Mittwoch, 2. Januar 2013

07.Tag Indianola, Moorhead, Greenwood & Greenville



Moorhead - Where The Southern Crosses The Dog
As you can see on this map: Moorhead, Greenwood, Indianola and Leland are close by



Where The Southern Crosses The Dog
(Hans Theessink)

-------
Held a good job in the city
Had a lay-off and they got poor me
I feel so lowdown and disgusted
Just can´t find a way to make ends meet
Take my baby by the hand - leave this town
I know we´ll make it, baby - longs as you stick around
Go back to the country where the Southern crosses the Dog

City folks they drive me crazy
They´re a-pushin´ and a-shovin´ all the time
It´s a ratrace for the money
In their eyes you can see that dollar sign
Take my baby by the hand - leave this town
I know we´ll make it, baby - longs as you stick around
Go back to the country where the Southern crosses the Dog

Go back - back to the country
Go back - back to the country
Go back to the country where the Southern crosses the Dog

We´ll get us some wheels
Wave this city bye-bye
All this smog and pollution
You can never see the clear blue sky
Take my baby by the hand - leave this town
I know we´ll make it, baby - longs as you stick around
Go back to the country where the Southern crosses the Dog






Lothar,Bernd,Henk und der Bürgermeister von Moorhead George Holland




John Bright "Johnny" Russell (January 23, 1940 – July 3, 2001) was an American country singer, songwriter, and comedian best known for his song "Act Naturally", which was made famous by Buck Owens, who recorded it in 1963, and The Beatles in 1965. His songs have been recorded by Burl IvesJim ReevesJerry GarciaDolly PartonEmmylou Harris, and Linda Ronstadt.











Great Bookstore
.................................................................


Indianola

B.B. King Blues Museum, Indianola






Greenwood




Baptist Town - Greenwood

"Baptist Town, established in the 1800s in tandem with the growth of the local cotton industry, is one of Greenwood’s oldest African American neighborhoods. Known for its strong sense of community, it is anchored by the McKinney Chapel M.B. Church and a former cotton compress. In blues lore Baptist Town is best known through the reminiscences of David “Honeyboy” Edwards, who identified it as the final residence of Robert Johnson, who died just outside Greenwood in 1938.
Robert Johnson  and Honeyboy Edwards were just two of the legendary blues singers who rambled in and out of Greenwood during the era when life revolved around cotton plantations, gins, compresses, and oil mills.  African American workers settled in Baptist Town, Gritney, G.P. (Georgia Pacific) Town, Buckeye Quarters, and other neighborhoods, although the majority lived on outlying plantations. Blues and gospel music flourished, and when Greenwood’s venues closed for the night, revelers often headed to the outskirts of town or out to the plantations where the music could continue unimpeded on weekends.  According to Edwards, Baptist Town was a safe haven for a musician who wanted to escape work in the cotton fields, and both he and Johnson found places to stay here in 1938 on Young Street, around the corner from this site. They performed locally at the Three Forks juke joint, along with Sonny Boy Williamson No. 2 (Rice Miller), who was a familiar figure around Greenwood for several decades.  Johnson was allegedly poisoned at the juke by a jealous lover or her husband, and spent some of his final days on Young Street, Edwards recalled. Johnson died on August 16, 1938, on the Star of the West Plantation.
Another prominent blues artist based in Greenwood in the 1930s was guitarist Tommy McClennan, who once lived at 207 East McLaurin Street, half a mile south of this marker.  McLaurin Street’s clubs, cafes, pool halls, and gambling dens made it the center of local African American nightlife.  In Baptist Town and other areas, including the downtown shopping district of Johnson Street, musicians also played on the streets and at house parties.  Mississippi John Hurt from Avalon performed in Greenwood sometimes, and during the 1950s his son John William “Man” Hurt lived in Baptist Town and played guitar in the Friendly Four gospel group with his cousin Teddy Hurt. Another Baptist Town guitarist, Harvie Cook, moved to Indianapolis in 1958. His band, Harvey and the Bluetones, became one of Indiana’s top blues acts.
Robert “Dr. Feelgood” Potts and his daughter, Sheba Potts-Wright, lived in Greenwood before launching blues recording careers in Memphis.  Willie Cobbs, composer of the blues standard “You Don’t Love Me,” lived and recorded in Greenwood in the 1980s, when he operated Mr. C’s Bar-B-Q at 824 Walthall Street. Other blues and R&B performers from the Greenwood area have included Eddie “Guitar Slim” Jones, Furry Lewis, Robert Petway, Rubin Lacy, Maurice King, Betty Everett, Hubert Sumlin, Denise LaSalle, Richard “Hacksaw” Harney, Calvin “Fuzz” Jones, Bobby Hines, the Givens Brothers, Hound Dog Taylor, Brewer Phillips, Fenton Robinson, "Lonnie The Cat" Cation, Matt Cockrell, Aaron Moore, Curtis “Mississippi Bo” Williams, Guitar Blue, Buddy Warren, and Nora Jean Bruso. content © Mississippi Blues Commission"


