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Kill 'Em and Leave: Searching for James Brown and the American Soul, by James McBride
PDF Download Kill 'Em and Leave: Searching for James Brown and the American Soul, by James McBride
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National Book Award winner James McBride goes in search of the “real” James Brown after receiving a tip that promises to uncover the man behind the myth. His surprising journey illuminates not only our understanding of this immensely troubled, misunderstood, and complicated soul genius but the ways in which our cultural heritage has been shaped by Brown’s legacy.
Kill ’Em and Leave is more than a book about James Brown. Brown’s rough-and-tumble life, through McBride’s lens, is an unsettling metaphor for American life: the tension between North and South, black and white, rich and poor. McBride’s travels take him to forgotten corners of Brown’s never-before-revealed history: the country town where Brown’s family and thousands of others were displaced by America’s largest nuclear power bomb-making facility; a South Carolina field where a long-forgotten cousin recounts, in the dead of night, a fuller history of Brown’s sharecropping childhood, which until now has been a mystery. McBride seeks out the American expatriate in England who co-created the James Brown sound, visits the trusted right-hand manager who worked with Brown for forty-one years, and interviews Brown’s most influential nonmusical creation, his “adopted son,” the Reverend Al Sharpton. He describes the stirring visit of Michael Jackson to the Augusta, Georgia, funeral home where the King of Pop sat up all night with the body of his musical godfather, spends hours talking with Brown’s first wife, and lays bare the Dickensian legal contest over James Brown’s estate, a fight that has consumed careers; prevented any money from reaching the poor schoolchildren in Georgia and South Carolina, as instructed in his will; cost Brown’s estate millions in legal fees; and left James Brown’s body to lie for more than eight years in a gilded coffin in his daughter’s yard in South Carolina.
James McBride is one of the most distinctive and electric literary voices in America today, and part of the pleasure of his narrative is being in his presence, coming to understand Brown through McBride’s own insights as a black musician with Southern roots. Kill ’Em and Leave is a song unearthing and celebrating James Brown’s great legacy: the cultural landscape of America today.
Praise for Kill ’Em and Leave
“Thoughtful and probing . . . with great warmth, insight and frequent wit. The results are partisan and enthusiastic, and they helped this listener think about the work in a new way. . . . James McBride’s welcome elucidation . . . is clear, deeply felt and unmistakable.”—Rick Moody, The New York Times Book Review
“[McBride] turns out to also be the biographer of James Brown we’ve all been waiting for. . . . McBride’s true subject is race and poverty in a country that doesn’t want to hear about it, unless compelled by a voice that demands to be heard.”—Boris Kachka, New York
“The definitive look at one of the greatest, most important entertainers, The Godfather, Da Number One Soul Brother, Mr. Please, Please Himself—JAMES BROWN.”—Spike Lee
“James McBride on James Brown is the matchup we’ve been waiting for, a musician who came up hard in Brooklyn with JB hooks lodged in his brain, a monster ear for the truth, and the chops to write it.”—Gerri Hirshey, author of Nowhere to Run: The Story of Soul Music
“An unconventional and fascinating portrait of Soul Brother No. 1 and the significance of his rise and fall in American culture.”—Kirkus Reviews
- Sales Rank: #45597 in Books
- Published on: 2016-04-05
- Released on: 2016-04-05
- Original language: English
- Number of items: 1
- Dimensions: 9.60" h x .80" w x 6.50" l, .0 pounds
- Binding: Hardcover
- 256 pages
Amazon.com Review
An Amazon Best Book of April 2016: National Book Award winner James McBride has written a book about an essentially unknowable man, one so twisted up in myth (self-made and otherwise) and (often poorly understood) tabloid-ready disasters that a traditional biography might well become worthlessly, untruthfully lurid. Instead, Kill 'Em and Leave is less concerned with the biographical minutiae of Brown's life than it is with Brown's world; he is the central figure of the book, but rarely is he at its center. Like an astronomer might look for an invisible planet by observing the movements of its celestial neighbors, McBride takes an oblique approach, traveling deep into Brown's past to interview bandmates, managers, family members, and friends, applying his unique, propulsive voice and insight as a musician to illustrate the world stacked against "The Godfather of Soul" and the ways it changed in his wake. --Jon Foro
Review
“Thoughtful and probing . . . with great warmth, insight and frequent wit. The results are partisan and enthusiastic, and they helped this listener think about the work in a new way. . . . James McBride’s welcome elucidation . . . is clear, deeply felt and unmistakable.”—Rick Moody, The New York Times Book Review
