James Brown: Mr Dynamite

0:00:02 > 0:00:05LIVE CONCERT MUSIC STARTS

0:00:07 > 0:00:11James Brown!

0:00:11 > 0:00:14Yes! Yes!

0:00:14 > 0:00:16James Brown, there you go!

0:00:16 > 0:00:19The hottest rockin' man in the world!

0:00:19 > 0:00:22Jam! Jam!

0:00:23 > 0:00:25Jam! Jam!

0:00:25 > 0:00:29Yes! Jam!

0:00:29 > 0:00:31Jam! Jam!

0:00:31 > 0:00:34James Brown, what have you got?!

0:00:36 > 0:00:37- # Soul power!- Soul power!

0:00:37 > 0:00:40- # Soul power!- Soul power!

0:00:40 > 0:00:41- # Soul power!- Soul power!

0:00:41 > 0:00:43- # Soul power!- Soul power!

0:00:43 > 0:00:44# Soul power!

0:00:44 > 0:00:47- # Soul power! - Soul power!- Soul power!

0:00:47 > 0:00:49- # Soul power!- Soul power!

0:00:49 > 0:00:51- # Soul power!- Soul power!

0:00:51 > 0:00:52# Yeah!

0:00:58 > 0:01:00# Yeah! Yeah!

0:01:01 > 0:01:03# A-a-a-ah!

0:01:08 > 0:01:09# Aow!

0:01:10 > 0:01:12# Better get with

0:01:12 > 0:01:14# The project

0:01:14 > 0:01:15# Going on you... #

0:01:17 > 0:01:21A lot of people have tried to define exactly what soul music is.

0:01:21 > 0:01:22How would you define it?

0:01:22 > 0:01:26It's the word "can't" that makes you a soul singer.

0:01:26 > 0:01:28"Can't".

0:01:28 > 0:01:33I reckon one thing is that maybe the black man is more heavier

0:01:33 > 0:01:38for soul coming from the States is cos of the fact that he's had

0:01:38 > 0:01:40extra-hard knocks...

0:01:40 > 0:01:43and he's lived with the word "can't" for so long.

0:01:43 > 0:01:48So, every time he can sing about it, it kind of erm...

0:01:48 > 0:01:50comes out a little bit stronger.

0:01:54 > 0:01:55# Georgia... #

0:01:55 > 0:01:58CHEERING AND APPLAUSE

0:01:59 > 0:02:01# Oh, Georgia

0:02:07 > 0:02:10# No, no, no, no, no

0:02:10 > 0:02:12# Peace I find

0:02:14 > 0:02:15# All right

0:02:17 > 0:02:21# Just an old sweet song

0:02:23 > 0:02:25# Keeps Georgia

0:02:26 > 0:02:30# On my mind-d-d-d... #

0:02:30 > 0:02:33I want to tell you a little story.

0:02:33 > 0:02:36This is the thing that they don't write in the newspaper

0:02:36 > 0:02:39or you hear on the record, cos I'm sure it wouldn't sell.

0:02:39 > 0:02:43# I said Georgia, hey

0:02:48 > 0:02:51# Maybe it's because I'm from Augusta, Georgia... #

0:02:51 > 0:02:55My father, being a very, very poor man, under-educated -

0:02:55 > 0:02:57he only got a chance to finish Grade Two.

0:02:57 > 0:02:59# A song

0:03:00 > 0:03:02# A song of you

0:03:06 > 0:03:10# Comes so sweet and clear-r-r-r-r

0:03:13 > 0:03:15# Like the moonlight... #

0:03:15 > 0:03:18There was just was no way for me to dream of becoming

0:03:18 > 0:03:23anything but trying to be a labourer or just trying to work.

0:03:23 > 0:03:25Cos that's all I saw... That's all I could see around me.

0:03:25 > 0:03:26My father was a labourer.

0:03:26 > 0:03:28I dreamed, then, of eating.

0:03:30 > 0:03:32# Other arms

0:03:34 > 0:03:36# Would reach out to me... #

0:03:36 > 0:03:38When I was a kid, we'd go out on the hustle.

0:03:38 > 0:03:42The men. For the women, it was pregnancy and prostitution.

0:03:42 > 0:03:44# And other eyes

0:03:46 > 0:03:48# Would smile... #

0:03:48 > 0:03:50And I had to buck dance, for the soldiers.

0:03:50 > 0:03:53They would throw quarters and nickels, to see me dance.

0:03:54 > 0:03:55# Still

0:03:57 > 0:03:58# In peaceful dreams... #

0:03:58 > 0:04:02'And I used to sing a lot. I'd make up songs.'

0:04:02 > 0:04:03# Dreams

0:04:06 > 0:04:08# The road

0:04:11 > 0:04:12# Leads back to you... #

0:04:12 > 0:04:15The story of it touched me so deeply.

0:04:15 > 0:04:16You were a shoeshine boy?

0:04:16 > 0:04:19- In Augusta, Georgia. - In Augusta, Georgia.

0:04:19 > 0:04:22And you carry the shoeshine box around with you and, in one thing

0:04:22 > 0:04:24I was reading not too long ago, you held it up

0:04:24 > 0:04:26as an example to kids. Would you tell that story?

0:04:26 > 0:04:31I said, "With all of the success..." and everything you said,

0:04:31 > 0:04:34"it still don't get me away from the fact that I come from the ghetto

0:04:34 > 0:04:36"and I got my shoeshine box on my mind."

0:04:36 > 0:04:41And it knocked people out. They were very glad that I still remembered.

0:04:41 > 0:04:43- # Bobby!- Yeah!

0:04:43 > 0:04:45- # Get up to the bridge! - Take it to the bridge!

0:04:45 > 0:04:48# Shake your moneymaker

0:04:48 > 0:04:50# Shake your moneymaker

0:04:50 > 0:04:51# Shake your body! #

0:04:56 > 0:04:58CHEERING AND APPLAUSE

0:05:00 > 0:05:02It was Bobby Byrd's family that took

0:05:02 > 0:05:06young James Brown in when he got paroled

0:05:06 > 0:05:10and really kind of helped him find his feet.

0:05:14 > 0:05:16CHEERING AND APPLAUSE

0:05:21 > 0:05:23And then they went on to create music together,

0:05:23 > 0:05:25with the Famous Flames, and Bobby Byrd

0:05:25 > 0:05:28had to be humble enough to understand,

0:05:28 > 0:05:31"This used to be my group, but now I got this young guy

0:05:31 > 0:05:34"coming in here just kind of taking over.

0:05:34 > 0:05:36"Well, he's got that thing,

0:05:36 > 0:05:38"so I'm going to let him have it."

0:05:38 > 0:05:43He got out of prison and, at my home,

0:05:43 > 0:05:46I asked him to join the group. Had a lot of dissention in the group,

0:05:46 > 0:05:49because they didn't know what type of person he was

0:05:49 > 0:05:52and they noted he was kind of rowdy, but when he started

0:05:52 > 0:05:54doing some songs that he knew -

0:05:54 > 0:05:56gospel songs, of course, during that time -

0:05:56 > 0:05:58something about it was different.

0:05:58 > 0:06:04The rowdy type of an idea - the up-tempo, gutsy stuff, you know?

0:06:04 > 0:06:07And the reason we knew it was good was, when we started rehearsing,

0:06:07 > 0:06:11the porch would be full of people, anybody peering through the windows

0:06:11 > 0:06:15and that kind of thing. They didn't do that for no other groups.

0:06:15 > 0:06:16So I knew we had something.

0:06:16 > 0:06:18GOSPEL SINGING

0:06:18 > 0:06:22# Yeah, I went to the church last night

0:06:22 > 0:06:24# I know! Oh! #

0:06:24 > 0:06:28At that time, we were more or less a church of slang, you know?

0:06:28 > 0:06:30They found that most of the relevant blues singers

0:06:30 > 0:06:33had come out of the church by the name of soul singers.

0:06:33 > 0:06:37When James Brown and Bobby Byrd decided to put together

0:06:37 > 0:06:38the first version of the Famous Flames,

0:06:38 > 0:06:40they took great care to not let

0:06:40 > 0:06:45the people in the church know that they were doing this secular music

0:06:45 > 0:06:48on Saturday night and coming in and singing in church on Sunday night,

0:06:48 > 0:06:50cos that was taboo.

0:06:50 > 0:06:54JAUNTY SWING MUSIC

0:06:54 > 0:06:58A lot of people I liked from the past - Louis Jordan.

0:06:58 > 0:07:00# Stand on you!

0:07:00 > 0:07:01# Stand on you!

0:07:01 > 0:07:03# I want to be hit so hard! My mother says... #

0:07:03 > 0:07:07Mr Brown says Louis Jordan was my biggest hero, because he could sing,

0:07:07 > 0:07:09he could dance, he could act, he could play.

0:07:09 > 0:07:11And he had good hair and good teeth.

0:07:15 > 0:07:18It's the longevity of Louis Jordan's career

0:07:18 > 0:07:20that had an impact. The way he handled his own business.

0:07:20 > 0:07:23The fact that he was doing a music that was a hybrid of blues,

0:07:23 > 0:07:25swing music, be-bop.

0:07:27 > 0:07:29That music was the R&B, the rock and roll,

0:07:29 > 0:07:30the hip-hop, of its time.

0:07:30 > 0:07:36And James actually considered himself a jazz man, at heart.

0:07:36 > 0:07:38It's a pleasure to present to you the one and only

0:07:38 > 0:07:40Duke Ellington.

0:07:40 > 0:07:41APPLAUSE

0:07:41 > 0:07:45SWING MUSIC STARTS

0:07:49 > 0:07:50James Brown, he liked

0:07:50 > 0:07:53big bands. He liked the big horn section

0:07:53 > 0:07:54and he liked instrumentals.

0:07:54 > 0:07:57He liked arranging.

0:07:57 > 0:07:59He liked to be a band leader.

0:08:13 > 0:08:17He carried some of that past of the swing era, in a funny way.

0:08:17 > 0:08:20INDISTINCT SINGING

0:08:26 > 0:08:29It's always been soul with me, ever since I've been singing, you know?

0:08:29 > 0:08:32It was my opportunity. It was my knock on the door.

0:08:33 > 0:08:35Soul is...survivor.

0:08:37 > 0:08:40And a lot of days I sang and we got 25 cents.

0:08:44 > 0:08:46But I knew it was something I had to do.

0:08:46 > 0:08:49Every time I got the opportunity, I did everything I could,

0:08:49 > 0:08:53but the hardest part was being black and being allowed to perform.

0:08:54 > 0:08:56Not even black that time - coloured.

0:08:57 > 0:09:00That's what you call the segregated years.

0:09:00 > 0:09:02I came up through those years

0:09:02 > 0:09:05and I never will forget some things that happened with us.

0:09:05 > 0:09:07It's behind me, but I won't forget them.

0:09:07 > 0:09:11You've got to keep the white and the black separate.

0:09:11 > 0:09:14James Brown, he was the father I never had, in many ways.

0:09:14 > 0:09:17He said, "You didn't know about sitting in the back of the bus,

0:09:17 > 0:09:20"I used to have to perform in clubs

0:09:20 > 0:09:23"that I'd have to get dressed in the bus

0:09:23 > 0:09:26"cos I wasn't allowed to use the dressing room."

0:09:28 > 0:09:33They didn't like black folks. Yeah, they didn't like black folks.

0:09:36 > 0:09:39You played what you called the "chitlin' circuit".

0:09:39 > 0:09:43All of the gigs that you played were for black audiences.

0:09:45 > 0:09:49A lot of down-home Southern places that were kind of rough, you know?

0:09:49 > 0:09:51I remember being in Mr Brown's dressing room,

0:09:51 > 0:09:56and something happened with the promoter, didn't want to pay,

0:09:56 > 0:09:58and everybody started pulling out their guns and everything.

0:09:58 > 0:10:01And, you know, I was frightened to death.

0:10:01 > 0:10:04That was definitely the chitlin' circuit at that time.

0:10:07 > 0:10:10James Brown said, "You have to remember, Reverend,

0:10:10 > 0:10:13"when I was coming up, you had to be tall, light-skinned,

0:10:13 > 0:10:17"long wavy hair like Jackie or Smokey Robinson.

0:10:17 > 0:10:20"I was short, had African features,

0:10:20 > 0:10:26"and I didn't have any of what was considered beautiful at that time.

0:10:26 > 0:10:29"I was determined I was going to out-dance and out-sing

0:10:29 > 0:10:32"everybody out there, and I was going to work every night."

0:10:32 > 0:10:34James actually said Little Richard

0:10:34 > 0:10:38and Hank Ballard And The Midnighters were probably the two greatest

0:10:38 > 0:10:41influences on him and really that whole generation.

0:10:41 > 0:10:44Moving out of gospel and moving into what was called rock and roll, or R&B.

0:10:46 > 0:10:50# Come on over, baby Whole lotta shakin' goin' on

0:10:52 > 0:10:56# Come on over, baby You can't go wrong... #

0:10:57 > 0:11:01I was in Georgia, and Little Richard came down from Macon and saw me,

0:11:01 > 0:11:06and told his management about me, and went back to Macon.

0:11:06 > 0:11:08I got to give Little Richard that credit, you know?

0:11:11 > 0:11:14Little Richard got a big contract to record in Los Angeles,

0:11:14 > 0:11:17and he left behind about 30 dates that the management was

0:11:17 > 0:11:21committed to, so they had the bright idea to have James Brown go out

0:11:21 > 0:11:23and impersonate Little Richard.

0:11:25 > 0:11:27And so they let him do a little bit of Little Richard

0:11:27 > 0:11:29and then he'd do a little bit of James Brown.

0:11:29 > 0:11:32That's where James Brown really learned to scream,

0:11:32 > 0:11:34being Little Richard for about two weeks.

0:11:34 > 0:11:37# Come on over, baby Whole lotta shakin' goin' on

0:11:37 > 0:11:38# Whoo! #

0:11:38 > 0:11:42It was before television, so nobody knew what Richard really looked like.

0:11:42 > 0:11:45He said, "My goal was, I was going to be bigger than Richard."

