Although his records were mainstays of the vanguard New York underground disco scene (exemplified by DJs such as David Mancuso and Francis Grasso) from 1969 onwards, Brown did not consciously yield to the trend until 1975's Sex Machine Today. By 1977, he was no longer a dominant force in R&B. After "Get Up Offa That Thing", thirteen of Brown's late 1970s recordings for Polydor failed to reach the Top 10 of the R&B chart, with only "Bodyheat" in 1976 and the disco-oriented "It's Too Funky in Here" in 1979 reaching the R&B Top 15 and the ballad "Kiss in '77" reaching the Top 20. After 1976's "Bodyheat", he also failed to appear on the Billboard Hot 100. As a result, Brown's concert attendance began dropping and his reported disputes with the IRS caused his business empire to collapse. In addition, several longtime bandmates (including Wesley and Maceo Parker) had gradually pivoted to Parliament-Funkadelic, which reached its critical and commercial apogee in the mid-to-late 1970s. The emergence of disco also forestalled Brown's success on the R&B charts because its slicker, more commercial style had superseded his rawer, one-chord funk productions.
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On April 5, 1968, a day after the assassination of Martin Luther King, Jr. in Memphis, Tennessee, Brown provided a free citywide televised concert at the Boston Garden to maintain public order and calm concerned Boston residents (over the objections of the police chief, who wanted to call off the concert, which he thought would incite violence).[49] The show was later released on DVD as Live at the Boston Garden: April 5, 1968. According to the documentary The Night James Brown Saved Boston, then-mayor Kevin White had strongly restrained the Boston police from cracking down on minor violence and protests after the assassination, while religious and community leaders worked to keep tempers from flaring.[84] White arranged to have Brown's performance broadcast multiple times on Boston's public television station, WGBH, thus keeping potential rioters off the streets, watching the concert for free.[84] Angered by not being told of this, 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 afterwards, news of which would have been a political death blow to White and spark riots of its own.[84] White eventually 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, contributing $100,000. Brown received $15,000 from them via the city. White also persuaded management at the Garden to give up their share of receipts to make up the differences.[84] Following this successful performance, Brown was counseled by President Johnson to urge cities ravaged from riots following King's assassination to not resort to violence, telling them to "cool it, there's another way".[85] 2ff7e9595c
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