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"Tha Crossroads" is a song written and performed by hip hop group Bone Thugs- n-Harmony, It was dedicated to Bone's dead friend Wallace (Wally) Laird III, but after the death of Eazy-E they decided to remake it as "Tha Crossroads".
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As the war drew to an end, the sometimes lethargic, sometimes precipitous machinery of United States military justice sought out the perpetrators of the deed. On May 16, , seventy-four officers and men of the Waffen-SS SS-military, as opposed to the police or purely political SS were put on trial before an American military court. Seventy-one men, including Peiper himself, were members of the erstwhile Battle-Group-Peiper; the other three, including SS General Sepp Dietrich, were higher up the command structure. The LeFlore County registrar, Cornelia Jordan, after conducting an investigation into Johnson's death for the state director of vital statistics, R.
Whitfield, wrote on Johnson's death certificate:. I talked with the white man on whose place this negro died and I also talked with a negro woman on the place. The plantation owner said the negro man, seemingly about 26 years old, came from Tunica two or three weeks before he died to play banjo at a negro dance given there on the plantation. He stayed in the house with some of the negroes saying he wanted to pick cotton.
The white man did not have a doctor for this negro as he had not worked for him. He was buried in a homemade coffin furnished by the county. The plantation owner said it was his opinion that the man died of syphilis. The exact location of Johnson's grave is officially unknown; three different markers have been erected at possible sites in church cemeteries outside Greenwood.
Crossroads of Death Analysis - wesatimunogo.cf
According to legend, as a young man living on a plantation in rural Mississippi, Johnson had a tremendous desire to become a great blues musician. He was instructed to take his guitar to a crossroad near Dockery Plantation at midnight. There he was met by a large black man the devil who took the guitar and tuned it. The devil played a few songs and then returned the guitar to Johnson, giving him mastery of the instrument. This was a deal with the devil mirroring the legend of Faust. In exchange for his soul, Johnson was able to create the blues for which he became famous.
This legend was developed over time and has been chronicled by Gayle Dean Wardlow ,  Edward Komara  and Elijah Wald, who sees the legend as largely dating from Johnson's rediscovery by white fans more than two decades after his death. Welding reported it as a serious belief in a widely read article in Down Beat in Further details were absorbed from the imaginative retellings by Greil Marcus  and Robert Palmer.
There is dispute as to how and when the crossroads detail was attached to the Robert Johnson story. All the published evidence, including a full chapter on the subject in the biography Crossroads , by Tom Graves, suggests an origin in the story of the blues musician Tommy Johnson. This story was collected from his musical associate Ishman Bracey and his elder brother Ledell in the s.
In another version, Ledell placed the meeting not at a crossroads but in a graveyard. This resembles the story told to Steve LaVere that Ike Zinnerman of Hazlehurst, Mississippi , learned to play the guitar at midnight while sitting on tombstones. Zinnerman is believed to have influenced the playing of the young Johnson. Recent research by the blues scholar Bruce Conforth , in Living Blues magazine, makes the story clearer. Johnson and Ike Zimmerman the spelling reportedly given in census records for the family going back to the early s, on his Social Security card and Social Security death notice, on his funeral program, and by his daughters did practice in a graveyard at night, because it was quiet and no one would disturb them, but it was not the Hazlehurst cemetery as had been believed: Zimmerman was not from Hazlehurst but nearby Beauregard , and he didn't practice in one graveyard, but in several in the area.
While Dockery, Hazlehurst and Beauregard have each been claimed as the locations of the mythical crossroads, there are also tourist attractions claiming to be "The Crossroads" in both Clarksdale and Memphis. The blues historian Steve Cheseborough wrote that it may be impossible to discover the exact location of the mythical crossroads, because "Robert Johnson was a rambling guy".
Some scholars have argued that the devil in these songs may refer not only to the Christian figure of Satan but also to the African trickster god Legba , himself associated with crossroads. Hyatt wrote that, during his research in the South from to , when African-Americans born in the 19th or early 20th century said they or anyone else had "sold their soul to the devil at the crossroads," they had a different meaning in mind.