0:11:48 > 0:11:52# Please, please, please, please

0:11:52 > 0:11:58# Please, please, please, please

0:12:01 > 0:12:04# Honey, please

0:12:06 > 0:12:10# Yeah, yeah, I love you so

0:12:10 > 0:12:14# Yeah Baby... #

0:12:14 > 0:12:17The word is that when Syd Nathan, who ran King Records,

0:12:17 > 0:12:21heard them rehearsing a song, he fired the A&R guy.

0:12:21 > 0:12:25He could not hear it being a hit. He said, "All the guy does is say

0:12:25 > 0:12:28"'Please, please, please,' like, 17 times."

0:12:28 > 0:12:30Mr Brown snuck it out, got it to the radio stations,

0:12:30 > 0:12:34it became a hit, and Syd Nathan just had to swallow his disdain.

0:12:34 > 0:12:38# Please, please, please, please

0:12:38 > 0:12:46# Please, please, please, please Please, please

0:12:46 > 0:12:48# Honey, please... #

0:12:48 > 0:12:53I guess my all-time favourite tune would be Please, Please, Please now,

0:12:53 > 0:12:55- because that's the tune... - That's the one that did it.

0:12:55 > 0:12:59- Yeah. It gave me that extra meal. - Do you think he wanted success so badly at the time

0:12:59 > 0:13:01that you were REALLY singing "please, please, please"?

0:13:01 > 0:13:04I wanted to eat - period, man! That's why I made it.

0:13:04 > 0:13:09# Please, please, please, please Please, please, please, please

0:13:09 > 0:13:13# Please, please

0:13:13 > 0:13:16# Hey Yeah, yeah,

0:13:16 > 0:13:20# I love you so Yeah

0:13:20 > 0:13:23# Please... #

0:13:23 > 0:13:26He's begging. "I got to have you, I need in my life.

0:13:26 > 0:13:30"You've got to come. My heart is shattered."

0:13:30 > 0:13:34And the woman would go, "Somebody really hurt that man.

0:13:34 > 0:13:37"Oh, they hurt him so badly. I feel so sorry for him."

0:13:37 > 0:13:38It worked all over the world.

0:13:40 > 0:13:44# I love you so. #

0:13:44 > 0:13:49CHEERING AND APPLAUSE

0:13:53 > 0:13:56The first time I saw James Brown perform live

0:13:56 > 0:13:58was in the fall of 1963,

0:13:58 > 0:14:02and I had never experienced anything like it.

0:14:02 > 0:14:04The energy that was in the room,

0:14:04 > 0:14:07it was like going into another dimension.

0:14:09 > 0:14:13In the '50s and '60s, black music and pop mainstream music,

0:14:13 > 0:14:17the segregation was even more rigid than it is today.

0:14:17 > 0:14:22The black music industry was entirely dependent on black radio.

0:14:22 > 0:14:26And the whole goal became, how do we cross these records over?

0:14:26 > 0:14:29Because a hit on pop radio represented as much as

0:14:29 > 0:14:311 million, 1.5 million more sales.

0:14:35 > 0:14:39- # Try me - Try me

0:14:39 > 0:14:44- # Try me - Try me

0:14:44 > 0:14:47# Darling, tell me

0:14:47 > 0:14:51# I need you... #

0:14:51 > 0:14:54After I got Please, Please, Please, it took me three years

0:14:54 > 0:14:56to get another hit, but I wouldn't give up.

0:14:56 > 0:15:00My next hit was a tune entitled Try Me.

0:15:00 > 0:15:03# And your love

0:15:03 > 0:15:08# Will always be true Oh... #

0:15:08 > 0:15:11Somebody like Elvis, one record would sell 10 or 15 million.

0:15:11 > 0:15:14And, see, I always had to come through the race era,

0:15:14 > 0:15:17when my records were classed as R&B and race music.

0:15:17 > 0:15:21- # Hold me - Hold me

0:15:21 > 0:15:23# Hold me...#

0:15:23 > 0:15:26I was just trying to figure out the market, like a stock man, I guess.

0:15:26 > 0:15:28Trying to see what the people would go for.

0:15:28 > 0:15:29I always worked hard on the stage,

0:15:29 > 0:15:32but you still need that record, as a performer, you know?

0:15:32 > 0:15:35Everyone needs a hit record.

0:15:35 > 0:15:38- FATS GONDER:- So now, ladies and gentlemen, it is star time.

0:15:38 > 0:15:41- Are you ready for star time? - CHEERING

0:15:41 > 0:15:43Thank you, and thank you very kindly.

0:15:43 > 0:15:45It is indeed a great pleasure to present to you

0:15:45 > 0:15:49at this particular time, national and international known

0:15:49 > 0:15:51as the hardest working man in show business,

0:15:51 > 0:15:55here to sing I'll Go Crazy...

0:15:55 > 0:15:57Try Me...

0:15:58 > 0:16:02Mr Dynamite, the amazing Mr Please, Please himself,

0:16:02 > 0:16:05the star of the show - James Brown and the Famous Flames.

0:16:05 > 0:16:08BAND PLAYS

0:16:15 > 0:16:18You'd go to the Apollo Theatre

0:16:18 > 0:16:21and they'd be standing around the Apollo Theatre for the next show

0:16:21 > 0:16:23and it would be around

0:16:23 > 0:16:25from one end of the Apollo around to the other end.

0:16:25 > 0:16:28And that's around the block.

0:16:28 > 0:16:30And they'd be standing there for the next one.

0:16:30 > 0:16:32That next show let out, they'd lead them people in,

0:16:32 > 0:16:35and then another line was there, waiting to get in.

0:16:35 > 0:16:38Unbelievable. And those blocks are not short.

0:16:39 > 0:16:41They made MONEY.

0:16:49 > 0:16:53James Brown is just so linked with the Apollo in terms of

0:16:53 > 0:16:56the standard that was set, you know, in the '60s onward.

0:16:56 > 0:16:59It was the peak of the chitlin' circuit,

0:16:59 > 0:17:02so the bands would be touring around, and they would arrive

0:17:02 > 0:17:06in New York City to show off what they had been honing on the road.

0:17:06 > 0:17:10You'd play about six shows a day. Each show is about two hours.

0:17:10 > 0:17:12And that's a lot.

0:17:13 > 0:17:16I remember going there, and I sat in the balcony.

0:17:16 > 0:17:19And there was a sort of older lady sitting next to me

0:17:19 > 0:17:21smoking a big joint.

0:17:21 > 0:17:25And I didn't know that older ladies... You know, I was a kid.

0:17:25 > 0:17:29The James Brown show. It was like a revue show.

0:17:29 > 0:17:32The band would play instrumentals, a female singer would come on,

0:17:32 > 0:17:34Bobby Byrd would come on and sing.

0:17:34 > 0:17:37Then he would come on eventually and do his show.

0:17:46 > 0:17:49I mean, apart from the fact that it was very entertaining,

0:17:49 > 0:17:51I was obviously learning from it, you know?

0:17:51 > 0:17:54Trying to steal everything I could possibly do.

0:17:59 > 0:18:03Seeing him dancing and doing the audience rapport.

0:18:03 > 0:18:05# I... AUDIENCE SCREAMS

0:18:05 > 0:18:09# I lost someone... AUDIENCE SCREAMS

0:18:09 > 0:18:12# A million to one... #

0:18:12 > 0:18:17Especially very young girls would go to the front and be screaming

0:18:17 > 0:18:21and carrying on in all those places where he's...

0:18:21 > 0:18:26he's teasing them to do, you know? He's in total control of them.

0:18:26 > 0:18:29# I want to hear you scream

0:18:29 > 0:18:33# I want to hear you say, "Ow!" AUDIENCE SCREAMS

0:18:33 > 0:18:37# I want to hear you say, "Ow!" AUDIENCE SCREAMS

0:18:37 > 0:18:41# Don't just say, "Ah", say, "Ow!" AUDIENCE SCREAMS

0:18:41 > 0:18:43# And I believe my work will be done. #

0:19:03 > 0:19:05Danny Ray was the so-called cape man.

0:19:05 > 0:19:07He was the guy during Please, Please, Please

0:19:07 > 0:19:10who would drape that cape over Brown.

0:19:12 > 0:19:13James told me that

0:19:13 > 0:19:16he was watching Gorgeous George, the wrestler, one day.

0:19:16 > 0:19:19After the match, they'd throw a cape on him, he said he liked that.

0:19:34 > 0:19:37Between that period of Please, Please, Please and Try Me,

0:19:37 > 0:19:39there were a gazillion singles released,

0:19:39 > 0:19:41and none of them were really catching on.

0:19:41 > 0:19:45He felt like, "Man, if people knew what I was offering on stage,

0:19:45 > 0:19:46"they would come in droves."

0:19:46 > 0:19:51# I found someone to love me... #

0:19:52 > 0:19:56Syd Nathan, who ran King Records, didn't want to back it.

0:19:56 > 0:19:59Mr Brown says, "No, this has got to happen.

0:19:59 > 0:20:02"I know better than this guy, you know, about my audience, about my business."

0:20:02 > 0:20:06Mr Brown paid for the recording himself.

0:20:06 > 0:20:11# I found someone to love me

0:20:12 > 0:20:14# I know it's true... #

0:20:14 > 0:20:16That was a huge album,

0:20:16 > 0:20:19and it was the worst album.

0:20:19 > 0:20:23Strings and stuff all over, cymbals falling,

0:20:23 > 0:20:26and they put that out just like that.

0:20:26 > 0:20:29MUSIC: I'll Go Crazy

0:20:38 > 0:20:41# If you leave me, I'll go crazy

0:20:41 > 0:20:43# If you leave me... #

0:20:43 > 0:20:49Every black household had Live At The Apollo, Volume One.

0:20:49 > 0:20:52Mine included. Like, that album was so powerful,

0:20:52 > 0:20:55DJs would love to play the entire side.

0:20:55 > 0:20:59# If you quit me, I'll go crazy

0:20:59 > 0:21:04# If you forget me I'll go crazy... #

0:21:04 > 0:21:07His first million-seller was Live At The Apollo, Volume One.

0:21:07 > 0:21:11It really just kind of blows up on the national marketplace.

0:21:11 > 0:21:14# You've gotta live for yourself... #

0:21:14 > 0:21:19For an R&B record to be released in England, it had to be quite big.

0:21:19 > 0:21:22Everyone had that record and they played it to death.

0:21:22 > 0:21:25# If you leave me, I'll go crazy... #

0:21:25 > 0:21:28He did want the benefits of crossing over.

0:21:28 > 0:21:32He resented being pigeonholed as a race artist,

0:21:32 > 0:21:36but he embraced what that meant emotionally and culturally,

0:21:36 > 0:21:39so it was a very, very thin line he was walking.

0:21:39 > 0:21:42# You gotta live for yourself Yourself and nobody else

0:21:42 > 0:21:48# You gotta live for yourself Yourself and nobody else... #

0:21:48 > 0:21:52Again and again, we must rise to the majestic heights

0:21:52 > 0:21:56of meeting physical force with soul force.

0:21:58 > 0:22:02We're nonviolent with people who are nonviolent with us.

0:22:05 > 0:22:08My fellow Americans, I am about to sign into law

0:22:08 > 0:22:11the Civil Rights Act of 1964.

0:22:11 > 0:22:15This Civil Rights Act is a challenge to all of us

0:22:15 > 0:22:20to eliminate the last vestiges of injustice in our beloved country.

0:22:23 > 0:22:27The James Brown tour was able to do

0:22:27 > 0:22:31hundreds of shows all over black America,

0:22:31 > 0:22:34grossing about 1 million a year.

0:22:36 > 0:22:41We're talking about '63, '64. He became a millionaire quietly,

0:22:41 > 0:22:45so a lot of what the civil rights movement was trying to do in terms of

0:22:45 > 0:22:50the hope of economic justice, he's already been to the top of that mountaintop.

0:22:50 > 0:22:52He's a civil rights movement of one.

0:23:03 > 0:23:06I'd been in the black community ever since '56,

0:23:06 > 0:23:10but it really started happening for me in 1964.

0:23:10 > 0:23:12I had the pleasure of doing The TAMI Show

0:23:12 > 0:23:16with The Rolling Stones, Gerry And The Pacemakers, The Supremes.

0:23:16 > 0:23:17All the major acts, you know?

0:23:19 > 0:23:23And made white America, for me it was James Brown, and what he was doing.

0:23:25 > 0:23:27The TAMI Show was a major breakthrough.

0:23:27 > 0:23:29It pitted Brown, who had largely

0:23:29 > 0:23:32been confined to the chitlin' circuit,

0:23:32 > 0:23:35against all these artists who were tearing the country up at that time.

0:23:35 > 0:23:37CHEERING AND SCREAMING

0:23:37 > 0:23:40# How do you do what you do to me?

0:23:40 > 0:23:43# If I only knew

0:23:43 > 0:23:48# Then perhaps you'd fall for me Like I fell for you. #

0:23:48 > 0:23:51- MICK JAGGER:- The TAMI Show is not really a show, it was shot like a movie.

0:23:51 > 0:23:54You break for an hour, and then the other act comes on,

0:23:54 > 0:23:55then they break for an hour,

0:23:55 > 0:23:58then they relight and change the audience, the other act comes on.

0:23:58 > 0:24:00SCREAMING

0:24:00 > 0:24:03# Round, round, get around I get around

0:24:03 > 0:24:06# Get around Round, round, I get around... #

0:24:06 > 0:24:11The story goes that James Brown is annoyed that he's not closing the show,

0:24:11 > 0:24:15and so I was asked by the producers of the show to go

0:24:15 > 0:24:16and talk to him, because I knew him.

0:24:16 > 0:24:19I said, "Sure." You know, I was, what, 20 years old.

0:24:19 > 0:24:21I was supposed to talk him down and say,

0:24:21 > 0:24:24"Don't worry, it's a movie, you don't know what's going to happen in the movie,

0:24:24 > 0:24:28"they might cut it whichever way." Which was all true.

0:24:28 > 0:24:32But, I mean, that wasn't really the point as far as James Brown was concerned.

0:24:32 > 0:24:36He wasn't really that mad, but he was a bit pissed off, I think.

0:24:37 > 0:24:41CHEERING AND SCREAMING

0:24:43 > 0:24:47He apparently said something like, "I'm going to kill", you know?

0:24:47 > 0:24:48Well, fine.