..........................................................................................


Elks Hart Lodge No. 640 - Greenwood

During the 1940s, ’50s and ’60s, the Elks Hart Lodge No. 640 at this site was one of the most important venues for rhythm and blues in the Delta. Particularly during the segregation era, fraternal organizations such as the Improved Benevolent Protective Order of Elks of the World (the “black Elks”) were central to African American political, cultural, and social life, and played an important role in the Civil Rights movement.
The Improved Benevolent and Protective Order of the Elks of the World (IBPOEW) was formed in 1898 in Cincinnati, Ohio, by African Americans who were systematically excluded from joining the “white” Elks organization, the Benevolent and Protective Order of Elks (BPOE). By 1899 twelve lodges of the IBPOEW, which became commonly known as the “black Elks,” were established in eight states, including Mississippi, and in 1902 a female auxiliary group, the Daughters of the IBPOEW was founded. African American railway workers, notably Pullman Porters, were instrumental in the formation of new chapters of the black Elks, particularly in the South. State presidents of the Mississippi Elks have included Greenwood chapter members Edward V. Cochran, W. J. Bishop, and Bertrand Antoine, all Past Grand Exalted Rulers.
During the segregation era, when most hotels, auditoriums, and halls were off limits to African Americans, the lodges of the black Elks provided important spaces for social, political, and economic gatherings. Other fraternal organizations that played a similar role included African American chapters of the Masons, Odd Fellows, Knights of Pythias, Knights of Columbus, and Shriners. The black Elks were organized around principles of “Charity, Justice, Brotherly and Sisterly Love and Fidelity,” and were deeply involved in fighting for and educating its members about economic and civil rights. In 1927 the IBPOEW formed a Civil Rights Commission whose work helped establish a legal framework for later protests during the civil rights era. Here in Greenwood, local civil rights activist and Elk member Cleveland Jordan arranged for the Elks hall to be the first meeting place for the Student Nonviolent Coordinating Committee (SNCC) upon their arrival in Greenwood in 1962. Part of SNCC’s voter registration campaign involved the teaching of “freedom songs,” which usually drew from religious traditions but were sometimes based on rhythm & blues hits.
The IBPOEW was the largest of the black fraternal organizations, and along with chapters of the Veterans of Foreign Wars, played an important role in providing venues for touring blues and R&B artists. Members were encouraged to sell tickets to ensure high turnouts. From the 1940s through the ’90s artists performing at the Greenwood lodge included B. B. King, T-Bone Walker, Ike and Tina Turner, James Brown, Percy Mayfield, “Little” Junior Parker, Roy Brown, Ruth Brown, Bobby “Blue” Bland, Lightnin’ Hopkins, Big Mama Thornton, Memphis Slim, Fats Domino, Lloyd Price, Muddy Waters, John Lee Hooker, Little Milton, the Drifters, Clyde McPhatter, Johnny Ace, the Five Royales, Solomon Burke, Brook Benton, Ivory Joe Hunter, Smiley Lewis, Etta James, Charles Brown, Ernie K-Doe, Bobby Rush, Lee “Shot” Williams, and Chick Willis. content © Mississippi Blues Commission"




.......................................................................................


