Problem: "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.

A crossroads or an intersection of rural roads is one of the few landmarks in the Mississippi Delta, a flat featureless plain between the Mississippi and Yazoo rivers. It is part of the local iconography and various businesses use the name, such as gas stations, banks, and retail shops. A crossroads is also where cars are more likely to slow down or stop, thus presenting the best opportunity for a hitchiker. In the simplest reading, Johnson describes his grief at being unable to catch a ride at an intersection before the sun sets. However, many see different levels of meaning and some have attached a supernatural significance to the song. Both versions of the song open with the protagonist kneeling at a crossroads to ask God's mercy, while the second sections tells of his failed attempts to hitch a ride. In the third and fourth sections, he expresses apprehension at being stranded as darkness approaches and asks that his friend Willie Brown be advised that "I'm sinkin' down". The first take of the song, which was used for the single, includes a fifth verse that is not included in the second take. In it he laments not having a "sweet woman" in his distress. The song has been used to perpetuate the myth of Johnson selling his soul to the Devil for his musical ability. The lyrics do not contain any references to Satan or a Faustian bargain, but they have been interpreted as a description of the singer's fear of losing his soul to the Devil (presumably in exchange for his talent). Music historian Elijah Wald believes that Johnson's verses do not support the idea. Delta bluesman Tommy Johnson promoted himself as having made a deal with the Devil and Southern folklore identifies a crossroads or graveyard as the site of such a pact, which Wald identifies as likely sources of the myth. However, musicologist Robert Palmer points out that Johnson was "fascinated with and probably obsessed by supernatural imagery." His song "Hellhound on My Trail" tells of trying to stay ahead of the demon hound which is pursuing him and in "Me and the Devil Blues" he sings, "Early this mornin' when you knocked upon my door, and I said 'Hello Satan I believe it's time to go'". These songs contribute to the Faustian myth; how much Johnson promoted the idea is debated, although many agree "the 'devil angle' made for good marketing". Blues historian Samuel Charters sees the song as having elements of protest and social commentary. The second verse includes "the sun goin' down now boy, dark gon' catch me here", a reference to the "sundown laws" or curfew during racial segregation in the United States. Signs in the rural South advised "Nigger, don't let the sun set on you here". Johnson may be expressing a real fear of trumped up vagrancy charges or even lynchings that still took place. Others suggest that the song is about a deeper and more personal loneliness. Writers Barry Lee Pearson and Bill McCulloch argue that the fifth verse in the single version captures the essence of the song: "left alone, abandoned, or mistreated, he stands at the crossroad, looking this way or that for his woman".

Are there any other interesting aspects about this article?

Answer with quotes: " His song "Hellhound on My Trail" tells of trying to stay ahead of the demon hound which is pursuing him

Problem: Payton was one of three children born to Peter and Alyne Payton in Columbia, Mississippi. His father was a factory worker who had played semi-professional baseball. Payton was an active member of the Boy Scouts, Little League, and his local church. At John J. Jefferson High School, Payton played drums in the marching band, participated in the track team and sang in the school choir.

Payton's motto was "Never Die Easy", which is also the title of his posthumously published autobiography. Payton attributed this motto to Bob Hill, his coach at Jackson State. In practice, this meant that Payton refused to deliberately run out-of-bounds and always delivered some punishment to his tacklers before being forced off the field or forced down. One of Payton's signature maneuvers was the "stutter-step", a high-stepping, irregularly paced run. He developed this as a way to distract his pursuers during long runs, saying that it startled them into thinking and gave him some advantage over players who were actually faster runners. In his autobiography, he likened the stutter step to a kind of "option play": when he was stutter-stepping, defenders would have to commit to a pursuit angle based upon whether they thought he would accelerate after the stutter-step, or cut -- he would read this angle and do the opposite of what the defender had committed to. He re-invented the practice of stiff-arming his tacklers, which had gone out of favor among running backs in the 1970s. At times, he used his high school experience as a long jumper to leap over his opponents, landing on his head in the end zone to gain a touchdown in a game against the Buffalo Bills. His running gait was somewhat unusual, as his knees were minimally bent, and the motion was largely powered from the hip. This may have given his knees, a football player's most vulnerable joints, some protection, although he underwent arthroscopic surgery on both knees in 1983. He referred to this procedure as an 11,000-yard checkup. After scoring touchdowns, Payton declined to celebrate; instead, he would often hand the ball to his teammates or the official. He disapproved of the growing practice of touchdown celebrations; he preferred post-game antics such as rushing into the locker room and locking his teammates out in the cold while taking a long shower. Although Payton would have won the respect of his peers and coaches by his running alone, he retired as the career leader in receptions for a running back with 492 for over 4,500 yards, and still holds the career record for a running back with 8 touchdown passes.

What else is significant about his style?

Answer with quotes:
He re-invented the practice of stiff-arming his tacklers, which had gone out of favor among running backs in the 1970s.