0:24:48 > 0:24:50That... That's good.

0:24:50 > 0:24:52He did.

0:24:52 > 0:24:55SCREAMING AND CHEERING

0:24:55 > 0:24:58MUSIC: Out Of Sight

0:25:15 > 0:25:19# Got your high-heeled sneakers on

0:25:19 > 0:25:21# And your slip-in mules

0:25:21 > 0:25:25# You got your high-heeled sneakers on

0:25:25 > 0:25:26# And your slip-in mules

0:25:28 > 0:25:30# All right

0:25:30 > 0:25:31# You know you're out of sight. #

0:25:50 > 0:25:52Baby...

0:26:02 > 0:26:04Baby...

0:26:09 > 0:26:11# Don't leave me... #

0:26:11 > 0:26:14It was definitely an apotheosis.

0:26:14 > 0:26:18You were distraught to where you're just collapsed and begging.

0:26:18 > 0:26:21But somehow the strength sweeps you up

0:26:21 > 0:26:23and then you rise like a phoenix again.

0:26:29 > 0:26:34And people you could watch in the audience would go through this,

0:26:34 > 0:26:36probably reliving their own lives.

0:26:39 > 0:26:42SCREAMING DROWNS OUT SINGING

0:26:42 > 0:26:44# I, I

0:26:44 > 0:26:47# I, I

0:26:47 > 0:26:49# I, I

0:26:49 > 0:26:52# I, baby... #

0:26:54 > 0:26:57HE SCREAMS

0:26:57 > 0:26:59# No

0:26:59 > 0:27:00# No

0:27:00 > 0:27:03# No-o-o

0:27:03 > 0:27:05# Baby... #

0:27:05 > 0:27:08You know, the idea is that he's got to be taken away

0:27:08 > 0:27:11against his own will because it's not good for him to do any more.

0:27:18 > 0:27:21It's obviously an act, but you worry about him.

0:27:25 > 0:27:27Then people would... "Hell, don't take him.

0:27:27 > 0:27:29"He must be looked after," you know,

0:27:29 > 0:27:31"I want to be the one to look after him," you know?

0:27:33 > 0:27:35# Are you ready for the Night Train? #

0:27:38 > 0:27:41When we get to Night Train, Sam the bass player whispered in my ear,

0:27:41 > 0:27:43saying, "Melvin, let's see

0:27:43 > 0:27:46"if those guys are going to be able to keep up with this."

0:27:46 > 0:27:47Night...

0:27:47 > 0:27:48Night...

0:27:48 > 0:27:51He said, "Night, night... Train!"

0:27:51 > 0:27:54BAND PLAYS VERY QUICKLY

0:27:56 > 0:27:59And it was off to the races. Boom, bah! Boom, bah!

0:28:15 > 0:28:18And you know, there's that famous story of Mick Jagger

0:28:18 > 0:28:20standing off the side of the stage watching Brown

0:28:20 > 0:28:23and just being devastated and traumatised.

0:28:50 > 0:28:53No, that's bullshit, because the whole place was cleared

0:28:53 > 0:28:55and, like, they relit the whole thing.

0:28:55 > 0:28:58# Well, baby used to stay out

0:28:58 > 0:29:01# All night long

0:29:01 > 0:29:03# She made me cry

0:29:03 > 0:29:04# She done me wrong

0:29:04 > 0:29:06# She hurt my... #

0:29:06 > 0:29:11Now you're onto another audience and screaming teenage girls.

0:29:11 > 0:29:14I don't think they'd even seen James Brown, and it was hours later.

0:29:22 > 0:29:26# Because I used to love her

0:29:26 > 0:29:28# But it's all over now. #

0:29:28 > 0:29:31So what I said to him was actually true, but if you

0:29:31 > 0:29:36watched the film, you'd see us up against him, so to speak.

0:29:43 > 0:29:46Did he go, "Well, yeah, they're not quite as good as James Brown"?

0:29:46 > 0:29:49Probably, but...

0:29:49 > 0:29:50but you know, whatever.

0:29:55 > 0:29:58We were performing at the Howard Theatre and we were on stage

0:29:58 > 0:30:01and it was such a big ruckus in the audience, you know,

0:30:01 > 0:30:03and I said, "No, we must be getting down,

0:30:03 > 0:30:06"the people are getting crazy out there in the audience, making all

0:30:06 > 0:30:10that noise, jumping up and down." Of course, James Brown in the audience.

0:30:12 > 0:30:17So it was so exciting to meet James Brown. 1965, he was at his peak.

0:30:18 > 0:30:22He asked us, would we like to travel with him? It was like, oh, my God.

0:30:24 > 0:30:27And he gave me the name High.

0:30:27 > 0:30:29My name is Martha Harvin.

0:30:31 > 0:30:33But he said to me one day, "Martha Harvin...

0:30:35 > 0:30:37"That's not a name for the stage.

0:30:37 > 0:30:40"I've got to come up with a name for you.

0:30:40 > 0:30:42"Let me see, what should I call you?

0:30:43 > 0:30:45"I know!

0:30:45 > 0:30:47"I will call you Martha High."

0:30:48 > 0:30:51I said, "Martha High?" "How you like that?"

0:30:51 > 0:30:53And I said, "Oh, OK."

0:30:55 > 0:30:57"Martha High, that's what it's going to be."

0:30:57 > 0:31:01He wanted everything, he wanted your all, and he gave his all.

0:31:05 > 0:31:06# Come here, sister

0:31:07 > 0:31:09# Papa's in the swing

0:31:11 > 0:31:12# Ain't too hip

0:31:14 > 0:31:15# But that new breed babe

0:31:17 > 0:31:18# Ain't no drag

0:31:20 > 0:31:22# Papa's got a brand new bag... #

0:31:24 > 0:31:26Up until Papa's Got A Brand New Bag in 1965,

0:31:26 > 0:31:30all of the James Brown stuff seemed pretty traditional, like,

0:31:30 > 0:31:32kind of coming out of this blues, gospel kind of feel.

0:31:34 > 0:31:38That, coupled with his love for jazz and embracing the unknown,

0:31:38 > 0:31:43it came together as the early ingredients of what we call funk.

0:31:43 > 0:31:45# Doing the Jerk

0:31:45 > 0:31:46# Fly

0:31:46 > 0:31:47# Don't be ashamed

0:31:47 > 0:31:49# You know he ain't shy

0:31:49 > 0:31:50# The Monkey

0:31:50 > 0:31:52# Mashed Potatoes

0:31:52 > 0:31:53# Jump Back Jack

0:31:53 > 0:31:55# See You Later Alligator

0:31:55 > 0:31:56# Come, oh

0:31:58 > 0:31:59# Papa's in the swing

0:32:01 > 0:32:02# Ain't too hip

0:32:04 > 0:32:06# About that new breed, babe... #

0:32:06 > 0:32:09Papa's Got A Brand New Bag had the guitar sound.

0:32:09 > 0:32:14James heard it - "Jimmy, give me this." Jing-a-ling-a-ling-yah! Bang.

0:32:14 > 0:32:17I mean, the funk was just there.

0:32:17 > 0:32:19# Come on

0:32:19 > 0:32:20# Come on

0:32:20 > 0:32:22# Said you're uptight

0:32:22 > 0:32:23# You're out of sight

0:32:25 > 0:32:27# Oh, na, na

0:32:27 > 0:32:30# All right now... #

0:32:30 > 0:32:33Now, what you had was called a vamp.

0:32:33 > 0:32:36Vamps were only used mostly in live performances.

0:32:36 > 0:32:41The vocalist wanted to kind of talk to the audience and jive around.

0:32:41 > 0:32:43# I said I'm gone

0:32:43 > 0:32:44# I'm gone

0:32:44 > 0:32:45# I'm going

0:32:45 > 0:32:48# I'm going

0:32:48 > 0:32:49# Nowhere. #

0:32:49 > 0:32:52Now, of course, in his live shows, he vamped all the time

0:32:52 > 0:32:56but nobody would ever think to go in the studio and record the vamp.

0:32:56 > 0:33:00You don't take a two-bar phrase and repeat it ad nauseam

0:33:00 > 0:33:03and call that a song, but that's exactly what James Brown

0:33:03 > 0:33:06wound up doing through that period.

0:33:06 > 0:33:08# See what you know

0:33:08 > 0:33:09# Come on

0:33:09 > 0:33:10# See what you know

0:33:10 > 0:33:13# That's for you to play on

0:33:13 > 0:33:14# Some... #

0:34:25 > 0:34:29I think, without question, Alfred "Pee Wee" Ellis is

0:34:29 > 0:34:35one of the most important copilots of the James Brown sound.

0:34:43 > 0:34:48Pee Wee's seriousness and his sense of jazz

0:34:48 > 0:34:51and understanding what Mr Brown was going for, I think

0:34:51 > 0:34:54the two of them really were quite a formidable team.

0:35:00 > 0:35:01I got drafted.

0:35:01 > 0:35:04James mentioned to me that he was thinking about

0:35:04 > 0:35:08getting Bobby Bland's drummer, Jabo, to join the group.

0:35:08 > 0:35:11I said, "Yes, that's what you do!"

0:35:11 > 0:35:15James Brown had been listening to Bobby,

0:35:15 > 0:35:18and he sent one of his people

0:35:18 > 0:35:21to ask me if I wanted to join his band.

0:35:21 > 0:35:25He said, "Whatever they are paying you over there with Bobby,

0:35:25 > 0:35:27"I will double that."

0:35:27 > 0:35:29But then you have to understand when I joined that band

0:35:29 > 0:35:32what was going on when I first got there, too.

0:35:33 > 0:35:35Five drummers on stage.

0:35:39 > 0:35:42Maybe two weeks after that, he hired Clyde.

0:35:42 > 0:35:43HE CHUCKLES

0:35:43 > 0:35:47He took me out on stage and there was five drum sets.

0:35:48 > 0:35:52Five drummers on his show. I went, "Oh, my God!"

0:35:52 > 0:35:55You know, "All these drummers, what do you want me for?"

0:35:57 > 0:35:58He says, "Pick out a set of drums.

0:35:58 > 0:36:01"We're going to do a little jam, see what you do."

0:36:01 > 0:36:04And I was scared, number one. I was totally scared.

0:36:04 > 0:36:06I'm going, "God, what am I doing?"

0:36:08 > 0:36:10And I left out of there and went to the dressing room,

0:36:10 > 0:36:13where the band was dressing, and there was Jabo sitting in there.

0:36:13 > 0:36:16I said, "Who you used to play with before you came here?"

0:36:16 > 0:36:18He says, "Bobby Bland." I said...

0:36:18 > 0:36:20"You play with Bobby Bland?!"

0:36:20 > 0:36:21That was one of my favourites!

0:36:21 > 0:36:24And that's when Jabo said, "Man, we're not playing enough,

0:36:24 > 0:36:26"we got to get rid of some of these drummers."

0:36:26 > 0:36:28I go, "Yeah, man, we got to get rid of them!"

0:36:28 > 0:36:32So we start knocking them off till it got down to Jabo and I.

0:36:32 > 0:36:37Jabo's style is more of a blues shuffle...

0:36:37 > 0:36:39HE TAPS A REGULAR BEAT

0:36:42 > 0:36:44My style is...

0:36:44 > 0:36:46HE TAPS AN IRREGULAR FUNK BEAT

0:36:49 > 0:36:53He plays jazz and blues more, and I played funk and soul.

0:36:53 > 0:36:55We took it over. We had it.

0:36:55 > 0:36:57# I feel good... #

0:36:57 > 0:37:00Attention, everyone. James Brown is coming to your area.

0:37:00 > 0:37:03This show everyone has been waiting to see,

0:37:03 > 0:37:04the dynamic king of rock and roll,

0:37:04 > 0:37:07star of stage, screen and television,

0:37:07 > 0:37:09James Brown and his big variety show for '66,

0:37:09 > 0:37:10featuring Bobby Byrd,

0:37:10 > 0:37:12the Famous Flames, James Crawford,

0:37:12 > 0:37:15TV Mama Elsie Mae, The Jewels...

0:37:15 > 0:37:19In the early '60s, he worked almost constantly.

0:37:19 > 0:37:22362 days, probably.

0:37:22 > 0:37:24HE LAUGHS

0:38:08 > 0:38:11Thank you, and greetings, salutations, ladies and gentlemen.

0:38:11 > 0:38:13I'm your MC, Danny Ray.

0:38:13 > 0:38:16I would like to name a few tunes of the past and the present,

0:38:16 > 0:38:19such tunes as Try Me, Signed Sealed And Delivered...

0:38:19 > 0:38:22Out Of Sight, Papa's Got A Brand New Bag,

0:38:22 > 0:38:23I Feel Good!

0:38:23 > 0:38:26Introducing the King of Soul, recently been crowned

0:38:26 > 0:38:30as one of the hardest working entertainers in the world,

0:38:30 > 0:38:34the living legend, the fantastic Mr Dynamite, James Brown!

0:38:34 > 0:38:35BAND PLAYS

0:38:40 > 0:38:44Once he walked on stage, the band, we pay attention to James Brown.

0:38:44 > 0:38:45Nobody else but him.

0:38:45 > 0:38:47HE SCREAMS

0:38:47 > 0:38:49You never took your eye off of him.

0:38:49 > 0:38:52Because, see, he had things that he was doing.

0:38:59 > 0:39:00# Kansas City... #

0:39:00 > 0:39:03I had to keep the time going to the music,

0:39:03 > 0:39:06but really, at any time,

0:39:06 > 0:39:08to accent his move.

0:39:08 > 0:39:09# 12 Street and Vine... #

0:39:09 > 0:39:11Hits, that's what we call hits.

0:39:11 > 0:39:13# Standing on the corner... #

0:39:13 > 0:39:16He'll make the hits, we love to do that, you know,

0:39:16 > 0:39:17we would hit with him

0:39:17 > 0:39:21and he would try to trick us, you know, and we would get him.

0:39:22 > 0:39:25# I'm gone! That's what I tell you... #

0:39:25 > 0:39:28If he would see that you're not watching him,

0:39:28 > 0:39:32he would change the song just like that to throw you off

0:39:32 > 0:39:34and then he'll fine you.