Furry Lewis - Greenwood

"Greenwood native Walter "Furry" Lewis (c. 1899-1981) was a favorite figure on the Memphis blues revival scene of the 1960s and '70s, decades after he made his historic first recordings in the 1920s. Lewis, who had worked as a street sweeper for the city of Memphis in the interim, made numerous new recordings and also appeared on television shows and in motion pictures. His family lived on Lamar Street before moving to Memphis when Lewis was a youngster.
Furry Lewis was one of the first blues guitarists from Mississippi or Memphis to enter a recording studio when he traveled to Chicago to record six songs for the Vocalion label on April 20, 1927. Lewis lived in Memphis almost all of his life, but he was born in Greenwood (the 1900 census lists him as a one-year-old born in March of 1899, residing with his mother and other relatives in the house of his grandparents on Lamar Street, though other documents cite birth dates of March 6, 1893, and 1895.) By 1901 he was living in Memphis with his mother and siblings. Lewis, nicknamed Furry by childhood friends, became an active musician in his teens, playing mostly by himself but sometimes teaming with other musicians. He often told stories of playing with W. C. Handy and of the "first good guitar" he owned, a gift from Handy. Lewis, who lost a leg while trying to hop a freight train in Illinois, traveled with a medicine show, played on the streets and at parties, picnics, and saloons, and offered late-night serenades in front of homes. His 1927-29 Vocalion and Victor recordings, now regarded as some of the finest examples of early blues, included ragtime-influenced pieces, Delta-style blues (some played with a bottleneck), and folk hero ballads. However, music did not provide a livelihood for Lewis, whose jobs for the city of Memphis ranged from garbage man to night watchman to street sweeper.
He was able to build a new musical career in the 1960s after author Sam Charters produced his first LP in 1959. Other records followed, along with performances around the country for the new folk-blues audience, and Lewis, always a showman and humorist, became one of the most celebrated characters in Memphis. He endeared himself to a young circle of fans, writers, and musicians who visited him, chauffeured him to gigs, and took turns going to the local pawn shop to recover his guitar or wooden leg. His profile grew in the 1970s with appearances on television shows (including The Tonight Show with Johnny Carson) and in films (most notably W. W. and the Dixie Dance Kings). He opened a concert for the Rolling Stones and had a song ("Furry Sings the Blues") written in his honor by folk singer Joni Mitchell. His album Live at the Gaslight, recorded in New York City in 1971, was produced by a writer (Jim Nash) who said he first learned about Lewis from Jimi Hendrix. Lewis died on September 14, 1981. He was elected to the Blues Hall of Fame in 2012.
Lewis was one of many noted blues guitarists from Leflore County. Others, either natives or onetime residents, who also made records include Rubin Lacy, Tommy McClennan, Robert Petway, Honeyboy Edwards, Robert Johnson, Richard "Hacksaw" Harney, Elmore James, James Scott, Jr., L. C. Green, Eddie "Guitar Slim" Jones, Hubert Sumlin, Hound Dog Taylor, Brewer Phillips, Luther "Guitar Jr." Johnson, David Dee, Dion Payton, and Fenton Robinson. content © Mississippi Blues Commission"





.................................................................................................


