James Brown

Singer and entertainer

• Born: May 3, 1933
• Birthplace: Barnwell, South Carolina
• Died: December 25, 2006
• Place of death: Atlanta, Georgia

Brown’s contribution to American, particularly African American, culture is in his lengthy and productive musical career, which spanned almost six complete decades. His contributions to soul, funk, and hip-hop, in addition to his ability to use his music to speak to social issues, give Brown a distinctive place in American history.

Early Life

James Joseph Brown, Jr., was born in Barnwell, South Carolina, to James Joseph and Susan Brown. Brown’s parents separated when he was four, and he soon found himself raised primarily by an aunt who ran a brothel in Augusta, Georgia. Under his aunt’s care, Brown developed his dancing skills to entertain (and earn tips from) soldiers frequenting his aunt’s brothel. This early entrepreneurial spirit also led the aspiring entertainer to open a shoeshine stand in front of a local radio station. In The Godfather of Soul: An Autobiography (1986), Brown points to these events as the source of his personal philosophy on black self-determination.

At the age of sixteen, Brown was convicted of breaking and entering and sent to prison from 1949 to 1952. This was the first of several periods of incarceration throughout his life. While incarcerated as a teen, Brown formed a gospel group and used his love of music as a justification for his release. Upon his parole, Brown settled in nearby Toccoa, Georgia, where he joined Bobby Byrd, his friend and mentor, as a member of the Gospel Starlighters. By 1956, the group had relocated to Macon, Georgia, changed its name to the Famous Flames, and released its first successful national single, “Please, Please, Please.” Many of Brown’s early hits were rooted in the traditions and style of gospel music.

From 1958 until 1961, Brown and a new lineup of Flames toured relentlessly in support of a series of hit singles, including “Try Me,” “Night Train,” and “Lost Someone.” This period of his career established his reputation as “The Hardest Working Man in Show Business.” On October 19, 1961, Brown made his television debut on Dick Clark’s American Bandstand. This appearance marked the beginning of a new stage in his career and the transition from his early, gospel-inspired songs to his more popular soul and funk recordings.

Life’s Work

On October 24, 1962, James Brown performed at the Apollo Theater in Harlem. The concert was recorded, and the resulting album was released in May, 1963, as James Brown Live at the Apollo. This album was Brown’s first major commercial success on both the pop and rhythm-and-blues charts, and it prompted his move from the predominantly African American clubs where he had previously performed to a more expansive schedule that included colleges and concert halls frequented by whites. Brown’s reputation and accessibility to both black and white audiences were cemented by appearances in 1964 on The T.A.M.I. Show and in the film Ski Party, which helped launch one of his best-known songs, “I Got You (I Feel Good).” This single, however, was not released as a record until October of 1965 because of legal problems with his record label.

Beginning in 1965, Brown released a string of successful hits, including “Papa’s Got a Brand New Bag,” “It’s a Man’s Man’s Man’s World,” and 1967’s “Cold Sweat.” This particular single marks Brown’s shift from soul music to funk, which is characterized by an emphasis on percussion. Brown used his increased popularity to publicly address social issues, particularly those affecting African Americans. For example, on April 4, 1968, Brown’s Boston concert was televised to quell public unrest in the wake of the assassination of Martin Luther King, Jr. In August, 1968, Brown again used his star power to make a statement regarding black pride with the release of the single “Say It Loud—I’m Black and I’m Proud,” his sixth number-one hit.

Throughout the late 1960’s and early 1970’s, Brown continued to move toward a more percussive sound and distinct rhythmic patterns as he toured the globe. This period was particularly fruitful, with the release of a number of popular rhythm-and-blues hit singles including “Get Up Offa That Thing,” “Get Up (I Feel Like Being a) Sex Machine,” and “Hot Pants.” A major theme in this stage of Brown’s career was sexual prowess.

In the wake of disco and the emergence of hip-hop, Brown released albums sporadically. His work in the 1980’s primarily consisted of cameos in films such as The Blues Brothers (1980) and Rocky IV (1985). His appearance in the latter generated one of the most successful hits of his career, 1985’s “Living in America.” Although he was one of the first performers inducted into the Rock and Roll Hall of Fame in 1986, the late 1980’s was a particularly dark period in Brown’s personal and professional life. As hip-hop gained in popularity, a number of artists began “sampling” his work without paying licensing fees. Brown sought legal action with mixed results. Personally, Brown’s troubles with domestic violence and drug abuse became public. Following a series of arrests, in 1988, Brown led police on a high-speed chase through two states after brandishing a shotgun. He was convicted and incarcerated until 1991. Following his release, Brown continued a rigorous performance schedule, including film cameos and concert performances, until his death in 2006.

On December 24, 2006, Brown drove from his home in Augusta, Georgia, to Atlanta for dental surgery but was instead admitted to Emory Crawford Long Hospital, where he died in the early hours of December 25.

Significance

Brown’s prolific career spans several musical genres, including soul, funk, and hip-hop. His extensive touring and performance schedule facilitated the evolution of soul music from its gospel origins to a more secular sound. His musical imperatives aided the development of funk music with its distinct rhythmic patterns and emphasis on different formal musical structures. His musical innovations in terms of horn and drum arrangements furthermore laid the foundation for hip-hop and its reliance on drum breaks and break beats. Yet Brown’s ability to use his music to address social issues demonstrates that his star power transcends mere musical popularity. His public persona carried social clout as well.

Bibliography

Brown, James. The Godfather of Soul: An Autobiography. New York: Thunder’s Mouth Press, 1986. Brown’s first attempt at writing his autobiography covers his life up to 1986. The book addresses his significant musical developments and career highlights.

‗‗‗‗‗‗‗. I Feel Good: A Memoir of a Life of Soul. New York: New American Library, 2005. Brown’s memoir covers some of the same material as his previous effort but also addresses much of his life after 1988.

George, Nelson, and Alan Leeds, eds. The James Brown Reader. New York: Plume, 2008. This volume contains a variety of newspaper and magazine reviews and articles spanning the bulk of Brown’s career from 1959 until 2007.

Lethem, Jonathan. “Being James Brown.” Rolling Stone, June 29, 2006. This compelling article covers Brown’s attempt to record a final album before his death. Lethem’s profile addresses band members’ perceptions of Brown as well as his recording process.