Belton sutherland biography examples
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Shot by John Bishop, Worth Long and Lomax at the farm of Clyde Maxwell on September 3, 1978, the rolling rhythm of his guitar and the atmospheric accompaniment of the crickets projected a pure release of emotion to the creator, introducing Belton Sutherland, in all his foot-tapping and cigarette-smoking glory, to folks across the globe.
Like so many African Americans in the 1970s who had engaged in the Great Migration, Sutherland worked hard for many years and returned home to purchase his own private farm. Küstner recently expressed sincere—even painful—regret about not recording any of his music, or returning to witness a demonstration from the newly-enrolled member of St.
John’s M.B. Church.[34]
In the fall of 1981, Austrian blues enthusiast Michael Hortig traveled to the home of Clyde Maxwell and conducted a short interview with the then-ailing and diabetic musician. . Having recently joined the church, the funeral for this obscure bluesman was handled by Peoples Funeral Home of Jackson. Print.
Bishop, John.
Once I informed him of my specific research interests, he beamingly stated, “Ah well that must be it then! Print.
Cohn, Lawrence. It seems the proverbial light had been shining down on him on that cold and rainy day. He did not want anyone else to remove it for them—that is, at least not before we replaced it with a permanent marker.
The handful of Belton Sutherland’s only recorded performances on that quiet evening in early September would be the only recorded evidence of his immense capacity to produce a blues aesthetic that almost effortlessly relays the black experience in Mississippi.
I done did all that all the way through in my life. I did a bit of searching and found St. John’s Missionary Church, and drove out to the site. Print. At two o’clock on the Sunday afternoon of October 16, he was laid to rest near his mother’s grave in the cemetery behind St. John Missionary Baptist Church.
He did not want anyone else to remove it for them—that is, at least not before we replaced it with a permanent marker.
As opposed to many revivalists and historic sites hoping to garner their share of the blues tourist market today—almost all of which bend over backwards not to upset the quaint, romantic and highly volatile historical myths that buttress white privilege and the Lost Cause—Belton Sutherland managed in only a few lyrical lines to inextricably link issues of economic inequality and the long, disgraceful history of excessive black incarceration to the Mississippi blues tradition.
. One of his playing partners at that time was fiddler Theodore Harris, who, in his opinion, was “. [We] didn’t have no men to help at all. I walked the graveyard until I found Mr. Sutherland's plot, took some photos and visited with him for a bit as well. I farmed for twelve years, just me and my girls. Camden, Mississippi.