0:39:34 > 0:39:37He would do like this, you know, that would be like 5, 10,

0:39:37 > 0:39:4215, 20, and he'd look at a guy and fine him 15, 20, like that.

0:39:43 > 0:39:48# You've got to change your mind... #

0:39:48 > 0:39:53Oh, God, yeah! That's 30 coming out of your pay,

0:39:53 > 0:39:55but what you don't know...

0:39:55 > 0:39:59There's one more thing I want to say right here... Tighten up, Clyde.

0:40:02 > 0:40:05I guess you could say James Brown was a tyrant, maybe because

0:40:05 > 0:40:08he fought so hard to learn what he was doing

0:40:08 > 0:40:10and learn every aspect of his business,

0:40:10 > 0:40:12he set the bar very, very high.

0:40:12 > 0:40:14INAUDIBLE OVER MUSIC

0:40:43 > 0:40:46There was nobody in the business, period,

0:40:46 > 0:40:49that dressed no better than James Brown's band.

0:40:51 > 0:40:52Oh, man!

0:41:05 > 0:41:08We would play seven days a week,

0:41:08 > 0:41:10change your uniform twice a gig,

0:41:10 > 0:41:13show up every gig pressed, clean,

0:41:13 > 0:41:17I don't know how we did it, I can't even remember how we did it.

0:41:18 > 0:41:22He would look me up and down and say, "Miss High...

0:41:22 > 0:41:24"That dress is getting tight."

0:41:24 > 0:41:28He was very particular about what you wore or how you look.

0:41:29 > 0:41:32We had fines if you didn't have creases in your clothes,

0:41:32 > 0:41:34fines if your shoes weren't together.

0:41:34 > 0:41:38It nearly got to where you had to ride on the bus in a suit and tie.

0:41:40 > 0:41:43Because he always said, "You can't never tell what might happen," or,

0:41:43 > 0:41:47"Somebody might be there, you know, and you'll be already dressed."

0:41:48 > 0:41:52He preached stage decorum, punctuality,

0:41:52 > 0:41:56Mr this, Mr that. Pride. It was all positive.

0:41:58 > 0:42:00As the years went on, and I said,

0:42:00 > 0:42:03"So, the Mr thing, where did that come from?

0:42:03 > 0:42:05He said, "Alan," he says, "you got to understand something.

0:42:05 > 0:42:10"Where I grew up, when I grew up, I was always Jimmy.

0:42:10 > 0:42:12"My name ain't never been Jimmy.

0:42:12 > 0:42:14"If they wouldn't call me James,

0:42:14 > 0:42:17"you knew they really weren't going to call me Mr.

0:42:17 > 0:42:22"But I reached a point where if you were wanting to do business with me,

0:42:22 > 0:42:24"you had to call me Mr

0:42:24 > 0:42:28"and the only way to do that is set the example."

0:42:28 > 0:42:32I realised how that really had contributed

0:42:32 > 0:42:35to his relationships with white people,

0:42:35 > 0:42:39again, particularly in the South, who controlled a lot of the venues.

0:42:39 > 0:42:42Business is a part that you've got to adapt yourself to,

0:42:42 > 0:42:44so you can be prepared for whatever might come up.

0:42:44 > 0:42:46I work with the artists and I'm...

0:42:48 > 0:42:49..for ever and ever talking

0:42:49 > 0:42:52and trying to get the fellas to get their business together.

0:42:59 > 0:43:01HE LAUGHS

0:43:01 > 0:43:05James was in charge of whatever happened with his organisation.

0:43:09 > 0:43:11The manager that he had, Ben Bart,

0:43:11 > 0:43:13it still was James

0:43:13 > 0:43:16made the decisions as to what happened

0:43:16 > 0:43:19because everything had to come through him.

0:43:19 > 0:43:23He saw people like Berry Gordy and what they were accomplishing

0:43:23 > 0:43:25and he wanted to be part that.

0:43:25 > 0:43:28He didn't want to just be that guy who sings and dances,

0:43:28 > 0:43:31but then there was The Ed Sullivan Show.

0:43:32 > 0:43:36I was talking to young Jim Brown, he was born in Augusta, Georgia,

0:43:36 > 0:43:41where he worked on a farm, picked cotton, worked in a coal yard

0:43:41 > 0:43:43and always sang his songs.

0:43:43 > 0:43:48So we are delighted to present James Brown on our stage on this show,

0:43:48 > 0:43:52so let's have a fine welcome for a very fine talent.

0:43:52 > 0:43:53APPLAUSE

0:43:53 > 0:43:56MUSIC: Papa's Got A Brand New Bag

0:44:03 > 0:44:05# Come down here

0:44:06 > 0:44:08# Papa's in the swing

0:44:09 > 0:44:11# He ain't too hip, now... #

0:44:11 > 0:44:13I remember when James Brown was booked to play

0:44:13 > 0:44:15Ed Sullivan for the first time.

0:44:15 > 0:44:18Black radio was promoting it like a major event.

0:44:18 > 0:44:20# Papa's got a brand new bag... #

0:44:23 > 0:44:25# Oh! I feel good

0:44:26 > 0:44:28# I knew that I would, now

0:44:29 > 0:44:31# I feel good... #

0:44:31 > 0:44:34Now, understand that when black artists would come on Ed Sullivan,

0:44:34 > 0:44:40they would usually come on and perform with Ed Sullivan's house band, who were excellent musicians

0:44:40 > 0:44:43but you got no soul out of them at all.

0:44:44 > 0:44:47# When I hold you in my arms

0:44:47 > 0:44:48# I know that I can do no wrong... #

0:44:48 > 0:44:52James Brown made it clear he was coming on one way and one way only,

0:44:52 > 0:44:54and that was with his full band,

0:44:54 > 0:44:57so you were going to see the James Brown show.

0:44:57 > 0:44:58# Like sugar and spice

0:45:00 > 0:45:02# So nice, so nice

0:45:02 > 0:45:03# I got you

0:45:10 > 0:45:12# Yeah!

0:45:12 > 0:45:13# Oh! I feel good

0:45:15 > 0:45:17# Ow!

0:45:18 > 0:45:19# Ow! #

0:45:19 > 0:45:21MUSIC: Ain't That A Groove

0:45:21 > 0:45:23# Looky here... #

0:45:24 > 0:45:26Sullivan was the kind of show where

0:45:26 > 0:45:30the whole family sat in front of the TV on Sunday and watched together,

0:45:30 > 0:45:31so my mum and dad, it's like,

0:45:31 > 0:45:34"Oh, that's James Brown you always talk about."

0:45:34 > 0:45:38# And you know that you're the only fella

0:45:38 > 0:45:40# Ain't that a groove... #

0:45:40 > 0:45:43It was like watching something from outer space for them.

0:45:46 > 0:45:49And I imagine white America probably their jaws dropped.

0:45:53 > 0:45:54# Please!

0:45:54 > 0:45:56# Please!

0:45:56 > 0:45:58# Please, please don't go... #

0:45:58 > 0:46:02So The Ed Sullivan Show was the peak of American musical entertainment at that time.

0:46:02 > 0:46:04# No!

0:46:04 > 0:46:06# Don't leave me, baby!

0:46:06 > 0:46:09- # Don't go! - Yeah! #

0:46:09 > 0:46:13The black community was very proud that he would be on the same show

0:46:13 > 0:46:15that presented Elvis and the Beatles,

0:46:15 > 0:46:17and that catapulted him to a whole new level.

0:46:17 > 0:46:19APPLAUSE

0:46:19 > 0:46:21# Please, please don't go

0:46:23 > 0:46:25# No, don't go... #

0:46:25 > 0:46:28'My act was so revolutionary, they couldn't believe it.

0:46:28 > 0:46:30'I got so much applause in the dress rehearsal,

0:46:30 > 0:46:35'they didn't know whether to keep the dress rehearsal or film it again.'

0:46:35 > 0:46:37APPLAUSE

0:46:38 > 0:46:41'I was "phew" myself. I knew what I had.'

0:46:42 > 0:46:46- Great start.- Thank you very much. - Thank YOU very, very much.

0:46:46 > 0:46:50'Singing was the first step to do the real things that I want to do.'

0:46:50 > 0:46:52Thank you.

0:46:52 > 0:46:55Programmes normally seen at this time will not be broadcast

0:46:55 > 0:46:59in order to bring you this CBS News Special Report...

0:47:01 > 0:47:05I plan to begin my voter registration march into Mississippi

0:47:05 > 0:47:07on Sunday June 5th, 1966,

0:47:07 > 0:47:11from the downtown Memphis Peabody Hotel.

0:47:11 > 0:47:14- NEWSREADER:- They call it the place where the delta begins,

0:47:14 > 0:47:16the Mississippi Delta - rich soil and big plantation

0:47:16 > 0:47:18and a population that is predominantly Negro.

0:47:18 > 0:47:21"If I can walk through Mississippi without harm,"

0:47:21 > 0:47:24Meredith told reporters, "other Negroes will see that they can too."

0:47:24 > 0:47:26Not everyone was glad to see him.

0:47:26 > 0:47:31Two miles further on, Meredith was felled by three shotgun blasts.

0:47:31 > 0:47:34MUSIC: It's a Man's Man's Man's World

0:47:40 > 0:47:42# This is a man's world... #

0:47:42 > 0:47:45From the moment that the civil rights leaders rushed in to continue

0:47:45 > 0:47:48James Meredith's march, there has been a struggle to see whose

0:47:48 > 0:47:52philosophy would guide the steps, the moderates or the militants.

0:47:53 > 0:47:55- What do you want?- Freedom!

0:47:55 > 0:47:57- When do you want it?- Now!

0:47:57 > 0:48:00- How much of it do you want? - All of it!

0:48:00 > 0:48:02We want black power! We want black power!

0:48:04 > 0:48:06- What do you want?- Black power!

0:48:06 > 0:48:10# Man made the cars to take us over the road... #

0:48:10 > 0:48:13As we went down the highway,

0:48:13 > 0:48:16we recognised that we had to overcome our fears

0:48:16 > 0:48:20and we also knew that we had to challenge the old tactics

0:48:20 > 0:48:22and strategies of the civil rights movement.

0:48:22 > 0:48:25It was just too slow for the younger generation.

0:48:25 > 0:48:28We wanted our freedom and we wanted it then.

0:48:28 > 0:48:33- Black power!- What do you want?- Black power!- What do we want!- Black power!

0:48:33 > 0:48:35# This is a man's

0:48:35 > 0:48:38# Man's, man's world... #

0:48:38 > 0:48:41We had some situations where they used tear gas

0:48:41 > 0:48:44and beat the hell out of a lot of people, but we began to recognise

0:48:44 > 0:48:47that we were going to actually make it to the state capital,

0:48:47 > 0:48:50and we said that we needed a major event,

0:48:50 > 0:48:52and who was the better person to carry the message

0:48:52 > 0:48:57we were trying to carry in but a soul singer like James Brown?

0:48:57 > 0:49:00# And after man's made everything

0:49:00 > 0:49:02# Everything he can

0:49:02 > 0:49:05# You know that man makes money

0:49:05 > 0:49:08# To buy from other man... #

0:49:08 > 0:49:11Like a lot of black entertainers,

0:49:11 > 0:49:15as the civil rights movement really begins to pick up steam,

0:49:15 > 0:49:18they had to kind of pick a side.

0:49:18 > 0:49:21He said, "You got to understand, brother,"

0:49:21 > 0:49:24"I didn't believe in nonviolence. You grew up admiring Dr King.

0:49:24 > 0:49:28"I respected him, but I carry two or three guns all the time,

0:49:28 > 0:49:33"but I wanted to reflect the fervour of what was going on."

0:49:33 > 0:49:34# He's lost

0:49:36 > 0:49:38# In the wilderness... #

0:49:38 > 0:49:40When we flew into Jackson,

0:49:40 > 0:49:42they met us out there

0:49:42 > 0:49:44and they had the dogs and the guns.

0:49:44 > 0:49:48They surrounded his plane while we went in to do the concert.

0:49:50 > 0:49:55I don't know if I had enough time to be afraid. It was touchy.

0:49:55 > 0:49:57- NEWSREADER:- At Tougaloo College,

0:49:57 > 0:49:59just eight miles outside of Jackson, Mississippi,

0:49:59 > 0:50:03Hollywood and Broadway's salute to the Meredith marchers.

0:50:04 > 0:50:08The programme has just started, and on the stage right now, James Brown.

0:50:08 > 0:50:10Let's join them there.

0:50:10 > 0:50:12# Stand by me... #

0:50:12 > 0:50:16Dr King and all the other civil rights leaders were working out

0:50:16 > 0:50:20the programme for the next day, and Dr King said, "Look here, y'all,

0:50:20 > 0:50:23"y'all can sit around here and have this argument if you want to.

0:50:23 > 0:50:24"I'm going to see James Brown."

0:50:24 > 0:50:26# I feel good

0:50:26 > 0:50:28# I knew that I would, now

0:50:29 > 0:50:30# I feel good... #

0:50:30 > 0:50:33It was just euphoria all over the place,

0:50:33 > 0:50:35that James Brown is here with us,

0:50:35 > 0:50:40you know, and he said, "Here you are, you marched all the way through

0:50:40 > 0:50:43"and you have fought back and gave a courageous fight."

0:50:43 > 0:50:44He just galvanised the crowd.

0:50:44 > 0:50:46CHEERING

0:50:55 > 0:50:58We have Dr Martin Luther King right before the platform.

0:50:58 > 0:51:00Dr King, what do you think of this rally tonight?

0:51:00 > 0:51:05Oh, it's a marvellous turnout and I'm very happy about the fact that

0:51:05 > 0:51:08so many of our outstanding entertainers have been willing

0:51:08 > 0:51:11to take time out of their very busy schedules

0:51:11 > 0:51:13to be a part of this struggle.

0:51:16 > 0:51:17# Come on, now... #

0:51:17 > 0:51:19On that particular occasion,

0:51:19 > 0:51:22it was James Brown that made the difference.

0:51:22 > 0:51:25He found a way to fit in and contribute, but also

0:51:25 > 0:51:29to learn a lot about the people who were trying to change America.

0:51:30 > 0:51:33Now, James Brown you just witnessed, the rest of the show,

0:51:33 > 0:51:35this is black power, baby.

