magazine. The call letters were changed to WJBE reflecting his initials. WJBE began on January 15, 1968 and broadcast a Rhythm & Blues format. The station slogan was "WJBE 1430 Raw Soul". At the time it was mentioned "Brown has also branched out into real estate and music publishing in recent months".

Brown continued to refine the new funk idiom. His 1967 #1 R&B hit, "Cold Sweat", sometimes cited as the first true funk song, was the first of his recordings to contain a drum break and the first that featured a harmony that was reduced to a single chord.^[35][36] The instrumental arrangements on tracks such as "Give It Up Or Turnit A Loose" and "Licking Stick-Licking Stick" (both recorded in 1968) and "Funky Drummer" (recorded in 1969) featured a more developed version of Brown's mid-1960s style, with the horn section, guitars, bass and drums meshed together in intricate rhythmic patterns based on multiple interlocking riffs.

Changes in Brown's style that started with "Cold Sweat" also established the musical foundation for Brown's later hits, such as "I Got the Feelin'" (1968) and "Mother Popcorn" (1969). By this time Brown's vocals frequently took the form of a kind of rhythmic declamation, not quite sung but not quite spoken, that only intermittently featured traces of pitch or melody. This would become a major influence on the techniques of rapping, which would come to maturity along with hip hop music in the coming decades.

Brown's style of funk was based on interlocking syncopated parts: funky bass lines, drum patterns, and iconic guitar riffs.^[37] The main guitar ostinatos for "Aint" it Funky" (c. late 1960s), and "Give it Up or Turn it Lose" (1969), are examples of Brown's refinement of New Orleans funk— irresistibly danceable riffs, stripped down to their rhythmic essence. On "Aint" it Funky" (c. late 1960s), and "Give it Up or Turn it Lose" (1969), the tonal structure is bare bones. The pattern of attack-points is the emphasis, not the pattern of pitches. It's as if the guitar is an African drum, or idiophone. Alexander Stewart states that this popular feel was passed along from "New Orleans—through James Brown's music, to the popular music of the 1970s."^[38]

Guitar part for "Aint" it Funky" by James Brown.

Guitar part for "Give it Up or Turn it Lose" by James Brown (1969).

"Bring it Up" has an Afro-Cuban guajeo-like structure. If fact, on a 1976 version, Cuban bongos are used. All three of these guitar riff are based on an onbeat/offbeat structure. Stewart states: "This model, it should be noted, is different from a time line (such as clave and tresillo) in that it is not an exact pattern, but more of a loose organizing principle."^[39]

Guitar part for "Bring it Up" by James Brown (1967).

Brown's recordings influenced musicians across the industry, most notably Sly and his Family Stone, Charles Wright & the Watts 103rd Street Rhythm Band, Booker T. & the M.G.'s and soul shouters like King Curtis, Edwin Starr, Temptations David Ruffin, and Dennis Edwards. A then-prepubescent Michael Jackson took Brown's shouts and dancing into the pop mainstream as the lead singer of Motown's The Jackson 5. Those same tracks were later resurrected by countless hip-hop musicians from the 1970s onward. As a result, James Brown remains to this day the world's most sampled recording artist,^[40] with "Funky Drummer" itself becoming the most sampled individual piece of music.^[41]

Brown's band during this period employed musicians and arrangers who had come up through the jazz tradition. He was noted for his ability as a bandleader and songwriter to blend the simplicity and drive of R&B with the rhythmic complexity and precision of jazz. Trumpeter Lewis Hamlin and saxophonist/keyboardist Alfred "Pee Wee" Ellis (the successor to previous bandleader Nat Jones) led the band. Guitarist Jimmy Nolen provided percussive, deceptively simple riffs for each song, and Maceo Parker's prominent saxophone solos provided a focal point for many performances. Other members of Brown's band included stalwart singer and sideman Bobby Byrd, drummers John "Jabo" Starks, Clyde Stubblefield and Melvin Parker (Maceo's brother), saxophonist St. Clair Pinckney, trombonist Fred Wesley, guitarist Alphonso "Country" Kellum and bassist Bernard Odum.

