In 2013 James McBride won the prestigious National Book Award for his novel The Good Lord Bird, which follows a teenage slave who joins abolitionist John Brownโs 1859 rebellion. Prior to that, McBride had authored the best-selling memoir The Color of Water and two works of fiction: Song Yet Sung and Miracle at St. Anna.
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Currently, McBride serves as a Distinguished Writer in Residence at the Arthur L. Carter Journalism Institute at New York University. A talented saxophonist and composer, McBride continues to write and perform music while also teaching music to children living in the Brooklyn, N.Y., housing projects where he grew up. Now McBride combines these three interestsโwriting, music and educationโand gifts us with a new biography of legendary musician James Brown: Kill โEm and Leave: Searching for James Brown and the American Soul.
James Brown, of course, needs no introduction. The legendary musician recorded 321 albumsโof which 16 were hits and 45 of them went gold. While alive, James Brown sold more than 200 million records. The first musician to record a โliveโ album that made it to No. 1, Brown fused all forms of musicโjazz, funk, rock, classical, country and the blues. His funeral in 2006 was legend; thousands of people flocked to the streets to mourn, including Michael Jackson, who flew to Augusta, Ga., for the service. James Brown left behind a fortune worth over $100 million, most of it willed to charity in service of poor children. โFor African Americans, the song of our life, the song of our entire history, is embodied in the life and times of James Brown,โ writes McBride.
In writing this biography, McBrideโs task is threefold: to get to the heart of the real James Brown, highlight Brownโs importance for a new generation who may be ignorant of the vital role Brown played in American music, and to debunk the caricatures and misrepresentations of Brown portrayed in mainstream media, such as the 2014 film Get on Up, filtered through the white gaze of the director of The Help to become โyet another white version of black history.โย That film, McBride tells us, not only mischaracterizes Brownโs mother as a drunken whore (she was not) and his father as a wife-beating angry black man (he was not) and Brown himself as a potty-mouthed, violent and unaware man (he was not), but also relies on stereotypes such as the โgood loyal white man as managerโ and the big, loud, sassy black woman.
โสปI despise most everything thatโs been written about him,โโ McBride quotes Emma Austin, James Brownโs 70-year-old friend who knew him for more than 40 years, as saying. โสปI canโt stand to look at most of it.โโ
James Brown, McBride believes, deserves more. He deserves better. He deserves to have the story of his life told in a way that is closer to the truth than to made-up fiction.
McBride credits his fascination with Brown to his childhood memories of growing up in Queens, N.Y., on the โpoor sideโ of the railroad tracks in a neighborhood made up of, as he writes, โtightly clumped, small, exhausted-looking homes.โ On the other side of the railroad tracks was the โhigh lifeโ with โsumptuous homes with luscious lawnsโ and โlong, shiny Cadillacs.โ This was where the black rich and famous lived, McBride tells us: Lena Horne, Count Basie, Ella Fitzgerald and many others all had homes here. But it was Brownโand his abodeโthat fascinated the young McBride and the neighborhood kids. They would โlinger outside the forbidding black-and-gray mansionlike home for days at a time, waiting for the Godfather of Soul to emerge.โ
On the trail of James Brown, McBride travels from Augusta, Ga., to Barnwell County in South Carolina and a multitude of other places. He becomes a regular at a soul food restaurant in Barnwell County, seeking out Brown. But the locals there are fiercely protective of the man and his legacy. Instead, what McBride is witness to are the layers of history in each interaction between blacks and whites in the Southโa kind of low โbuzzโ of historical tension that permeates everything. โItโs nothing said, or even seen, for black folks in South Carolina are experts at showing a mask to the white man,โ writes McBride. โThe smile goes out before their faces like a radiator grillโ in order to โavoid the white manโs evil.โ They are the descendants of slaves here, McBride tells us. They have learned this lesson well throughout the past generations.
For Kill โEm and Leave is not just a biography of James Brown. It is an exploration of the meaning of soul music for black folks and American culture as a whole; it is an exploration of music, race and culture in America. It is an exploration of the place of black music in black life: the musicโs ability to sustain black hope, black dreams and black strength through decades of white supremacist violence in the Southโthrough the ongoing pressures of everyday racism in our modern era.
McBrideโs vivid, visceral prose carries the narrative rapidly along, deftly sidestepping the pitfalls that oftentimes make the biography genre staid and uninteresting. Instead, McBrideโs narrative overflows with energy and excitement, bringing people and places to life. But he does not sacrifice journalistic integrity for entertainment; McBrideโs in-depth reporting and respectful treatment of Brown and those who knew Brown craft an honest, powerful portrayal of the life and times of James Brownโas well as the ongoing impact of his legacy. Here is a timely reflection of the power of black musicians to shape us, to free us; the soundtrack that bears witness to our most intimate moments of sorrow, triumph and bliss.
Hope Wabuke is a Southern California-based writer and a contributing editor at The Root. Follow her on Twitter.
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