0:51:35 > 0:51:38CHEERING AND APPLAUSE

0:51:44 > 0:51:46In A Cold Sweat, cut one.

0:51:46 > 0:51:48# One, two

0:51:48 > 0:51:50# One, two, three

0:51:50 > 0:51:53MUSIC: Intro to Cold Sweat

0:51:57 > 0:51:58MUSIC STOPS

0:51:58 > 0:52:00OK, let's get that.

0:52:00 > 0:52:01# Bop hey-yop

0:52:01 > 0:52:04# Bop ba-da-bop'm bop'm bop! #

0:52:04 > 0:52:06Did you get it? That was a pop. OK?

0:52:21 > 0:52:23# Uh! Uh-uh uh-uh

0:52:23 > 0:52:25# Uh-uh uh-uh, uh-uh... #

0:52:28 > 0:52:30HE LAUGHS

0:52:30 > 0:52:31In A Cold Sweat, cut two.

0:52:39 > 0:52:41# I don't care... #

0:52:48 > 0:52:50# Ba-dooba-dooba-dooba-doo

0:52:50 > 0:52:52# Dee-doo ba-dooba-dooba-dee

0:52:52 > 0:52:55# Dee-doo. # So I took the "dee-doo"...

0:53:04 > 0:53:06# Doo-dee'n dee'n doo

0:53:06 > 0:53:07# Doo-dee'n dee... #

0:53:15 > 0:53:16# When you kiss me

0:53:18 > 0:53:20# Oh, you kiss me

0:53:22 > 0:53:24# Hold my hand

0:53:26 > 0:53:28# It makes me understand

0:53:31 > 0:53:32# I'm in a...

0:53:34 > 0:53:36# In a cold sweat. #

0:53:39 > 0:53:43By 1967, when Cold Sweat comes out,

0:53:43 > 0:53:46now he was officially away from the rest of the pack.

0:53:46 > 0:53:48# I don't care... #

0:53:48 > 0:53:49Cold sweat is a vamp.

0:53:49 > 0:53:52# About your wants... #

0:53:52 > 0:53:55But you had all these different parts.

0:53:55 > 0:53:58There was this juxtaposition of something being extremely tight,

0:53:58 > 0:54:00but very loose at the same time,

0:54:00 > 0:54:02and that's what jazz really is all about.

0:54:02 > 0:54:04# Make me, uh

0:54:04 > 0:54:06# Uh!

0:54:06 > 0:54:08# Come on, now... #

0:54:08 > 0:54:12Maceo Parker is probably the most recognisable sound

0:54:12 > 0:54:14of the James Brown Band.

0:54:14 > 0:54:16# Make me, uh

0:54:16 > 0:54:17# Uh!

0:54:18 > 0:54:19# Make them play

0:54:21 > 0:54:23# Or do the playing... #

0:54:23 > 0:54:26When he got to the part where he started calling my name

0:54:26 > 0:54:28to come out and play, this was like, "Wow!"

0:54:28 > 0:54:29# Funky, funky... #

0:54:29 > 0:54:33When I recognised that I could hear the funky side of stuff,

0:54:33 > 0:54:35I said, "Well, I got to use that

0:54:35 > 0:54:38"because everybody can't hear it like I do."

0:54:38 > 0:54:40HE PLAYS A SAXOPHONE RIFF

0:54:40 > 0:54:42And he appreciated that.

0:54:57 > 0:54:59CHEERING

0:54:59 > 0:55:01Now give the drummer some.

0:55:04 > 0:55:06Give the drummer some.

0:55:06 > 0:55:08Give him some. That what you got?

0:55:08 > 0:55:12Now, Clyde Stubblefield, he was almost like part man, part machine.

0:55:20 > 0:55:24Clyde had all these subtleties, this kind of bouncy left hand.

0:55:28 > 0:55:30Hit it! Uh!

0:55:32 > 0:55:34Music, and especially with soul and funk music,

0:55:34 > 0:55:37it's based on a very simple emphasis

0:55:37 > 0:55:38of the one.

0:55:40 > 0:55:42Uh! Ah!

0:55:43 > 0:55:45Now, in gospel music,

0:55:45 > 0:55:48they'll be playing direct rhythm with a tambourine...

0:55:48 > 0:55:50adding grace notes, just little small notes.

0:55:54 > 0:55:56And that's the sound of church.

0:55:56 > 0:55:57Uh! Ah! Hit it!

0:55:57 > 0:56:02Clyde Stubblefield had the perfect grace notes on his snare.

0:56:03 > 0:56:05Uh! Ah! Uh!

0:56:05 > 0:56:07I never took lessons.

0:56:07 > 0:56:09Music to me looked like

0:56:09 > 0:56:11Chinese writing, so I don't know,

0:56:11 > 0:56:13I just played from my heart and soul.

0:56:13 > 0:56:15Come on.

0:56:15 > 0:56:17Uh! Uh! Ah! Uh! Uh! Ah! Yeah!

0:56:19 > 0:56:22Uh! Uh! Uh! Uh!

0:56:22 > 0:56:25Uh! Uh! Uh! Uh! Uh!

0:56:25 > 0:56:28That concept of the one, it changed the emphasis

0:56:28 > 0:56:30from where it had been in jazz.

0:56:30 > 0:56:32In jazz, it had been on the two and the four.

0:56:32 > 0:56:34# Dee-do, dee-do

0:56:34 > 0:56:37# That's one, two, four... #

0:56:37 > 0:56:38Let me count it off. One!

0:56:38 > 0:56:40You move into the funk period, they change the emphasis

0:56:40 > 0:56:43to the one and the three and put it down on the bottom with the drums

0:56:43 > 0:56:45to pick you up, drop you back down.

0:56:45 > 0:56:47HE SCREAMS

0:56:47 > 0:56:48Uh!

0:56:49 > 0:56:51Uh!

0:56:53 > 0:56:55# I don't care

0:56:55 > 0:56:57# Uh!

0:56:57 > 0:56:58# About your day

0:57:00 > 0:57:02# Before the getting... #

0:57:08 > 0:57:09HE SCREAMS

0:57:24 > 0:57:25# I'm in a... #

0:57:27 > 0:57:29Give the band a big round of applause.

0:57:29 > 0:57:32CHEERING AND APPLAUSE

0:57:33 > 0:57:35James had not trained at all,

0:57:35 > 0:57:37which makes it difficult to understand

0:57:37 > 0:57:39what he's talking about, you know.

0:57:45 > 0:57:48He knows that he's working with musicians

0:57:48 > 0:57:53who are the best at what they do. He doesn't care.

0:57:53 > 0:57:56He's like, "Look, I know you can read music.

0:57:56 > 0:57:59"I can't do any of that, but you still got to follow me

0:57:59 > 0:58:01"because I'm the man."

0:58:01 > 0:58:05Judge it, that's right, now tell you what we do, Waymond.

0:58:05 > 0:58:06Stretch your note.

0:58:06 > 0:58:09Well, part two of Get It Together, they're like,

0:58:09 > 0:58:12they're having an open rehearsal right in the middle of the song!

0:58:12 > 0:58:14Now, Pee Wee...

0:58:14 > 0:58:18St Clair, I'm not going to ask you to play jazz, cos your arms are too big.

0:58:18 > 0:58:20And you got too much horn.

0:58:20 > 0:58:23I'm thinking, he left this on the record! This is brilliant!

0:58:23 > 0:58:25"Engineer, I got to go, fade it out."

0:58:25 > 0:58:28You don't say that on the record!

0:58:28 > 0:58:30I was like, "Man, this is raw!"

0:58:30 > 0:58:33Engineer, can you cut this thing down?

0:58:33 > 0:58:36Fade me on out of here, cos I got to leave anyway.

0:58:36 > 0:58:37Fade it on out, I'm gone.

0:58:37 > 0:58:39MUSIC FADES OUT

0:58:39 > 0:58:42When he gets through in the recording studio,

0:58:42 > 0:58:44they would print up his records right there

0:58:44 > 0:58:48next door in the King Studio, so everything was coming out in a day.

0:58:48 > 0:58:51It didn't take no week or nothing. It's just, right there.

0:58:51 > 0:58:55He owned King Studio, not money-wise, but talent-wise.

0:58:55 > 0:58:59There was no other artist who had that kind of control

0:58:59 > 0:59:01or those kinds of resources.

0:59:01 > 0:59:05At that time, his manager, Ben Bart, passed away in 1968.

0:59:05 > 0:59:09From that point on, James Brown was essentially self-managed.

0:59:09 > 0:59:12All he talked about was how much money he was making,

0:59:12 > 0:59:16how big he was. Sometimes he would start a conversation about football

0:59:16 > 0:59:18or baseball, but he'd always

0:59:18 > 0:59:21get right back to what songs we're going to do this time

0:59:21 > 0:59:24and who messed up and stuff like that.

0:59:24 > 0:59:27He never partied with the band. It was a matter of business with us.

0:59:27 > 0:59:30He was mainly with his girlfriends

0:59:30 > 0:59:34and one Sunday in a blue moon, he might ride the bus.

0:59:34 > 0:59:36He didn't have any friends, no close friends,

0:59:36 > 0:59:40he had to force people to be around him. I think he was lonely.

0:59:41 > 0:59:45He grew up with a sense that you really can't trust anybody.

0:59:45 > 0:59:49This is a guy who basically was taught at a very early age

0:59:49 > 0:59:50you can't trust your mother.

0:59:50 > 0:59:54Not saying he didn't love her, but you can't trust her,

0:59:54 > 0:59:55because she's gone.

0:59:56 > 0:59:59He was absolutely haunted by that.

0:59:59 > 1:00:02I remember one night, we were riding around and I told him,

1:00:02 > 1:00:06"Well, you know, I come out of a broken home. My father left."

1:00:06 > 1:00:08He looked at me and said, "Your father left?!

1:00:08 > 1:00:10"My mother and father left me!

1:00:10 > 1:00:13"My father gave me to my aunt. I was raised in a whorehouse."

1:00:13 > 1:00:17He said, "I watched the church women come and turn tricks all day

1:00:17 > 1:00:19"and leave at 4.30 so they'd be at home to cook dinner

1:00:19 > 1:00:23"for their husbands, and they didn't know they were prostitutes."

1:00:23 > 1:00:26To grow up like that, it's hard for you to trust anybody.

1:00:26 > 1:00:29I think it also is why he was a loner,

1:00:29 > 1:00:33and once he came of age, he could never shake that.

1:00:35 > 1:00:38We were in Sacramento and we performed.

1:00:38 > 1:00:44He left without making sure the bus could get us back to the east coast.

1:00:44 > 1:00:46We basically quit.

1:00:46 > 1:00:50Eventually everybody came back to him, but he was angry about it.

1:00:50 > 1:00:54He would remind you, "You left me! You left me!

1:00:54 > 1:00:57"I don't trust you because you left me."

1:00:57 > 1:01:01And I think that was one of his reasons to...of not really

1:01:01 > 1:01:04getting close to anyone in the band.

1:01:04 > 1:01:08Didn't matter where I was. I was always strapped

1:01:08 > 1:01:11because sometimes James had good days, sometimes he had bad days.

1:01:11 > 1:01:15I didn't want to be a part of the bad day.

1:01:15 > 1:01:18We were in Minneapolis, Minnesota, I can't forget that.

1:01:18 > 1:01:21Gertrude Saunders, the wardrobe mistress, come down and said,

1:01:21 > 1:01:23"Hey, Melvin, Maceo,

1:01:23 > 1:01:25"he wants you guys up to the dressing room right now."

1:01:25 > 1:01:29As we walked in the door, Tony Walker, the henchman,

1:01:29 > 1:01:32is strapping on his .45.

1:01:33 > 1:01:36James is doing his hair and looking in the mirror.

1:01:36 > 1:01:43He says, "Maceo, tell me that you picking at me on the bus."

1:01:43 > 1:01:46Put the comb down and he stood up and turned around

1:01:46 > 1:01:48and started to walk toward us.

1:01:48 > 1:01:54And he said, "When we come for you, you better be ready." I could see

1:01:54 > 1:01:57with that left hand he was getting ready to punch Maceo in the mouth

1:01:57 > 1:02:00so that he couldn't play his horn.

1:02:00 > 1:02:05I pushed Maceo to the side and went in my pocket at the same time.

1:02:05 > 1:02:06Pulled it out.

1:02:06 > 1:02:11And when you have that automatic, you always keep one in the chamber.

1:02:11 > 1:02:13Pump it.

1:02:13 > 1:02:17Let him know that it's loaded.

1:02:17 > 1:02:19When I hit it, that .32 shell went up in the air,

1:02:19 > 1:02:22came down...it seems as if it was slow motion,

1:02:22 > 1:02:25and when it landed on the floor, it hit, boom, boom, boom.

1:02:25 > 1:02:30And I stuck it right in his nose and I said, "I'm ready now.

1:02:30 > 1:02:33"What do you want to do? Huh? What do you want to do?"

1:02:33 > 1:02:36He put his hands up and said, "No, no! I didn't mean that.

1:02:36 > 1:02:38"Not like that."

1:02:38 > 1:02:42I said, "You don't come for me. You don't come for my brother."

1:02:42 > 1:02:44And that was that.

1:02:44 > 1:02:46You have to approach him with strength.

1:02:46 > 1:02:50You have to always be a man. And I really loved the guy,

1:02:50 > 1:02:53but I could never say to him, "Hey, man, I love you, man,"

1:02:53 > 1:02:55because he had a way of taking advantage of that

1:02:55 > 1:02:57or taking that for a weakness.

1:02:58 > 1:03:03With men, he ain't that super-tough guy. He wants to be. He's not.

1:03:03 > 1:03:05He is with women.

1:03:05 > 1:03:08Brown would be a super-tough guy with women,

1:03:08 > 1:03:12and the women do what he wants, when he wants.

1:03:12 > 1:03:18I do remember the lady that he was dating when I first joined him.

1:03:18 > 1:03:21She only focused on him.

1:03:21 > 1:03:26She would never turn and look at anyone, not unless he said,

1:03:26 > 1:03:29"Baby, look."

1:03:29 > 1:03:31And then she'll turn around.

1:03:31 > 1:03:34"Hello." He was very jealous.

1:03:34 > 1:03:36He was a very jealous man.