During this period, Brown's music empire also expanded along with his influence on the music scene. As Brown's music empire grew, his desire for financial and artistic independence grew as well. Brown bought radio stations during the late 1960s, including radio station WRDW in Augusta, Georgia where he shined shoes as a boy.^[34] Brown also branched out to make several recordings with musicians outside his own band. He recorded Gettin' Down To It (1969) and Soul on Top (1970), two albums consisting mostly of romantic ballads and jazz standards, with the Dee Felice Trio and the Louie Bellson Orchestra respectively. He recorded a number of tracks with the Dapps, a white Cincinnati bar band, including the hit "I Can't Stand Myself (When You Touch Me)". He also released three albums of Christmas music with his own band.

1970s and the J.B.'s[link]

Brown after a concert in Tampa on Jan. 29, 1972

By 1970, most members of James Brown's classic 1960s band had quit his act for other opportunities, and The Famous Flames singing group had disbanded, with original member Bobby Byrd the only one remaining with Brown. Brown and Byrd employed a new band that included future funk greats, such as bassist Bootsy Collins, Collins' guitarist brother Phelps "Catfish" Collins and trombonist and musical director Fred Wesley. This new backing band was dubbed "The J.B.'s", and the band made its debut on Brown's 1970 single "Get Up (I Feel Like Being A) Sex Machine". Although The J.B.'s went through several lineup changes, with the first change occurring in 1971, the band remained Brown's most familiar backing band.

In 1971, Brown began recording for Polydor Records which also took over distribution of Brown's King Records catalog. Many of his sidemen and supporting players, such as Fred Wesley & The J.B.'s, Bobby Byrd, Lyn Collins, Vicki Anderson and Hank Ballard, released records on the People label, an imprint founded by Brown that was purchased by Polydor as part of Brown's new contract. The recordings on the People label, almost all of which were produced by Brown himself, exemplified his "house style". Songs such as "I Know You Got Soul" by Bobby Byrd, "Think (About It)" by Lyn Collins and "Doing It to Death" by Fred Wesley & The J.B.'s are considered as much a part of Brown's recorded legacy as the recordings released under his own name.

In 1972, James Brown, when asked, openly proclaimed his support of Richard Nixon against the Democrat, George McGovern,^[42] and a nationwide boycott called by Black Democratic leaders damaged his status as the most successful Black entrepreneur in the country. Still, his popularity buoyed up his financial fortunes after a brief downturn, and he went on with his career, undaunted.

In 1973, Brown provided the score for the blaxploitation film Black Caesar. In 1974, he toured Africa and performed in Zaire as part of the buildup to The Rumble in the Jungle fight between Muhammad Ali and George Foreman. Admirers of Brown's music, including Miles Davis and other jazz musicians, began to cite Brown as a major influence on their own styles. However, Brown, like others who were influenced by his music, also "borrowed" from other musicians. His 1976 single "Hot (I Need To Be Loved, Loved, Loved, Loved)" (R&B #31) used the main riff from "Fame" by David Bowie, not the other way around as was often believed. The riff was provided to "Fame" co-writers John Lennon and Bowie by guitarist Carlos Alomar, who had briefly been a member of Brown's band in the late 1960s.^[43]

Brown's Polydor recordings during the 1970s exemplified his innovations from the previous 20 years. Compositions such as "The Payback" (1973), "Papa Don't Take No Mess", "Stoned to the Bone", and "Funky President (People It's Bad)" (1974), and "Get Up Offa That Thing" (1976) were among his most noted recordings during this time.

Late 1970s and 1980s[link]

James Brown 1973, Hamburg

By the mid-1970s, Brown's star-status was on the wane, and key musicians in his band such as Fred Wesley and Bootsy left to join Parliament-Funkadelic, the collective conducted by George Clinton. The onslaught of the slickly commercial style of disco caught Brown off guard, as it superseded his raw style of funk music on the dance floor. His 1976 albums Get Up Offa That Thing and Bodyheat were Brown's first flirtations with disco rhythms and its slicker production techniques. While the albums Mutha's Nature (1977) and Jam 1980s (1978) did not generate chart hits, Brown's 1979 LP The Original Disco Man was a notable late addition to his oeuvre. This album featured the song "It's Too Funky in Here", which was his last top R&B hit of the decade. Like the rest of the songs on The Original Disco Man, "It's Too Funky in Here" was not produced by Brown himself, but produced instead by Brad Shapiro.

