Praise the Lord for wind
that drives away heavy smoke!
Praise the Lord for rain!
Today is the 75th anniversary of the death of one of the greatest rural blues musicians the United States has ever given the world, Blind Willie Johnson
So little can be firmly documented about Johnson's life that even if there is officially a biography about Johnson reader consensus is that the biography adds little to nothing you can't find out in liner notes. It "may" be better to run with Jas Obrecht's book Early Blues instead. There is now agreement that he died September 18, 1945, although an earlier account placed Johnson's death in 1949, so there's an outside possibility that if the later date could be confirmed as correct this wouldn't be the 75th anniversary of Johnson's death, after all. Still, to go by contemporary consensus, today is that day.
If you have never heard Blind Willie Johnson's music and have any interest at all in early blues then do yourself a favor and get his complete recordings, whether through Amazon or maybe preferably your local music shop.
Although in terms of sheer airplay and exposure Michael Jackson's Thriller is more prominent, at a cultural-symbolic level Beethoven's Fifth Symphony has had it said in its favor that "we didn't know we needed the Fifth until Beethoven wrote it". That could, as far as assertions go, be said about Michael Jackson's Thriller. By way of reports of abusive fathers the King of Pop and the crowned king of the symphony seem to have had some things in common, one of which can be the searing loyalty of their cultist-devotees.
Someone could argue Michael Jackson was "the greatest of all time" because he wrote songs, he could sing, and he could dance while Stevie Wonder could sing and write songs but wasn't a dancer; Marvin Gaye could sing and write songs but couldn't dance like Michael and before long I notice that there's a distinctly post-Wagnerian total-work-of-art argument that is explicit in the case for Jackson being superior to Stevie Wonder or Marvin Gaye. That such a set of claims on behalf of Jackson reflect what are ultimately and paradoxically Wagnerian ideals of the total work of art transposed on to a single human life as mediated by the cumulative reception history of music journalism and scholarship is only paradoxical in the sense that Wagner's views on race are not those of twenty-first century Americans, by and large.