1:03:36 > 1:03:41But I don't think any woman deserves to be beaten.

1:03:41 > 1:03:44I know he was definitely arrested for domestic violence,

1:03:44 > 1:03:46and he has told me he hit women.

1:03:46 > 1:03:49I remember he got into one fight that I was in the hotel.

1:03:49 > 1:03:51I walked him out of the room.

1:03:51 > 1:03:53When I came in, they obviously had been fighting.

1:03:53 > 1:03:55We went down and sat by the pool

1:03:55 > 1:03:58and he looked at me and said, "Don't ever hit a woman.

1:03:58 > 1:04:00"Don't be like me."

1:04:00 > 1:04:03He said, "I come from generations of that. It's wrong."

1:04:03 > 1:04:04# Hey, hey, hey

1:04:10 > 1:04:15# There was a day, there was a time

1:04:17 > 1:04:19# There was a time

1:04:20 > 1:04:22# When I used to dance... #

1:04:22 > 1:04:25Pillage, looting, murder

1:04:25 > 1:04:29and arson have nothing to do with civil rights.

1:04:29 > 1:04:32They are criminal conduct

1:04:32 > 1:04:37and the federal government had no alternative but to respond.

1:04:37 > 1:04:41# Teach the dance I used to do

1:04:41 > 1:04:44# They call it the Mashed Potato... #

1:04:44 > 1:04:48I think we've got to see that a riot is the language of the unheard.

1:04:48 > 1:04:52And what is it that America's failed to hear?

1:04:52 > 1:04:56It has failed to hear that the economic plight of

1:04:56 > 1:04:58the Negro poor has worsened.

1:05:03 > 1:05:06We've got to turn our back on this country.

1:05:06 > 1:05:10This country has never cared about black people.

1:05:12 > 1:05:15Soul is when a man has to struggle all his life

1:05:15 > 1:05:17to be equal to another man.

1:05:17 > 1:05:21Soul is when a man pays tax and still he comes up second.

1:05:21 > 1:05:24Soul is when a man is judged not for what they do

1:05:24 > 1:05:26or what colour they are.

1:05:30 > 1:05:32The rebellions that we see

1:05:32 > 1:05:36are merely dress rehearsals for the revolution that's to come.

1:05:36 > 1:05:38THEY CHANT: Black power!

1:05:38 > 1:05:41We've got some difficult days ahead.

1:05:41 > 1:05:45But I want you to know tonight that we as a people

1:05:45 > 1:05:47will get to the Promised Land!

1:06:05 > 1:06:08# If I ruled the world... #

1:06:08 > 1:06:13At 7.10 this evening, Martin Luther King was shot in Tennessee.

1:06:13 > 1:06:16Martin Luther King, 20 minutes ago, died.

1:06:17 > 1:06:20# Like the first day of spring

1:06:23 > 1:06:28# Every voice would be a voice to be heard

1:06:28 > 1:06:30# Take my word... #

1:06:30 > 1:06:35Probably the most important show of James Brown's career is April, 1968.

1:06:35 > 1:06:39Martin Luther King had just been assassinated

1:06:39 > 1:06:42and all of American is erupting in violence.

1:06:42 > 1:06:49# My world is such a beautiful place... #

1:06:49 > 1:06:52We were on the way to Boston to a show.

1:06:52 > 1:06:56We knew that Dr King had got shot, he was dead,

1:06:56 > 1:06:58and we didn't know what that meant for us.

1:06:58 > 1:07:02The band was kind of fearful.

1:07:02 > 1:07:06The mayor really didn't want James to come and do that show.

1:07:06 > 1:07:09But that city councilman told him up front,

1:07:09 > 1:07:12"If you don't let him do that show,

1:07:12 > 1:07:15"they're going to try and burn this city down." He was serious.

1:07:15 > 1:07:20They were poised to do just that.

1:07:20 > 1:07:26# There'd be happiness that no man could end... #

1:07:26 > 1:07:29I think there's reason for apprehension, but not a line.

1:07:29 > 1:07:31Boston has great hope.

1:07:31 > 1:07:35I think we're a mature, patient community.

1:07:35 > 1:07:37And I hope we're going weather this.

1:07:37 > 1:07:41You've turned the Brown concert into a memorial service.

1:07:41 > 1:07:43We're going to broadcast that live.

1:07:43 > 1:07:48And I assume you feel that that will have an affect in the community.

1:07:48 > 1:07:52I'm hoping it's one valve that will let off some steam.

1:07:52 > 1:07:55And I think it's an appropriate place to have it

1:07:55 > 1:07:57because it's a peaceful gathering,

1:07:57 > 1:08:00and that's synonymous with everything that King did.

1:08:00 > 1:08:05In Augusta, Georgia, I used to shine shoes on the steps of a...

1:08:05 > 1:08:06Thank you.

1:08:06 > 1:08:09..in front of a radio station called WRDW.

1:08:09 > 1:08:11I used to shine shoes in front of that station.

1:08:11 > 1:08:13I think we started off... I used to get three cents,

1:08:13 > 1:08:16then up to five cents and I finally got to six cents.

1:08:18 > 1:08:20But now I own that station.

1:08:20 > 1:08:23CROWD CHEERS

1:08:23 > 1:08:25You know what that is?

1:08:26 > 1:08:28That's black power.

1:08:35 > 1:08:37# When you touch me

1:08:39 > 1:08:40# When you touch me

1:08:40 > 1:08:42# Good God

1:08:42 > 1:08:44# I can't stand it

1:08:46 > 1:08:47# Can't stand it

1:08:49 > 1:08:50# I can't stand your love

1:08:50 > 1:08:52# Good God... #

1:08:55 > 1:08:58Wait a minute. MUSIC STOPS

1:08:58 > 1:08:59I'll be all right. I'll be fine.

1:09:04 > 1:09:06I'm all right.

1:09:08 > 1:09:10You want to dance? Dance.

1:09:10 > 1:09:15People started rushing on the stage and we weren't playing no more.

1:09:15 > 1:09:18But they came on, getting ready to come up on the stage.

1:09:18 > 1:09:20And, uh...

1:09:20 > 1:09:22the police was pushing them.

1:09:22 > 1:09:24The guards and everything was pushing them off the stage

1:09:24 > 1:09:27and Brown says, "Hold it!"

1:09:27 > 1:09:31Wait a minute. They all right. It's all right.

1:09:33 > 1:09:36INDISTINCT CHATTER

1:09:36 > 1:09:40- MAN:- You the man. - Wait a minute.

1:09:40 > 1:09:41Let me finish the show.

1:09:41 > 1:09:43I didn't know what to say about that myself.

1:09:43 > 1:09:45I'm sitting still just waiting.

1:09:45 > 1:09:47Like, "Whoa! What's going on?"

1:09:47 > 1:09:50This is no way. We are black! We are black!

1:09:51 > 1:09:53Wait a minute.

1:09:53 > 1:09:55Can't you all go down and let's do this show together?

1:09:55 > 1:09:58We're black. Don't make us all look bad. Let me finish doing the show.

1:09:58 > 1:10:00Come off the stage.

1:10:02 > 1:10:05Get down. That's all right.

1:10:05 > 1:10:08You're not being fair to yourself and me either.

1:10:10 > 1:10:12I asked the police to step back

1:10:12 > 1:10:15because I think I could get some respect from my own people.

1:10:15 > 1:10:17And are we together?

1:10:17 > 1:10:21CROWD CHEERS

1:10:21 > 1:10:23Hit the thing, man.

1:10:26 > 1:10:31I was like, "Oh, my God! You did not just stop the show?!"

1:10:31 > 1:10:34Told people off and be like, "All right, let's get it together.

1:10:34 > 1:10:37"Hit it."

1:10:37 > 1:10:38# Good God

1:10:38 > 1:10:39# Can't stand your love... #

1:10:39 > 1:10:43If I were in the band, I would have been like, "That's my cue. Goodbye.

1:10:43 > 1:10:47"See you. Looks like a riot about to break out. I'm out, James."

1:10:47 > 1:10:49# Good God... #

1:10:49 > 1:10:52He held that crowd like he was the king,

1:10:52 > 1:10:54and they respected him.

1:10:55 > 1:10:58He cleared 'em up

1:10:58 > 1:11:01and there was no more fighting or nothing.

1:11:01 > 1:11:03It could have been a turnout at that place.

1:11:03 > 1:11:06He was damn good.

1:11:09 > 1:11:12Boston was one of the few cities that avoided

1:11:12 > 1:11:15any sort of retaliation in the inner cities.

1:11:15 > 1:11:19Everyone stayed calm. Trouble was very minimal.

1:11:27 > 1:11:31We would like to announce that the city is very quiet and calm.

1:11:31 > 1:11:32And reports also say that

1:11:32 > 1:11:35everyone is home watching their TV programme.

1:11:35 > 1:11:40So, I think the fact that we do have the television cameras

1:11:40 > 1:11:43here...I think it was a big success.

1:11:45 > 1:11:48I wanted to see people get off the streets. I wanted them to calm down.

1:11:48 > 1:11:52I didn't want to see no more bloodshed and lives lost

1:11:52 > 1:11:58because I understood what they were fighting for.

1:12:01 > 1:12:04Around the country I've been doing a lot of things.

1:12:04 > 1:12:06I guess I'm real concerned about people.

1:12:06 > 1:12:07Overlooking the city,

1:12:07 > 1:12:11overlooking Harlem, I've seen all the torn buildings.

1:12:11 > 1:12:14Buildings are still standing that should be removed.

1:12:14 > 1:12:16You know who live there?

1:12:16 > 1:12:18The black people.

1:12:18 > 1:12:20In Washington,

1:12:20 > 1:12:23the houses that we were walking in front of were condemned

1:12:23 > 1:12:25and no-one can be living in these houses.

1:12:25 > 1:12:28I went to Watts and found a lot of people

1:12:28 > 1:12:31staying in the area that didn't have nothing to offer.

1:12:31 > 1:12:35I went from black America and I started talking to white America.

1:12:35 > 1:12:37And I was saying, "These are the things that have to be done.

1:12:37 > 1:12:40"We need education."

1:12:40 > 1:12:44We got to go to the people that are not even surviving.

1:12:44 > 1:12:46My fight is just starting.

1:12:46 > 1:12:51My fight is against the past, the old coloured man.

1:12:51 > 1:12:57My fight now is for the black America become American.

1:13:02 > 1:13:05Everybody thought when James Brown cut his hair

1:13:05 > 1:13:06and went natural, that was it.

1:13:06 > 1:13:10That was the height of the black power era.

1:13:13 > 1:13:15James Brown was known for his hair.

1:13:15 > 1:13:20He was absolutely fascinated with the conk, as we called it.

1:13:20 > 1:13:22And for him to give it up was to show

1:13:22 > 1:13:27he ultimately did feel that blacks needed to learn their natural pride.

1:13:27 > 1:13:29Hello, this is Don Warden. You're on Black Dignity.

1:13:29 > 1:13:32- WOMAN:- I wanted to say that I'm glad that you got rid of the stuff

1:13:32 > 1:13:34you had in your hair

1:13:34 > 1:13:37and I wish everybody were a natural and be what they're supposed to be.

1:13:37 > 1:13:40How you going to get respect? I'm black and proud.

1:13:40 > 1:13:44# Uh, with your bad self

1:13:44 > 1:13:46# Say it loud

1:13:46 > 1:13:48# I'm black and I'm proud

1:13:48 > 1:13:49# Say it loud

1:13:49 > 1:13:53# I'm black and I'm proud

1:13:53 > 1:13:55# Some people say we got a lot of malice

1:13:55 > 1:13:57# Some say it's a lot of nerve

1:13:57 > 1:13:58# I say we won't quit moving

1:13:58 > 1:14:00# Until we get what we deserve

1:14:00 > 1:14:04# We've been 'buked and we've been scorned... #

1:14:04 > 1:14:07He told me, "I was in Los Angeles and there was all this infighting,

1:14:07 > 1:14:09"this crime and all."

1:14:09 > 1:14:13And he said that, "I'd looked and I said to myself, 'We've lost our pride.'"

1:14:13 > 1:14:18He said, "I went to my room and I sat and started writing on a napkin."

1:14:19 > 1:14:24On the spur of the moment, it became a song that literally changed

1:14:24 > 1:14:26the social dynamics of the United States.

1:14:26 > 1:14:28# I'm black and I'm proud

1:14:29 > 1:14:34# I've worked on jobs with my feet and my hands

1:14:34 > 1:14:37# But all the work I did was for the other man

1:14:37 > 1:14:39# And now we demand a chance

1:14:39 > 1:14:41# To do things for ourselves

1:14:41 > 1:14:44# We tired of beating our heads against the wall

1:14:44 > 1:14:46# And working for someone else

1:14:46 > 1:14:48- # Say it loud - I'm black and I'm proud... #

1:14:48 > 1:14:51Mr Brown is the number one soul brother of the United States.

1:14:51 > 1:14:53He's black and he's proud.

1:14:53 > 1:14:56- He brings out the good in me. - He's like the preacher.

1:15:00 > 1:15:03The first thing, a man has to be a man, and when we said "Negro",

1:15:03 > 1:15:06this is a term that's been used so many times,

1:15:06 > 1:15:08but I don't care for that term.

1:15:08 > 1:15:11I'd rather be a black man, cos that's identity.

1:15:11 > 1:15:13A black man is a man who wants to pay his own way,

1:15:13 > 1:15:16wants to earn his own keep, a man that stands up among men.

1:15:16 > 1:15:19You see, when you stand up in the States, they say, "You're militant."

1:15:19 > 1:15:21But I say, "You're a man."

1:15:22 > 1:15:23# Say it loud

1:15:23 > 1:15:25# I'm black and I'm proud

1:15:25 > 1:15:26# Say it loud... #

1:15:26 > 1:15:29As an eight-year-old, saying, "Say it loud, I'm black and I'm proud,"

1:15:29 > 1:15:30was very clear.

1:15:30 > 1:15:34I remember defining myself as these American terms of Negro

1:15:34 > 1:15:36to coloured to black, because of that one song,

1:15:36 > 1:15:39and black was beautiful, the beginning of being beautiful.