Hubert Sumlin - Greenwood
Hubert Sumlin’s sizzling guitar playing energized many of the classic Chicago blues records of Howlin’ Wolf in the 1950s and ‘60s. His reputation in blues and rock circles propelled him to a celebrated career on his own after Wolf’s death in 1976. In 2003 Rolling Stone magazine christened him one of “The 100 Greatest Guitarists of All Time.” Sumlin was born on the Pillow plantation in a house that stood just west of this site on November 16, 1931.
Hubert Sumlin grew up in Mississippi and Arkansas hearing his churchgoing mother admonish him for playing “the devil’s music”—the blues. But he found out, after sneaking in some blues licks on his guitar in church, that the sounds of the blues could win over even his mother. Sumlin’s innovative musicianship and endearing nature won the hearts of many musicians and admirers in the decades to follow. His boyhood partner, harmonica legend James Cotton, remained a lifelong friend. From 1954 to 1976 Howlin’ Wolf was as much a father figure to Sumlin as he was his musical employer. In later years Sumlin was adopted by a wide range of musicians, club owners, promoters, and producers who crafted a niche for him as a special guest or featured soloist.
Sumlin started playing guitar in church, but was performing blues with James Cotton by the time the two were in their teens, after the Sumlin family had moved from Greenwood to Hughes, Arkansas. Hubert was awestruck at seeing Howlin’ Wolf rock the house at a local juke joint, and when Wolf later offered him a spot in his band in Chicago, Sumlin bade farewell to Cotton and to his family in Arkansas. Sumlin’s years with Wolf were highlighted by groundbreaking recordings such as “Killing Floor,” “300 Pounds of Joy,” “Smokestack Lightning,” and “Shake For Me” for the Chess label in Chicago. Wolf, a stern disciplinarian, fired his protégé on numerous occasions, only to rehire him every time. At one time Hubert even joined the band of Wolf’s main rival, Muddy Waters. He also played guitar on records by Muddy, Chuck Berry, Jimmy Reed, Willie Dixon, Sonny Boy Williamson (Rice Miller), Eddie Taylor, Sunnyland Slim, Carey Bell, Eddie Shaw, James Cotton, and many others.
When Sumlin and Wolf toured Europe on the 1964 American Folk Blues Festival, Hubert made his first recordings under his own name in Germany and England. His only 45 rpm single came from an acoustic blues session which also marked the first release on the historic Blue Horizon label in England. In later years he recorded albums for labels in France, Germany, Argentina, and the United States. Jimi Hendrix and Stevie Ray Vaughan are two of the many guitarists who have named Sumlin as a favorite. He shared stages with Eric Clapton, the Rolling Stones, Santana, Aerosmith, and many others. On the award-winning album About Them Shoes Hubert was joined by Clapton, Keith Richards, Levon Helm, and James Cotton. On May 7, 2008, the day after the unveiling of this marker, Sumlin was inducted into the Blues Foundation’s Blues Hall of Fame.
content © Mississippi Blues Commission







.................................................................................
Pawnshop Bound






 ................................................................................
Cat of the day...meow..:-)

  

 ................................................................................
Robert Johnson

Grave Location:
Little Zion Missionary Baptist Church, Greenwood, Mississippi USA



Robert Johnson Gravesite - Greenwood

A seminal figure in the history of the Delta blues, Robert Johnson (1911-1938) synthesized the music of Delta blues pioneers such as Son House with outside traditions. He in turn influenced artists such as Muddy Waters and Elmore James. Johnson's compositions, notable for their poetic qualities, include the standards "Sweet Home Chicago" and "Dust My Broom." Johnson's mysterious life and early death continue to fascinate modern fans. He is thought to be buried in this graveyard.
One of the most famous and legendary Delta blues musicians is Robert Johnson (1911-1938). Although he recorded only twenty nine songs at two recording sessions in 1936 and 1937, his work has been included in the repertoires of countless blues and rock musicians since. Johnson’s songs "I Believe I’ll Dust My Broom," "Cross Road Blues," "Love in Vain Blues," "Traveling Riverside Blues" and "Sweet Home Chicago" became well known via the recordings of Elmore James, Eric Clapton, the Rolling Stones, Led Zeppelin and many others.
Johnson was born in Hazlehurst, Mississippi, but by 1920 he was living near Robinsonville, just south of Memphis. In the late 1920s, he took up the guitar and was learning to play from Willie Brown, Charley Patton, and Son House. By 1931, Johnson had returned to the Hazlehurst area and begun studying with local bluesman Ike Zinnerman, generally accepted by scholars as the most important influence on Johnson and his revolutionary, modern style.
From 1933 on, Johnson traveled around the Delta and to other parts of the country including Memphis, St. Louis, Chicago, Detroit, New York, and even Canada. Johnson went from one jook to another, never settling in one place, although he did have a home in Helena, Arkansas, for a time. Late in 1938, impresario John Hammond planned to present Johnson as part of the "From Spirituals to Swing" concert at Carnegie Hall, an appearance that would have undoubtedly made him an international star. Unfortunately, Johnson died before that event. He was alledgedly poisoned by the angry husband of a woman he was seeing. He died on Star of the West plantation just south of this site on August 16 and was buried here the following day.
Some believe the myth that Johnson sold his soul in exchange for remarkable guitar-playing skills that would make him famous, and the story of his fateful meeting with the devil at a rural crossroads is an enduring blues theme. Bluesman Son House stated, "He sold his soul to play like that," but early blues songs are full of references to witchcraft and the devil, with Johnson's lyrics no exception. His songs "Hell-Hound on My Trail" and "Me and the Devil Blues," helped to perpetuate the legend.
content © Mississippi Blues Commission









 ................................................................................