“The author of the best-selling memoir The Color of Water and the National Book Award–winning novel The Good Lord Bird turns out to also be the biographer of James Brown we’ve all been waiting for. . . . McBride’s true subject is race and poverty in a country that doesn’t want to hear about it, unless compelled by a voice that demands to be heard.”—Boris Kachka, New York
“The definitive look at one of the greatest, most important entertainers, The Godfather, Da Number One Soul Brother, Mr. Please, Please Himself—JAMES BROWN.”—Spike Lee
“Please, please, please: Can anybody tell us who and what was James Brown? At last, the real deal: James McBride on James Brown is the matchup we’ve been waiting for, a musician who came up hard in Brooklyn with JB hooks lodged in his brain, a monster ear for the truth, and the chops to write it. This is no celeb bio but a compelling personal quest—so very timely, angry, hilarious, and as irresistible as any James Brown beat. It’s a must for anyone, as JB sang it, ‘Living in America.’ Read it, and your brain won’t sit still.”—Gerri Hirshey, author of Nowhere to Run: The Story of Soul Music
“National Book Award winner McBride dissects the career, legacy, and myth of the Godfather of Soul. One of the most iconic figures in pop music, James Brown is also one of the most unknown and falsely represented figures in American cultural history. . . . An unconventional and fascinating portrait of Soul Brother No. 1 and the significance of his rise and fall in American culture.”—Kirkus Reviews
About the Author
James McBride is the author of the National Book Award winner and New York Times bestseller The Good Lord Bird, as well as the bestselling novels Song Yet Sung and Miracle at St. Anna, and the #1 New York Times bestseller The Color of Water. He is also a saxophonist and composer who teaches music to children in the Red Hook, Brooklyn, housing projects where he was born, and a Distinguished Writer in Residence at the Arthur L. Carter Journalism Institute at NYU.
Most helpful customer reviews
18 of 19 people found the following review helpful.
Keep Searching - The Real James Brown Sadly Is Absent From Most of This Book
By Mark
I really wanted to love this book. The subject matter and even the style of writing are right in my wheelhouse. Unfortunately for me, Kill 'Em and Leave: Searching for James Brown and the American Soul devolves into less of a search for the "real" James Brown and more of a series of rants about the author's world view and experiences. And even that would not necessarily have been a bad thing. But in this case the author presents a story of a journey he never actually takes. This is hearsay and conjecture about James Brown, nothing more. And while there is no doubt that James Brown comes from a place where racial tension and civil rights violations are woven into history, the author seems to blend all the experiences of all people of color into an over-simplified blanket that he hangs over James Brown's life.
Make no mistake, the author is an excellent writer. This is a collection of interesting stories. At times some of those stories are very engaging. But when you take a step back from it, it's hard not to notice the small percentage of factual accounts about James Brown's life that actually made their way into this book.
There are thankfully some exceptions. The Nafloyd Scott portion of the story offers the kind of account I was really looking for. Yet there are too few of those and there is a complete lack of context when one considers the hyperbole of many of the surrounding chapters. And even the relevant stories seem to offer very little additional depth for those seeking the "real" James Brown the author was searching for.
CONCLUSION
Those who are looking for a book on the process of researching historical people will find a lot of lessons learned here. The author does a lot of things right, and he documents the leg work here. But the finished product has to be more than an account of his search. There has to be an actual story about James Brown at the end of it. And sadly, this book falls far short of achieving that.
22 of 24 people found the following review helpful.
UNDERSTANDING A COMPLICATED MAN
By David Keymer
McBride is an outstanding writer–he won a National Book Award for his memoir of his mother, The Color of Water. As well as a reporter, he’s been a jazz musician and he is clearly at home in the bubbling, vibrant musical world of James Brown and his comperes. He is also African-American (father African American, mother a Polish Jew), angry about what America and the recording-performing world still do to American blacks. All this makes him a good choice to write about a complicated man, the Father of Soul James Brown. This isn’t a regulation biography. At points, it’s a rant. The biography parts are liberally spiced with anger: a no-holds-barred condemnation of the straightjacket of race that constrains, thwarts and warps even the most exceptional black performer like Brown --or Michael Jackson, who is a player in the book as well. (“Talent is just dessert in the ear-candy business anyway. It’s about who can stand the ride.”)