1:15:41 > 1:15:44I was 13, and it was revolutionary,

1:15:44 > 1:15:46because not only did some whites

1:15:46 > 1:15:48look down on us, there were

1:15:48 > 1:15:51many light-skinned blacks that looked down on dark-skinned blacks.

1:15:51 > 1:15:56And overnight, dark-skinned girls became the thing you wanted.

1:15:56 > 1:15:59Overnight, James Brown changed our whole teenage life.

1:16:01 > 1:16:03# Say it loud

1:16:03 > 1:16:04# I'm black and I'm proud... #

1:16:08 > 1:16:11There was this fear that he had alienated his white audience

1:16:11 > 1:16:14and white people began to be afraid to come to the shows.

1:16:14 > 1:16:16I don't think that was his plan at all.

1:16:16 > 1:16:20Brown's whole sound is an assertion of black beauty and black pride.

1:16:24 > 1:16:27There is a black revolution taking place on many campuses now.

1:16:27 > 1:16:28What is your feeling about this?

1:16:29 > 1:16:31Well, that's very complicated.

1:16:31 > 1:16:33The blacks on the campus in the first place

1:16:33 > 1:16:34are complete separatists.

1:16:34 > 1:16:35The campuses I've visited.

1:16:35 > 1:16:37They don't associate with the whites,

1:16:37 > 1:16:39they don't eat with the whites.

1:16:39 > 1:16:41They advocate their own dormitories.

1:16:41 > 1:16:44They seem to me to be going back in time to separatism

1:16:44 > 1:16:46when there was a white society and a black society.

1:16:46 > 1:16:48I got to disagree with you there.

1:16:48 > 1:16:50I think it's wrong for blacks to eat with blacks

1:16:50 > 1:16:51and whites to eat with whites.

1:16:51 > 1:16:54- Wait a minute.- We have been fighting for ever to get together.

1:16:54 > 1:16:56Why can't I know about me if you know about yourself?

1:16:56 > 1:17:00I know more about you than you do about me. You know nothing about me.

1:17:00 > 1:17:03- That's probably true, Jimmy, but... - But I have to know this.

1:17:03 > 1:17:06Do you call yourself a man knowing that I paid taxes same as you?

1:17:06 > 1:17:08Stay right here and use my sweat and blood to help build this country

1:17:08 > 1:17:11and I got to be a second- or third-class citizen.

1:17:11 > 1:17:12Do you call that American?

1:17:12 > 1:17:15- I believe you ought to be as good as me and...- Ought to be?!

1:17:15 > 1:17:17I know I'm as good as you.

1:17:17 > 1:17:19What do you mean, "Ought to be"?

1:17:19 > 1:17:23But the conditions... You haven't had a fair crack at it.

1:17:23 > 1:17:26A fair crack?! How long it take, man?

1:17:26 > 1:17:29- I'm 36 years old. When am I supposed to be a grown man?- Now.

1:17:29 > 1:17:32I was a grown man at 21, man. Not 36.

1:17:33 > 1:17:36- Jimmy, I'm on your side. - Is there such a thing...?

1:17:36 > 1:17:37Is there such a thing...?

1:17:37 > 1:17:40I'm not mad, I'm just disappointed in you being ignorant

1:17:40 > 1:17:42to what's going on. You just don't know what's happening.

1:17:42 > 1:17:45This is not really a joke because you're laughing at something

1:17:45 > 1:17:46that's going to be a big problem.

1:17:46 > 1:17:49You've kids out there that can't eat and they're robbing

1:17:49 > 1:17:51and stealing, doing what they have to do to make it.

1:17:51 > 1:17:54And if you don't do something about it, we going to lose the country.

1:17:54 > 1:17:56There's a new survey out today...

1:17:56 > 1:17:59We don't want the survey. The survey is out there in the street.

1:17:59 > 1:18:02APPLAUSE

1:18:02 > 1:18:06- Wait a minute, Jimmy.- You can't have...- Wait, James, tell me...

1:18:06 > 1:18:09- You got to open your ears.- My ears been open, have your eyes been open?

1:18:12 > 1:18:17Nixon's the one. His lead over Humphrey was so close but he won it.

1:18:17 > 1:18:19And in winning that, he won the Presidency.

1:18:20 > 1:18:24According to statistics, only 10% of the black vote was cast for Nixon.

1:18:24 > 1:18:28The President has proposed several plans which he claims

1:18:28 > 1:18:31will assist the African-American to get a piece of the action.

1:18:31 > 1:18:33The President calls it "black capitalism".

1:18:36 > 1:18:40Richard Nixon saw that there was this desire among professional

1:18:40 > 1:18:44middle-class members of the black community to make it in America.

1:18:47 > 1:18:51James Brown was privately very politically conservative.

1:18:53 > 1:18:55He supported Humphrey in '68,

1:18:55 > 1:18:58but James Brown believed in boot-strap economics.

1:18:58 > 1:18:59Lift yourself up.

1:18:59 > 1:19:05So, the appeal of Richard Nixon, which was a total,

1:19:05 > 1:19:09total atrocity to me, to James Brown was black capitalism.

1:19:20 > 1:19:21# I don't want nobody

1:19:21 > 1:19:22# To give me nothing

1:19:22 > 1:19:24# Open up the door

1:19:24 > 1:19:26# I'll get it myself... #

1:19:28 > 1:19:31We got a food franchise getting started called Gold Platter.

1:19:31 > 1:19:33It's basically set up to get the black man

1:19:33 > 1:19:36into owning his own business.

1:19:38 > 1:19:40It's geared to the ghetto, cos I think every man should help

1:19:40 > 1:19:44what he understands and where it's needed most.

1:19:44 > 1:19:47# Don't give me degeneration

1:19:47 > 1:19:49# Give me true communication... #

1:19:49 > 1:19:53And we have the James Brown food stamps, which is very important.

1:19:53 > 1:19:55This is the idea of us getting together,

1:19:55 > 1:19:58an idea of us keeping the money in the black community.

1:19:58 > 1:20:02If we can keep the turnover going, then we shall overcome,

1:20:02 > 1:20:04only if we all come over.

1:20:07 > 1:20:08# Let's get our heads together

1:20:08 > 1:20:10# And get it up from the ground

1:20:12 > 1:20:13# When some of us make money

1:20:13 > 1:20:15# People hear about our people... #

1:20:17 > 1:20:21If I could give you one specific James Brown song where the one

1:20:21 > 1:20:24is underlined, bold, and italic,

1:20:24 > 1:20:28I would say I Don't Want Nobody To Give Me Nothin'.

1:20:28 > 1:20:31# Gotta have it

1:20:31 > 1:20:33# I need it

1:20:33 > 1:20:35# Give it to me, now... #

1:20:35 > 1:20:37The James Brown hard beat was the one.

1:20:37 > 1:20:40It's the beat, but it's also that you're the one,

1:20:40 > 1:20:41you're setting the tone,

1:20:41 > 1:20:43you're the trailblazer.

1:20:46 > 1:20:49He told me, "You can't be big and small at the same time.

1:20:49 > 1:20:51"You got to be the one. Got to be the one."

1:20:52 > 1:20:54# I don't want nobody

1:20:54 > 1:20:56# To give me nothing

1:20:56 > 1:20:58# Open up the door

1:20:58 > 1:21:00# I'll get it myself

1:21:00 > 1:21:03# I'm not gonna tell you what to do

1:21:03 > 1:21:04# I'm not gonna raise a fuss

1:21:04 > 1:21:06# But before you make another move

1:21:06 > 1:21:08# Let's start by taking care of us... #

1:21:08 > 1:21:12At that time, Nixon was preaching self-reliance

1:21:12 > 1:21:17and not really espousing systematic structural change in society.

1:21:17 > 1:21:19And, in a way, that fed into Brown's

1:21:19 > 1:21:21own illusion that he had done it himself.

1:21:21 > 1:21:25And that if he could do it, others could do it, just by working hard.

1:21:25 > 1:21:27# I don't want nobody

1:21:27 > 1:21:28# To give me nothing... #

1:21:28 > 1:21:30But the fact of the matter is,

1:21:30 > 1:21:33Brown was a supernaturally talented individual.

1:21:33 > 1:21:35Not everyone else is that talented.

1:21:35 > 1:21:36Or that ruthless... Or that driven.

1:21:36 > 1:21:38# Gotta go

1:21:38 > 1:21:40# Gotta go

1:21:40 > 1:21:42# Gotta go

1:21:42 > 1:21:45# Hey, hey, hey

1:21:45 > 1:21:46# Gotta go

1:21:46 > 1:21:47# Gotta go

1:21:47 > 1:21:50# Hey. #

1:21:55 > 1:21:57APPLAUSE

1:21:57 > 1:22:00Thank you.

1:22:00 > 1:22:05He said he was a businessman, but he never took care of business,

1:22:05 > 1:22:08he just hung on to his money.

1:22:08 > 1:22:12When he tried to own a radio station, they failed.

1:22:12 > 1:22:14Restaurant, they failed, you know?

1:22:14 > 1:22:18This is a man who would pack out an auditorium.

1:22:18 > 1:22:21Take boxes of money out the auditorium, you know,

1:22:21 > 1:22:22and not pay the band.

1:22:22 > 1:22:26When you got ready to get paid, "We don't have all of the money,

1:22:26 > 1:22:28"we're going to pay you this amount

1:22:28 > 1:22:30"and you'll get the rest the next couple of days,"

1:22:30 > 1:22:33and sometimes it would happen and sometimes it wouldn't.

1:22:33 > 1:22:36Actually, we didn't get nothing from anything, it was just a salary.

1:22:36 > 1:22:42The most money I made with Brown was 300, and I don't remember

1:22:42 > 1:22:47getting any cheques for recording, it was just my regular salary.

1:22:47 > 1:22:50I had gotten to be sort of like a handyman, you know?

1:22:50 > 1:22:56For whatever reason, James would say, "Maceo could do that."

1:22:57 > 1:22:59And I hear him from a distance saying...and I say,

1:22:59 > 1:23:01"Oh, Lord, what is he getting me in to now?"

1:23:01 > 1:23:05He and I got together and said, "Man, I'm working hard.

1:23:05 > 1:23:08"Am I being funded for all this work?"

1:23:08 > 1:23:10And the answer to that was, "No."

1:23:12 > 1:23:15His attitude towards politics was the same as he took

1:23:15 > 1:23:17towards his music.

1:23:17 > 1:23:18HE SCREAMS

1:23:18 > 1:23:21# Please, please, please... #

1:23:21 > 1:23:25On stage, he was the frontman who channelled the energy

1:23:25 > 1:23:27coming from the band in a totally unique way,

1:23:27 > 1:23:31but it's very easy to fall into the illusion that it's all from you.

1:23:34 > 1:23:36# Baby, you done me wrong... #

1:23:36 > 1:23:39There's no way that the James Brown sound would have come together

1:23:39 > 1:23:41without the Maceos, the Freds, the Pee Wees,

1:23:41 > 1:23:44the Clyde and on down the line.

1:23:45 > 1:23:48If it wasn't for Pee Wee, we wouldn't know what to do.

1:23:58 > 1:24:02When I came to work for him in November of '69,

1:24:02 > 1:24:05the thing that I sensed once I got behind the scenes

1:24:05 > 1:24:08was the discontent in the band.

1:24:08 > 1:24:11The band had just reached the point where they said,

1:24:11 > 1:24:16"We don't need to take this," and they listed their gripes

1:24:16 > 1:24:20one by one, and James is not the kind of guy to be intimidated.

1:24:20 > 1:24:26He's like a stone. "I will not be moved."

1:24:26 > 1:24:28What happened is, he sent Bobby Byrd to Cincinnati

1:24:28 > 1:24:31to round up Bootsy Collins, his brother Catfish,

1:24:31 > 1:24:34and their little group, they had a five- or six-piece band.

1:24:34 > 1:24:36He had Bobby bring them down to Georgia.

1:24:36 > 1:24:42We came in a James Brown Lear jet, sent a limo to the club

1:24:42 > 1:24:44over in this rathole where we was playing at, you know,

1:24:46 > 1:24:49and picked us up and everyone was looking at us like, "Wow!"

1:24:50 > 1:24:53We was like, "Yeah. James Brown."

1:24:54 > 1:24:57But we don't find out what he really wanted

1:24:57 > 1:24:59until we actually got there.

1:25:00 > 1:25:03He parades towards the stage with this new band.

1:25:03 > 1:25:06So, the old guys are just sitting there, holding their instruments,

1:25:06 > 1:25:10in uniforms, watching Bootsy and these guys walk on stage.

1:25:10 > 1:25:12That was the sad part.

1:25:12 > 1:25:15Because they were our heroes.

1:25:15 > 1:25:19And we could see that he was mad about something,

1:25:19 > 1:25:21we didn't know what it was.

1:25:21 > 1:25:24Everybody got their bags and instruments

1:25:24 > 1:25:28and took cabs or rented cars, everybody left.

1:25:28 > 1:25:30And I'm the only somebody that was left.

1:25:30 > 1:25:32I guess he didn't want to get into details

1:25:32 > 1:25:35because the people were at riot stage.

1:25:35 > 1:25:38He didn't have no time for no explanations.

1:25:38 > 1:25:41Plus, we didn't need no explanations.

1:25:41 > 1:25:43"What do you want us to do? We're ready."

1:25:46 > 1:25:49MUSIC: Give It Up Or Turn It Loose by James Brown

1:25:55 > 1:25:57# Good God, get it

1:25:57 > 1:25:59# Baby

1:26:01 > 1:26:02# Baby

1:26:02 > 1:26:05# Give it up

1:26:05 > 1:26:06# Turn it loose

1:26:06 > 1:26:08# All right, now... #

1:26:13 > 1:26:15I see a few new faces in the band.

1:26:15 > 1:26:17Yes, this is a new breed band.

1:26:17 > 1:26:20Kids like to see the young kids playing, that's the idea.

1:26:23 > 1:26:25These were definitely his peak years.

1:26:25 > 1:26:28So, to lose his band and have that kind of a transition

1:26:28 > 1:26:30was pretty shocking.

1:26:30 > 1:26:32And those of us in the office were really worried about it.

1:26:32 > 1:26:35I'll never forget the first show that I saw with the new band, which

1:26:35 > 1:26:40was about a week or two into their tenure, to me sounded horrible.

