By Chris Salewicz
Robert Johnson used to be, in keeping with Eric Clapton, "the most crucial blues singer that ever lived." An itinerant road musician, with a weak spot for whisky and girls, his is a lifetime of natural legend-the guy who bought his soul for the satan, and thereby invented smooth song. beneficial little is understood approximately his 27 years, or the conditions of his demise, or even the positioning of his grave is contested. during this mini-biography, acclaimed track critic Chris Salewicz investigates the reality in the back of the parable, evoking an incisive profile of an enigmatic determine who, with simply 29 songs, replaced renowned song for ever.
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Extra resources for 27: Robert Johnson (The 27 Club, Book 7)
Director Harold Shaw planned to fi lm H. G. Wells’s novel Kipps, about a maladroit shop assistant who inherits a fortune but stumbles when he tries to enter high society. A number of candidates for the part were sent to meet Wells, one of whom was Arthur. The actor “accidentally” knocked over a valuable vase in the writer’s home, in effect turning a getacquainted visit into an audition. 1 After Kipps, Arthur snared small parts in two movies with D. W. Griffith star Mae Marsh. He also pursued Charlie Chaplin, Mary Pickford, and Douglas Fairbanks when they visited London.
He chose the grandest cars, unconcerned that they dwarfed him, and he kept the largest or most aggressive breeds of dog—Great Danes and Dobermans. 28 In Uniform More observant people admired the calculation that went into his wardrobe. Like Woody Allen closer to our own time, he expended money and effort on appearing casual. Berlin painter George Grosz remarked, “His outer garments were . . always, naturally, made to measure by the very best tailors. The lapels . . were cut like a shawl collar and without buttonholes.
Instead of scenery which meant nothing, an emotionalized background that would transfer itself into my foreground. Instead of saccharine characters, sober figures moving in rhythm. . ” As a fi rst step, he rowed out to the dredge perched on a barge in San Pedro harbor and persuaded the operators to let him shoot there. Meanwhile, a cast and crew were rounded up. Cinematographer Eddie Gheller, though moderately experienced, probably acted mainly as 41 Von Sternberg the camera operator, given von Sternberg’s intimate knowledge of fi lm lighting.