IN: "Cross Road Blues" (also known as "Crossroads") is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talents, although the lyrics do not contain any specific references. Bluesman Elmore James revived the song with recordings in 1954 and 1960-1961.

Little is known about Johnson's life and musical career, although his recordings are well documented. In October 1936, Johnson auditioned for music store owner and sometime talent scout H. C. Speir in Jackson, Mississippi; Speir passed on Johnson's contact information to Ernie Oertle, who was a representative for ARC Records. After a second audition, Oertle arranged for Johnson to travel to San Antonio, Texas, for a recording session. Johnson recorded 22 songs for ARC over three days from November 23 to 27, 1936. During the first session, he recorded his most commercially appealing songs. They mostly represented his original pieces and reflected current, piano-influenced musical trends. The songs include "Terraplane Blues" (his first single and most popular record) along with "Sweet Home Chicago" and "I Believe I'll Dust My Broom", which became blues standards after others recorded them. A second and third recording date took place in San Antonio after a two-day break. Johnson reached back into his long-standing repertoire for songs to record. The material reflects the styles of country blues performers Charley Patton and Son House, who influenced Johnson in his youth. The songs are among Johnson's most heartfelt and forceful, and music historian Ted Gioia sees a shift in the lyrical themes: At the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges ... [he] evokes the themes of damnation and redemption, darkness and light ... glimpses into the musician's inner life, and all its attendant turmoils. "Cross Road Blues" was recorded during Johnson's third session in San Antonio, on Friday November 27, 1936. The sessions continued at an improvised studio in Room 414 at the Gunter Hotel. ARC producers Art Satherley and Don Law supervised the recording and used a portable disc cutting machine. It is unknown what input, if any, they had into Johnson's selection of material to record or how to present it. Two similar takes of the song were recorded.

Are there any other interesting aspects about this article?

OUT: At the close of the San Antonio session, the darker, more apocalyptic side of Johnson's work emerges

IN: Browning was born as Charles Albert Browning, Jr., in Louisville, Kentucky, the second son of Charles Albert and Lydia Browning, and the nephew of baseball star Pete Browning. As a young boy, he put on amateur plays in his backyard. He was fascinated by the circus and carnival life, and at the age of 16 he ran away from his well-to-do family to become a performer. Changing his name to "Tod", he traveled extensively with sideshows, carnivals, and circuses.

After Chaney's death in 1930, Browning was hired by his old employer Universal Pictures to direct Dracula (1931). Although Browning wanted to hire an unknown European actor for the title role and have him be mostly offscreen as a sinister presence, budget constraints and studio interference necessitated the casting of Bela Lugosi and a more straightforward approach. After directing the boxing melodrama Iron Man (1931), Browning began work on Freaks (1932). Based on the short story "Spurs" by Clarence Aaron "Tod" Robbins, the screenwriter of The Unholy Three, the film concerns a love triangle between a wealthy dwarf, a gold-digging aerialist, and a strongman; a murder plot; and the vengeance dealt out by the dwarf and his fellow circus freaks. The film was highly controversial, even after heavy editing to remove many disturbing scenes, and was a commercial failure and banned in the United Kingdom for thirty years. His career derailed, Browning found himself unable to get his requested projects greenlighted. After directing the drama Fast Workers (1933) starring John Gilbert, who was also not in good standing with the studio, he was allowed to direct a remake of London After Midnight, originally titled Vampires of Prague but later retitled Mark of the Vampire (1935). In the remake, the roles played by Lon Chaney in the original were split between Lionel Barrymore and Bela Lugosi (spoofing his Dracula image). After that, Browning directed The Devil-Doll (1936), originally titled The Witch of Timbuctoo, from his own script. The picture starred Lionel Barrymore as an escapee from an island prison who avenges himself on the people who imprisoned him using living "dolls" who are actually people shrunk to doll-size and magically placed under Barrymore's hypnotic control. Browning's final film was the murder mystery Miracles for Sale (1939).

When did Browning move back to New York?

OUT:

IN: Charles Bishop Kuralt (September 10, 1934 - July 4, 1997) was an American journalist. He was most widely known for his long career with CBS, first for his "On the Road" segments on The CBS Evening News with Walter Cronkite, and later as the first anchor of CBS News Sunday Morning, a position he held for fifteen years. Kuralt's "On the Road" segments were recognized twice with personal Peabody Awards. The first, awarded in 1968, cited those segments as heartwarming and "nostalgic vignettes"; in 1975, the award was for his work as a U.S. "bicentennial historian"; his work "capture[d] the individuality of the people, the dynamic growth inherent in the area, and ...the rich heritage of this great nation."

Kuralt was born in Wilmington, North Carolina. As a boy, he won a children's sports writing contest for a local newspaper by writing about a dog that got loose on the field during a baseball game. Charles' father, Wallace H. Kuralt. Sr., moved his family to Charlotte in 1945, when he became Director of Public Welfare in Mecklenburg County, North Carolina. Their house off Sharon Road, then 10 miles south of the city, was the only structure in the area. During the years he lived in that house, Kuralt became one of the youngest radio announcers in the country. Later, at Charlotte's Central High School, Kuralt was voted "Most Likely to Succeed." In 1948, he was named one of four National Voice of Democracy winners at age 14, where he won a $500 scholarship. After graduation from Central High School in 1951, he attended the University of North Carolina at Chapel Hill, where he became editor of The Daily Tar Heel and joined St. Anthony Hall. While there, he appeared in a starring role in a radio program called "American Adventure: A Study Of Man In The New World" in the episode titled "Hearth Fire", which aired on August 4, 1955. It is a telling of the advent of TVA's building lakes written by John Ehle and directed by John Clayton. After graduating from UNC, Kuralt worked as a reporter for the Charlotte News in his home state, where he wrote "Charles Kuralt's People," a column that won him an Ernie Pyle Award. He moved to CBS in 1957 as a writer, where he became well known as the host of the Eyewitness to History series. He traveled around the world as a journalist for the network, including stints as CBS's Chief Latin American Correspondent and then as Chief West Coast Correspondent. In 1967, Kuralt and a CBS camera crew accompanied Ralph Plaisted in his attempt to reach the North Pole by snowmobile, which resulted in the documentary To the Top of the World and his book of the same name.

Did he go to school?

OUT:
Later, at Charlotte's Central High School, Kuralt was voted "Most Likely to Succeed.