1:26:43 > 1:26:46I had to be something like around 17, 18.

1:26:46 > 1:26:48I wanted to go out there and have fun, you know?

1:26:48 > 1:26:50I want to get girls like my brother gets girls.

1:26:50 > 1:26:55James said, "No, son. Nup. Can't go out there and play tonight.

1:26:55 > 1:26:57"You got to ride with me."

1:26:58 > 1:27:01He wanted to know what was on my mind.

1:27:01 > 1:27:05"Why are you laughing at my shoes? What's wrong with my cape?"

1:27:05 > 1:27:09You know what I'm saying? I mean, you know...

1:27:09 > 1:27:12He wanted to know, you know,

1:27:12 > 1:27:15what a young kid... how he thought about it.

1:27:15 > 1:27:20I remember flying on a jet with him.

1:27:20 > 1:27:22He'd be telling jokes, I mean...

1:27:22 > 1:27:25He was the worst joke teller, my God.

1:27:25 > 1:27:27But he would be cracking up.

1:27:27 > 1:27:30And then he'd act like he'd go to sleep on you.

1:27:32 > 1:27:36He'd bow his head a little bit, then he'd shut one eye,

1:27:36 > 1:27:39and then he'd keep the other eye on you.

1:27:39 > 1:27:41That's what he did to me all the time.

1:27:41 > 1:27:45I'd say, "Don't you go to sleep at all?"

1:27:45 > 1:27:49"Nah, 75% business, 25% music."

1:27:51 > 1:27:54He said, "Watch me and get yourself together."

1:27:54 > 1:27:57It ain't just coming out here lollygagging

1:27:57 > 1:28:01and having a good time, he wanted me to see that it took hard work.

1:28:01 > 1:28:03I'm like, "What?"

1:28:14 > 1:28:16And James Brown,

1:28:16 > 1:28:19he went on tour with a new style that was coming in.

1:28:22 > 1:28:28It really started with James Brown teaching me about the one.

1:28:28 > 1:28:30"Just give me the one, then you can play all that other stuff.

1:28:30 > 1:28:33"If you give me that one, you can play that."

1:28:33 > 1:28:36And he would tell me that every night.

1:28:37 > 1:28:39"Nup, you ain't got it son. Nup.

1:28:39 > 1:28:42"No, son. You ain't got it."

1:28:42 > 1:28:46It was so cold, it was like, "Damn."

1:28:57 > 1:28:59# Ain't it funky, now... #

1:28:59 > 1:29:02Little did I know that the way he was drilling us

1:29:02 > 1:29:05was all the encouragement we really needed.

1:29:05 > 1:29:08Because it made me want to practise harder.

1:29:09 > 1:29:10# Ain't it funky, now

1:29:10 > 1:29:12# Bounce

1:29:12 > 1:29:14# Ain't it funky, now

1:29:14 > 1:29:15# Bounce

1:29:15 > 1:29:16# Ahhh!

1:29:18 > 1:29:20# Come on, uh

1:29:20 > 1:29:22# Come on

1:29:22 > 1:29:24# All right

1:29:24 > 1:29:26# Do it again

1:29:26 > 1:29:28# Come on... #

1:29:28 > 1:29:31He always said, "Catfish understood."

1:29:31 > 1:29:34Cos Catfish was older than me.

1:29:34 > 1:29:37He went wild, like me.

1:29:37 > 1:29:40He really loved my brother, I could see the love.

1:29:43 > 1:29:44# Come on

1:29:44 > 1:29:45# Come on

1:29:45 > 1:29:48# Come on... #

1:29:51 > 1:29:55Bootsy and Catfish, they brought a complete different rhythm.

1:29:58 > 1:30:01# Come on... #

1:30:01 > 1:30:05I had to adjust to playing with them playing James' stuff.

1:30:08 > 1:30:10Give them a big round of applause.

1:30:11 > 1:30:14He took the funk from the drums and put it in the bass.

1:30:14 > 1:30:16Uh, get it!

1:30:18 > 1:30:20Come on!

1:30:20 > 1:30:22Do it!

1:30:22 > 1:30:23Come on!

1:30:32 > 1:30:35APPLAUSE

1:30:36 > 1:30:38Hit it!

1:30:38 > 1:30:42It was a life-changing moment. We got these rehearsals, we got tight.

1:30:47 > 1:30:49Bootsy Collins.

1:30:52 > 1:30:54Some organ.

1:30:54 > 1:30:56James starts digging it, you know, he starts grooving.

1:30:56 > 1:30:59He starts opening up after he starts seeing that

1:30:59 > 1:31:01it was somewhere else to go.

1:31:01 > 1:31:04And it was on, then.

1:31:04 > 1:31:05- Fellas.- Yeah.

1:31:05 > 1:31:06- Fellas.- Yeah.

1:31:06 > 1:31:07- Fellas.- Yeah.

1:31:07 > 1:31:08- Fellas.- Yeah.

1:31:08 > 1:31:10I'm ready to get up and do my thing.

1:31:10 > 1:31:12Yeah.

1:31:12 > 1:31:13I want to get up and do my thing.

1:31:13 > 1:31:15Yeah.

1:31:15 > 1:31:19- Like a...- What?- Like a...- What?

1:31:19 > 1:31:21Like a sex machine.

1:31:21 > 1:31:23- Can I count it off?- Count it off. - Can I count it off?- Count it off.

1:31:23 > 1:31:25One, two, three, four!

1:31:27 > 1:31:29- # Get up - Get on up

1:31:29 > 1:31:30- # Get up - Get on up

1:31:30 > 1:31:32- # Stay on the scene - Get on up

1:31:32 > 1:31:34# Like a sex machine

1:31:34 > 1:31:36- # Get up - Get on up

1:31:36 > 1:31:38- # Get up - Get on up

1:31:38 > 1:31:39- # Stay on the scene - Get on up

1:31:39 > 1:31:40# Like a sex machine

1:31:42 > 1:31:44- # Get up - Get on up

1:31:44 > 1:31:46- # Get up - Get on up

1:31:46 > 1:31:47- # Stay on the scene - Get on up

1:31:47 > 1:31:49# Like a sex machine... #

1:31:50 > 1:31:53The song Sex Machine came about on the bus.

1:31:56 > 1:32:00Everyone's saying all that much, but the fact that we were saying

1:32:00 > 1:32:04"sex machine", which we wasn't supposed to be saying on records.

1:32:04 > 1:32:07You can't say that. You can't say "sex",

1:32:07 > 1:32:10But they let it out, and,

1:32:10 > 1:32:14of course, with the times, maybe things was changing.

1:32:14 > 1:32:15- # Get up - Get on up

1:32:15 > 1:32:17- # Get up - Get on up

1:32:17 > 1:32:19- # Stay on the scene - Get on up

1:32:19 > 1:32:20# Like a sex machine... #

1:32:20 > 1:32:23- Bobby.- Yes?- Can I take it to the bridge?- Take it to the bridge.

1:32:23 > 1:32:25- Take it to the bridge? - Take it to the bridge.

1:32:25 > 1:32:27Take it to the bridge.

1:32:27 > 1:32:29Take it to the bridge.

1:32:30 > 1:32:32# Take me on

1:32:41 > 1:32:43# Stay on the scene

1:32:44 > 1:32:45# Machine... #

1:32:47 > 1:32:48Once Sex Machine came out,

1:32:48 > 1:32:51and once he had enough time to rehearse that band

1:32:51 > 1:32:53and rearrange his music to fit that band,

1:32:53 > 1:32:57it really did reinvent the James Brown template.

1:32:57 > 1:32:58# Stay on the scene... #

1:33:00 > 1:33:05It reinvigorated the show and, frankly, the box office results.

1:33:05 > 1:33:07Six months later, we're like, "OK, we're safe."

1:33:13 > 1:33:14# Hit me

1:33:18 > 1:33:19# Get on down

1:33:22 > 1:33:24# I want to get on the good foot

1:33:27 > 1:33:28# I got to get on the good foot... #

1:33:28 > 1:33:31Mr Brown, why are you endorsing President Nixon?

1:33:31 > 1:33:33Well, I'm endorsing President Nixon

1:33:33 > 1:33:37because I believe the future of the country lies with Mr Nixon,

1:33:37 > 1:33:39and I feel that...

1:33:39 > 1:33:42that some of things he's done have been very close to my heart

1:33:42 > 1:33:44as a minority and as a black man.

1:33:47 > 1:33:50I think James Brown was going to endorse whoever was going to

1:33:50 > 1:33:52give him an audience.

1:33:52 > 1:33:54If a poor kid from Augusta who's a soul singer can get

1:33:54 > 1:33:57the White House on the phone once or twice a year,

1:33:57 > 1:34:01that's more important than having the numbers of the guy who lost.

1:34:01 > 1:34:04And that confused the hell out of a lot of people.

1:34:07 > 1:34:12He did not see any difference between being strong black,

1:34:12 > 1:34:17strong cultural, authentic who you was, but politically

1:34:17 > 1:34:21being conservative and republican, and it was this paradox.

1:34:22 > 1:34:24Are you saying that you're Republican or Democrat?

1:34:24 > 1:34:26I'm saying that I'm countryman

1:34:26 > 1:34:29and I'm endorsing the country, and I feel that my best way

1:34:29 > 1:34:32of endorsing the country is to endorse Mr Nixon.

1:34:52 > 1:34:55Before he got into this Nixon thing, people were telling him,

1:34:55 > 1:34:58"Just be a musician, be a singer.

1:34:58 > 1:34:59"Stay out of the eyes of the camera,

1:34:59 > 1:35:03"because that's going to cause you a problem down the road."

1:35:03 > 1:35:04Of course, it did.

1:35:06 > 1:35:08The blacks turned against him.

1:35:08 > 1:35:13Albums were being burned and records sales went plummeting.

1:35:16 > 1:35:18He knew that he would be attacked,

1:35:18 > 1:35:20and people picketed James Brown shows.

1:35:20 > 1:35:26What amazed me is he didn't care. He really believed he was right.

1:35:26 > 1:35:29Yeah, this is the night, ain't it?

1:35:29 > 1:35:32A lot of promises were made, a lot of things were said,

1:35:32 > 1:35:33that never happened.

1:35:35 > 1:35:38He got real bitter about that situation,

1:35:38 > 1:35:40he felt that he had been let down.

1:35:41 > 1:35:43And he had been let down.

1:35:45 > 1:35:47# Payback... #

1:35:54 > 1:35:57We grew up in the "I'm Black And Proud" and "Payback" era

1:35:57 > 1:36:00and it was that era that introduced those of us

1:36:00 > 1:36:02who grew up in the '70s, '80s, '90s.

1:36:06 > 1:36:08# Baby... #

1:36:08 > 1:36:09By the mid-70s, James Brown

1:36:09 > 1:36:13was so much of the basic fabric of American music,

1:36:13 > 1:36:17you could definitely tell his musical children, with no problem.

1:36:23 > 1:36:25Easily, Michael Jackson.

1:36:25 > 1:36:27Easily, Prince.

1:36:27 > 1:36:29MUSIC: Kiss by Prince

1:36:31 > 1:36:33Wait a minute, James Brown's all over hip-hop these days.

1:36:33 > 1:36:35# Fight the power

1:36:35 > 1:36:37# Fight the power... #

1:36:40 > 1:36:43# Payback

1:36:43 > 1:36:44# Payback... #

1:36:44 > 1:36:46Never saw himself as a hit artist,

1:36:46 > 1:36:49he always saw himself as a historic figure.

1:36:49 > 1:36:52He said, "The reason I'm going to be a star is I'm not one of the boys."

1:36:57 > 1:36:59And he would always tell me,

1:36:59 > 1:37:01"Whatever you do in life, be you, be different."

1:37:01 > 1:37:07I think it was also why he was off to himself in his own way musically.

1:37:11 > 1:37:12Cos he grew up in the woods by himself,

1:37:12 > 1:37:15later, in the whorehouse by himself.

1:37:15 > 1:37:18It gave him the sense of "me against the world".

1:37:22 > 1:37:25What was his negative may have ended up being his strength.

1:37:28 > 1:37:31When he got on that stage, James Brown personified his music,

1:37:31 > 1:37:34and he reflected a life experience.

1:37:40 > 1:37:45Ladies and gentlemen, here he is, the greatest entertainer

1:37:45 > 1:37:49in the world, Mr Please Please himself, hard-working James Brown.

1:38:06 > 1:38:07Everybody over there.

1:38:07 > 1:38:09- Everybody right there.- Get into it.

1:38:09 > 1:38:11- Everybody over there.- Get involved.

1:38:23 > 1:38:24Come on.

1:38:28 > 1:38:30- # Everybody right there - Get into it

1:38:30 > 1:38:33- # Everybody over there - Get involved

1:38:33 > 1:38:35- # Everybody right there - Get into it

1:38:35 > 1:38:37- # Everybody right there - Get into it

1:38:37 > 1:38:39- # Everybody over there - Get involved

1:38:39 > 1:38:41# Raise your hands

1:38:41 > 1:38:43# Raise your hands

1:38:43 > 1:38:45# Raise your hands

1:38:45 > 1:38:47# Get involved

1:38:47 > 1:38:49# Clap your hands... #

1:38:49 > 1:38:50INAUDIBLE

1:38:50 > 1:38:52# Get on up

1:38:52 > 1:38:53# Get into it

1:38:53 > 1:38:55- # Everybody over there - Get involved

1:38:55 > 1:38:57# Get involved

1:38:57 > 1:38:59- # Everybody over there - Get on up

1:38:59 > 1:39:01- # Everybody over there - Get involved

1:39:01 > 1:39:02# Everybody back there

1:39:02 > 1:39:03# Get involved

1:39:03 > 1:39:05# Get involved

1:39:05 > 1:39:06# Get involved

1:39:15 > 1:39:16# I want you to hit me

1:39:16 > 1:39:18# Yeah

1:39:19 > 1:39:20# Hit me. #

1:39:30 > 1:39:31There he goes, ladies and gentlemen.

1:39:31 > 1:39:36James, James, James Brown.

1:39:36 > 1:39:40The hardest working man in the world.

1:39:40 > 1:39:43James! James!

1:39:43 > 1:39:47CROWD CHANT: James Brown, James Brown....