Brown's contract with Polydor expired in 1981, and his recording and touring schedule was somewhat reduced. Despite these events, Brown experienced something of a resurgence during the 1980s, effectively crossing over to a broader, more mainstream audience. He appeared in the feature films The Blues Brothers, Doctor Detroit and Rocky IV, as well as guest starring in the Miami Vice episode "Missing Hours" (1988). He also recorded Gravity, a modestly popular crossover album released on his new host label Scotti Bros., and the 1986 top 10 hit single "Living in America" (written by Dan Hartman), which was featured prominently in the Rocky IV film and soundtrack. Brown performed the song in the film at Apollo Creed's final fight, shot in the Ziegfeld Room at the MGM Grand in Las Vegas and was credited as "The Godfather of Soul." In 1987, Brown won the Grammy for Best Male R&B Vocal Performance for "Living in America." Acknowledging his influence on modern hip-hop and R&B music, Brown collaborated with hip-hop artist Afrika Bambaataa on the single "Unity."

In 1988, Brown worked with the production team Full Force on the hip-hop influenced album I'm Real, which spawned a #5 R&B hit single, "Static". Meanwhile, the drum break from the second version of the original 1969 hit "Give It Up Or Turnit A Loose" (the recording included on the compilation album In the Jungle Groove) became so popular at hip hop dance parties (especially for breakdance) during the late 1970s and early 1980s that hip hop founding father Kurtis Blow called the song "the national anthem of hip hop".^[44]

1990s to the 2000s[link]

James Brown in Belgrade in 1993

After a stint in prison during the late 1980s, Brown released the album Love Overdue, with the new single "Move On". Brown also released the 1991 four-CD box set Star Time, which included music spanning his four-decade career at that time. Nearly all of his earlier LPs were re-released on CD, often with additional tracks and commentary by experts on Brown's music. In 1991, Brown appeared in MC Hammer's video "Too Legit to Quit" (or "2 Legit 2 Quit"), someone Hammer idolized. In 1993, James Brown released the album Universal James, which spawned the singles "Can't Get Any Harder", "How Long" and "Georgia-Lina". In 1995, the live album Live at the Apollo 1995 was released, featuring the new studio track "Respect Me", which was released as a single that same year. Brown followed up this single with the megamix "Hooked on Brown" that was released as a single in 1996. Brown's later LP releases during this time included the 1998 studio album I'm Back that featured the single "Funk on ah Roll", and the 2002 album The Next Step that featured the single "Killing is Out, School is In", both produced and co-written by Derrick Monk. Brown participated in the PBS American Masters television documentary James Brown: Soul Survivor, which was directed by Jeremy Marre.

James Brown during the NBA All Star Game jam session in 2001.

Although Brown had various run-ins with the law, he continued to perform and record regularly, and he also made appearances in television shows and films, such as Blues Brothers 2000, and sporting events, such as his 2000 appearance at the World Championship Wrestling pay-per-view event SuperBrawl X. In Brown's appearance at the SuperBrawl X event, he danced alongside wrestler Ernest "The Cat" Miller, whose character was based on Brown, during his in ring skit with The Maestro. Brown was featured in Tony Scott's 2001 short film, Beat the Devil, alongside Clive Owen, Gary Oldman, Danny Trejo and Marilyn Manson.^[45] Brown also made a cameo appearance in the 2002 Jackie Chan film The Tuxedo, in which Chan was required to finish Brown's act after Brown was accidentally knocked out by Chan.^[46] In 2002, Brown appeared in Undercover Brother, playing the role as himself.

James Brown performing on October 22, 2003.

Brown appeared at Edinburgh 50,000 – The Final Push, the final Live 8 concert on July 6, 2005, where he performed a duet with British pop star Will Young on "Papa's Got A Brand New Bag". He also performed a duet with another British pop star, Joss Stone, a week earlier on the United Kingdom chat show Friday Night with Jonathan Ross. Before his death, Brown was scheduled to perform a duet with singer Annie Lennox on the song "Vengeance" for her new album Venus, scheduled for release in early 2007. In 2006, Brown continued his "Seven Decades Of Funk World Tour", his last concert tour where he performed all over the world. His final U.S. performance was in San Francisco on August 20, 2006, as headliner at the Festival of the Golden Gate (Foggfest) on the Great Meadow at Fort Mason. His last shows were greeted with positive reviews, and one of his final concert appearances at the Irish Oxegen festival in Punchestown in 2006 was performed for a record crowd of 80,000 people. Brown's last televised appearance was at his induction into the UK Music Hall of Fame in November 2006, before his death the following month.