Hyatt claimed there was evidence indicating African religious retentions surrounding Legba and the making of a "deal" not selling the soul in the same sense as in the Faustian tradition cited by Graves with the so-called devil at the crossroads. The Blues and the Blues singer has really special powers over women, especially.
It is said that the Blues singer could possess women and have any woman they wanted. And so when Robert Johnson came back, having left his community as an apparently mediocre musician, with a clear genius in his guitar style and lyrics, people said he must have sold his soul to the devil. And that fits in with this old African association with the crossroads where you find wisdom: You sell your soul to become the greatest musician in history.
This view that the devil in Johnson's songs is derived from an African deity was disputed by the blues scholar David Evans in an essay published in , "Demythologizing the Blues":. The devil imagery found in the blues is thoroughly familiar from western folklore, and nowhere do blues singers ever mention Legba or any other African deity in their songs or other lore. The actual African music connected with cults of Legba and similar trickster deities sounds nothing like the blues, but rather features polyrhythmic percussion and choral call-and-response singing. The musicologist Alan Lomax dismissed the myth, stating, "In fact, every blues fiddler, banjo picker, harp blower, piano strummer and guitar framer was, in the opinion of both himself and his peers, a child of the Devil, a consequence of the black view of the European dance embrace as sinful in the extreme".
Johnson is considered a master of the blues, particularly of the Delta blues style. Keith Richards , of the Rolling Stones , said in , "You want to know how good the blues can get? Well, this is it. Louis , with "a full-fledged, abundantly varied musical arrangement.
Crossroads of Death
An important aspect of Johnson's singing was his use of microtonality. These subtle inflections of pitch help explain why his singing conveys such powerful emotion. Eric Clapton described Johnson's music as "the most powerful cry that I think you can find in the human voice. Johnson is also known for using the guitar as "the other vocalist in the song", a technique later perfected by B. King and his personified guitar named Lucille: Johnson mastered the guitar, being considered today one of the all-time greats on the instrument. His approach was complex and musically advanced.
When Keith Richards was first introduced to Johnson's music by his bandmate Brian Jones , he asked, "Who is the other guy playing with him? The Blues, if anything, are deeply sexual. You know, 'my car doesn't run, I'm gonna check my oil' Every verse has sexuality associated with it. In The Guardian ' s music blog from May , Jon Wilde speculated that Johnson's recordings may have been "accidentally speeded up when first committed to 78 [rpm records], or else were deliberately speeded up to make them sound more exciting. Biographer Elijah Wald and other musicologists dispute this hypothesis on various grounds, including that Johnson's extant recordings were made on five different days, spread across two years at two different studios, making uniform speed changes or malfunctions highly improbable.
Johnson fused approaches specific to Delta blues to those from the broader music world. The slide guitar work on "Rambling on My Mind" is pure Delta and Johnson's vocal there has "a touch of Son House rawness," but the train imitation on the bridge is not at all typical of Delta blues—it is more like something out of minstrel show music or vaudeville. As with the first take of "Come On in My Kitchen," the influence of Skip James is evident in James's "Devil Got My Woman", but the lyrics rise to the level of first-rate poetry, and Johnson sings with a strained voice found nowhere else in his recorded output.
The sad, romantic "Love in Vain" successfully blends several of Johnson's disparate influences. The form, including the wordless last verse, follows Leroy Carr's last hit "When the Sun Goes Down"; the words of the last sung verse come directly from a song Blind Lemon Jefferson recorded in He croons the lyrics in a manner reminiscent of Lonnie Johnson , and his guitar style is more that of a ragtime -influenced player like Blind Blake. In , Yazoo Records released "The Roots of Robert Johnson", a compilation CD of Delta blues recordings including several of those cited here which pre-date Johnson and illustrate how his blues output was influenced.