He contrasts Brown’s notorious generosity, his neatness and attention to appearance (he never ventured out with his hair mussed up or raggedly clothes on, and you could eat off the floor of his kitchen, it was so clean) and his musical perfectionism with his compulsive hoarding, his ramshackle love life, his petty acts of tyranny and meanness (coming out of nowhere at times) toward his musicians (but at other times, there were acts of considerable generosity). Along the way, McBride meets and interviews Brown’s prize saxophonist Pee Wee Ellis, the ever loyal Rev. Al Sharpton, Brown’s (black) manager Charles Bobbitt and (white) accountant David Cannon. And he keeps cycling back to how Brown’s carefully worked out plans for his fortune were torn to pieces by the vultures who descended on his corpse after he died –his not-wife fourth wife, all of the relatives who wanted a bigger chunk of his wealth than he’d left them –he wanted the bulk of his fortune to spent on educating and raising up poor children black AND white—and the legal vultures who have milked the estate of most of his hard-earned cash for ten years now, with no appreciable end in sight.
McBride’s prose is sometimes high flown, lyrical-- at other times, it’s racy and demotic. But his anger is a rhetorical tool too, persuasive and eloquent in itself. When you have finished this eloquent account, you will understand and appreciate James Brown –James Brown, the man, not just the performer—in ways you didn’t before. Highly recommended.
15 of 17 people found the following review helpful.
done right
By Case Quarter
when asked why he never stayed around and socialized after his performances, james brown replied. “kill ‘em and leave.” even for off stage meetings he would, as he told the young man he mentored, al sharpton, “come important, and leave important’.
mcbride’s biography of the godfather of soul sets out to describe the unknown man, who turns out to be the archetypically flawed successful entertainer with millions, a dedicated fan base, countless affairs with as many women, a public persona of generosity and the secret hidden heart of sensitivity and deep loneliness. and like all successful men who started from nothing, james brown worked hard to achieve his fame. he was a poor businessman when it came to handling money and a tough boss who worked his band members relentlessly. performing on stage and demanding excellence from his bands who endured grueling rehearsals, brown earned the title of ‘the hardest working man in show business’, and it was his work ethic which was his legacy, the importance that young people get educations, a dream which was supposed to extend beyond his death. his multi-million dollar debt with the irs was settled, and after the changes in music tastes when first disco and later hip hop had out distanced rhythm and blues, james brown’s soul music had a conservative revival, with the help of david cannon and buddy dallas as his new managing team.
"In 2000," mcbride writes,” [Brown] spent $20,000 in legal fees to have an airtight will and estate drawn up. The will left his personal effects and money, worth an estimated $2 million, to his children, plus a generous education fund to send his grandchildren to college should they decide to attend. The rest of it, the bulk of his estate—songs, likeness, music publishing—he left in a trust fund that he named the I Feel Good Trust, said to be worth conservatively at least $100 million when he died. The trust was set up to help educate poor children—white and black—in South Carolina and Georgia. Brown was specific about that—the main criteria: need. ... The trust was to be run by the same two business partners that had brought him back to prominence, David Cannon and Buddy Dallas, and a trusted African American road manager and local magistrate named Albert “Judge” Bradley. … And nine years after he died, not a dime of Brown’s money would go to educate a single impoverished kid in either state.”
you need to google the lawsuits pertaining to the trust and the wills ( a second will was drawn after brown’s death!), and google the persons involved. also read the newspapers’ accounts, but don’t stop there, read the comments by the newspaper readers as they weigh in with opinions of some of the key players later interviewed by mcbride, particularly david cannon.
mcbride gets angry, foremost as a journalist covering the brown estate as the legal mess continues to play out in south carolina, and also he gets angry as a musician himself familiar with what entertainers, the back-up bands and singers endure from headliners and the music business and what the headliners endure to stay on top.
as amateur music critic, he claims brown’s band from 1965 to 1969 as “the greatest group of r&b musicians ever assembled.” mcbride offers a glimpse of michael jackson, when he worked as a reporter for a magazine covering jackson’s victory tour and interviews with people who recall the interaction between the two luminaries.
mcbride describes “the godfather of soul” as a product of the south, a place you can’t understand unless you are from there. the southern culture, the states of georgia and south carolina known to brown, transcend race and class, though race and class dictate all aspects of life. there’s a story related to mcbride of the white family with a son who has a black friend who is almost like family but the boys are warned by the grandmother of the white boy not to play in the front yard for fear they’ll be seen together. for mcbride, the south’s peculiar state of race relations is a metaphor for race relations throughout the rest of the nation.
this is far from a pretty biography—for the musicology of james brown you have to read elsewhere—but certainly one, i could not put down.
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