2nd Grave of Robert Johnson
The exact location of his grave is officially unknown; three different markers have been erected at possible church cemetery burial sites outside of Greenwood.[50]
  • Research in the 1980s and 1990s strongly suggests Johnson was buried in the graveyard of the Mount Zion Missionary Baptist Church near Morgan City, not far from Greenwood, in an unmarked grave. A one-ton cenotaph in the shape of an obelisk, listing all of Johnson's song titles, with a central inscription by Peter Guralnick, was placed at this location in 1990, paid for by Columbia Records and numerous smaller contributions made through the Mt. Zion Memorial Fund.
  • In 1990 a small marker with the epitaph "Resting in the Blues" was placed in the cemetery of Payne Chapel near Quito by an Atlanta rock group named the Tombstones, after they saw a photograph inLiving Blues magazine of an unmarked spot alleged by one of Johnson's ex-girlfriends to be Johnson's burial site.
  • More recent research by Stephen LaVere (including statements from Rosie Eskridge, the wife of the supposed gravedigger) indicates that the actual grave site is under a big pecan tree in the cemetery of the Little Zion Church, north of Greenwood along Money Road. Sony Music has placed a marker at this site.
  • (source:Wikipedia)

Grave Location:
Mt. Zion Baptist Church, Morgan City, Mississippi USA











3rd grave of Robert Johnson
Grave Location:
Mt. Zion Baptist Church, Morgan City, Mississippi USA



          ..........................................................................


             
                      WGRM Radio Studio - Greenwood
Before the 1950s, relatively few African American voices were heard on the radio in the South. A major exception was live broadcasts of performances by gospel groups. During the 1940s this building housed station WGRM, which featured gospel music on Sundays. One of the most popular groups was the Famous St. John’s Gospel Singers of Inverness, Mississippi, which included Riley King on guitar. King later became known as “B.B.” while working in Memphis.
Radio broadcasting took off in the United States in the 1920s, but for the next several decades the voices of African Americans were largely excluded. Notable exceptions were the character “Rochester,” played by Eddie Anderson on the Jack Benny Show, which ran from 1932 to 1955, and harmonica player DeFord Bailey, one of the first stars of the country music program Grand Ole Opry, which began a radio broadcast in 1927 over Nashville’s WSM.
Another exception was live broadcasts of gospel music, including a CBS network show that featured the influential Golden Gate Quartet that debuted in 1940. The group’s programs had a major influence on young Riley King, who much later adopted the nickname “B.B.” In the mid-1940s, King (b. 1925) was singing lead and playing guitar with an Inverness-based gospel quartet, the Famous St. John’s Gospel Singers.
The group broadened their popularity through live Sunday afternoon broadcasts over radio station WGRM, which emanated from this building. King eventually became frustrated with the other quartet members’ reluctance to pursue a professional career and decided instead to focus on blues. In 1948 he moved to Memphis, where he found work as a disc jockey on WDIA, the first station in the United States to feature all African-American on-air personalities and broadcast content.
WGRM first went on the air in Grenada in 1938 and moved here in 1939. At the time it was one of only nine radio stations in the state. Most programming on WGRM was provided by the Blue Network, owned initially by NBC and after 1943 by ABC, with several locally produced music programs, including the one featuring King’s gospel group running on the weekends.
By the mid-1950s WGRM had moved to North Greenwood, and this building was occupied by WABG radio. In rural areas radio stations often doubled as recording studios, and the Greenwood-based band of pianist Bobby Hines recorded in such a setting, according to his guitarist Brewer Phillips. Recorded at WGRM were Matt Cockrell and L. C. “Lonnie the Cat” Cation, accompanied by the Hines band with talent scout Ike Turner also on piano. Both saw release in April 1954 on Los Angeles-based RPM, B.B. King’s label at the time. Cation’s single “I Ain’t Drunk (I’m Just Drinking)” later became a blues standard via covers by Jimmy Liggins and Albert Collins.
content © Mississippi Blues Commission 

 ................................................................................
                     Greenville, Mississippi





                      Abends in der "Walnut Street Blues Bar" in Greenville, Mississippi 













Mein Aufkleber von 2011 ist immer noch am Kühlscharnk. Dazu kam dann unser Aufkleber von The Busy Bedbugs




Keine Kommentare:

Kommentar veröffentlichen