James Brown & Pavarotti

James Joseph Brown, Jr. (May 3, 1933 – December 25, 2006) was an American entertainer. He is recognized as one of the most influential figures in 20th century popular music and was renowned for his vocals and feverish dancing.

As a prolific singer, songwriter, dancer and bandleader, Brown was a pivotal force in the music industry. He left his mark on numerous artists. Brown's music also left its mark on the rhythms of African popular music, such as afrobeat, jùjú and mbalax,[4] and provided a template for go-go music.

Brown began his professional music career in 1953 and rose to fame during the late 1950s and early 1960s on the strength of his thrilling live performances and string of smash hits. In spite of various personal problems and setbacks he continued to score hits in every decade through the 1980s. In addition to his acclaim in music, Brown was also a presence in American political affairs during the 1960s and 1970s.

Brown was recognized by numerous titles, including Soul Brother Number One, Sex Machine, Mr. Dynamite, The Hardest Working Man in Show Business, The King of Funk, Minister of The New New Super Heavy Funk, Mr. Please Please Please Please Her, The Boss and foremost the Godfather of Soul.

Luciano Pavarotti Cavaliere di Gran Croce OMRI (12 October 1935 – 6 September 2007) was an Italian operatic tenor, who also crossed over into popular music. He was the most commercially successful tenor of all. He was one of "The Three Tenors" and became well known for his televised concerts and media appearances. Pavarotti was also noted for his charity work benefiting refugees, the Red Cross and other causes.

Pavarotti began his professional career as a tenor in 1961 in Italy. He sang in opera houses in The Netherlands, Vienna, London, Ankara, Budapest and Barcelona. The young tenor earned valuable experience and recognition while touring Australia at the invitation of soprano Joan Sutherland in 1965. He made his US debut in Miami soon afterwards, also on Sutherland's recommendation. His position as a leading tenor was consolidated in the years between 1966 and 1972, during which time he first appeared at Milan's La Scala and other major European houses. In 1968, he debuted at New York City's Metropolitan Opera with La fille du régiment, earning considerable acclaim with his "high C" and leading to worldwide fame for the brilliance and beauty of his tone, especially into the upper register.