James Brown Revue[link]

Concert introduction[link]

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 1962 album Live at the Apollo album, is a representative example:

Among the MCs who worked with Brown and his revue through the years, Brown's most famous MC was Danny Ray, who appeared on stage with him for over 30 years.

Concert repertoire and format[link]

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.'"^[48] 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 backup singers (The Famous Flames) typically performed choreographed dance routines, and later incarnations of the Revue included backup dancers. 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. Although Brown released many live albums, Say It Live & Loud: Live in Dallas August 26, 1968, released by Polydor in 1998, was one of only a few audio recordings that captured a performance of the James Brown Revue from beginning to end.

Cape routine[link]

A trademark feature of Brown's stage shows, usually during the song "Please, Please, Please", involved Brown dropping to his knees while clutching the microphone stand in his hands, prompting the show's longtime MC, Danny Ray, to come out, drape a cape over Brown's shoulders and escort him off the stage after he had worked himself to exhaustion during his performance. As Brown was escorted off the stage by the MC, Brown's vocal group, The Famous Flames, continued singing the background vocals "Please, please don't go-oh-oh".^[49] Brown would then shake off the cape and stagger back to the microphone to perform an encore. Brown's routine was inspired by a similar one used by the professional wrestler Gorgeous George.^[47][50]

Brown performs a version of the cape routine over the closing credits of the film Blues Brothers 2000.

The best place to view the "cape routine" is in Brown's performance during the "T.A.M.I. Show" available on DVD.

As band leader[link]

Brown demanded extreme discipline, perfection and precision from his musicians and dancers — right down to when performers in his Revue showed up for rehearsals all the way to whether members wore the right "uniform" or "costume" for concert performances.^[51] During an interview conducted by Terri Gross during the NPR segment "Fresh Air" with Maceo Parker, a former saxophonist in Brown's band for most of the 1960s and part of the 1970s and 1980s, Parker offered his experience with the discipline that Brown demanded of the band:

You gotta be on time. You gotta have your uniform. Your stuff's got to be intact. You gotta have the bow tie. You got to have it. You can't come up without the bow tie. You cannot come up without a cummerbund ... [The] patent leather shoes we were wearing at the time gotta be greased. You just gotta have this stuff. This is what [Brown expected] ... [Brown] bought the costumes. He bought the shoes. And if for some reason [the band member decided] to leave the group, [Brown told the person to] please leave my uniforms ....

—Maceo Parker^[52]

Brown also had a practice of directing, correcting and assessing fines on members of his band who broke his rules, such as wearing unshined shoes, dancing out of sync or showing up late on stage.^[23] 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.^[53]

Social activism[link]

Civil unrest and self-empowerment[link]

James Brown shakes the hand of the painter Groover, who gave him a picture during his tour in Guadeloupe in the 1980s.

During the late 1960s and early 1970s, James Brown was renowned for his social activism. In 1966, he released the single "Don't Be a Drop-Out" as a lesson to young students who had thoughts of dropping out. He later made public speeches in front of dozens of children and advocated the importance of education in school. In 1967, he issued a patriotic single, "America is My Home", which was a "rap" about how he felt people, particularly in the African-American community, were neglecting the country that he said "could give (them) opportunities" explaining how at one time he was shining shoes and the next, he was greeting the President of the United States as he did when President Lyndon B. Johnson thanked him for donating money to school drop-out prevention programs.

In 1968 after the assassination of Martin Luther King, Jr., Brown released "Say It Loud – I'm Black and I'm Proud"^[34] following pressure from fans to take a stance on the civil rights movement, an issue he had avoided up until this point. It became an anthem of the civil rights movement. Brown later said of it in his 1986 autobiography “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... 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.”

He performed in front of a televised audience in Boston the day after Dr. King's death.^[34] Brown is often given credit for preventing rioting with the performance.^[54] Mayor Kevin White strongly restrained the Boston Police from cracking down on minor violence and protests after the assassination,^[54] and Boston religious and community leaders worked to keep tempers from flaring.^[54] Also, White arranged to have the Brown performance broadcast multiple times on Boston's public television station, WGBH, thus keeping many potential rioters off the streets, watching the concert for free. 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 after the concert, news of which would have been a political death-blow to White, and possibly sparked riots on its own.^[54] White successfully 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; The Vault contributed $100,000 to such programs, and Brown received $15,000 from them via the city. White persuaded management at the Boston Garden to give up their share of receipts to make up the difference.^[54] The story is documented in the PBS film "The Night James Brown Saved Boston".