Johnson has had enormous impact on music and musicians, but outside his own time and place and even the genre for which he was famous. His influence on contemporaries was much smaller, in part because he was an itinerant performer—playing mostly on street corners, in juke joints , and at Saturday night dances—who worked in a then undervalued style of music. He also died young after recording only a handful of songs. Johnson, though well-traveled and admired in his performances, was little noted in his lifetime, and his records were even less appreciated.
If one had asked black blues fans about Johnson in the first twenty years after his death, writes Elijah Wald , "the response in the vast majority of cases would have been a puzzled 'Robert who? Johnson's greatest influence has been on genres of music that developed after his death: The Rock and Roll Hall of Fame included four of his songs in a set of  they deemed to have shaped the genre:.
Johnson recorded these songs a decade and a half before the advent of rock and roll , dying a year or two later. The Rock and Roll Hall of Fame inducted him as an early influence in its first induction ceremony, in , almost a half century after his death. Marc Meyers, of the Wall Street Journal , wrote that "His 'Stop Breakin' Down Blues' from is so far ahead of its time that the song could easily have been a rock demo cut in Many of the artists who claim to have been influenced by Johnson the most, injecting his revolutionary stylings into their work and recording tribute songs and collections, are prominent rock musicians from the United Kingdom.
His impact on these musicians—who contributed to and helped to define rock and roll and rock music—came from the compilation of his works released in by Columbia Records King of the Delta Blues Singers.
The blues master's recordings would have as much impact on him as on Mick Jagger. Other examples of the influence he had on English blues and blues-rock musicians and musical groups include the following:. Johnson's revolutionary guitar playing has led contemporary critics, assessing his talents through the handful of old recordings available, to rate him among the greatest guitar players of all time:. Musicians who proclaim Johnson's profound impact on them—including Keith Richards, Jimi Hendrix , and Eric Clapton—all rated in the top ten with him on each of these lists.
The boogie bass line he fashioned for " I Believe I'll Dust My Broom " has now passed into the standard guitar repertoire. At the time it was completely new, a guitarist's version of something people would otherwise have heard only from a piano. Johnson's recordings, such as "Sweet Home Chicago", have been used by companies and nonprofit organizations for marketing purposes. A Vision of Robert Johnson. Very little of Johnson's early life is known with certainty. Two marriage licenses for Johnson have been located in county records offices. The ages given in these certificates point to different birth dates, as do the entries showing his attendance at Indian Creek School, in Tunica, Mississippi.
That he was not listed among his mother's children in the census  casts further doubt on these dates.
The census gives his age as 7, suggesting he was born in or Monday, Thursday and Friday, November 23, 26, and 27, , at a recording session in San Antonio, Texas; and Saturday and Sunday, June 19 and 20, , at a recording session in Dallas. His death certificate, discovered in , lists the date and location of his death. Johnson's records were admired by record collectors from the time of their first release, and efforts were made to discover his biography, with virtually no success. The Reaper then leads the souls, with the baby in his arms, up a mountain where he reveals himself to be an angel, then takes the dead to Heaven.
The group's cover version of "Crossroads" was recorded for inclusion on their first studio album, In the Beginning. The decision to record and release "Crossroads" came about during the final stages of the album production: Despite being labelled as a cover version, only the chorus from the original version remains, with the verses replaced by new lyrics written by the band.
Despite being the only 'cover version' the group ever recorded, it became the band's only number one single, staying at the top of the UK Singles Chart for one week in August The music video for "Crossroads" directed by Vaughan Arnell was premiered in July The video runs for a total length of three minutes and forty-eight seconds  and shows the band performing the song on top of an unfinished flyover in the centre of Cape Town. The video also shows scenes of an underpass where a number of homeless people are living, and individual shots of each band member.
The video was filmed with the phantom effect, which provides a 'shadow' type movement for each member of the band. From Wikipedia, the free encyclopedia. For other uses, see Crossroads disambiguation. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
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