Death Records Now

I’m doing family history research, and I’ve been trying to look up birth, death, marriage, etc records. Every site I go to you have to pay SOMETHING for them. I want FREE online records that I can look at ONLINE without having to pay or get them shipped to my house.

My Mom said to look at court houses, but I can’t find our court houses online.
I live in Mississippi, but I’m looking for records in Pemiscot County of Missouri. That’s where most of my family moved to in the 1900’s on my Dad’s side. On my Mom’s side, I have no clue. Probably Tennessee because they were full Cherokee Indians. And she is half Cherokee Indian.

My Great Aunt has done my Dad’s side of the familys history all the way back to before the civial war, but she’s too picky to share with me any of it.

Anyway, if anyone knows a completely free website where you can look at ONLINE records, then please tell me. And remember NO PAYMENTS. NONE. lol. Most people that answer me always give me a website and they still have some kind of a payment on there. And I don’t want to have to pay anything at all.

There is a site called Heritage Quest that is completely free, but you must get the access code from your public library. Call the library and ask if they subscribe to Heritage Quest and how to access it. You do this online from home, but most libraries require you to have a library card to get the access code.

This is a video slideshow tribute to The Mississippi Delta region which is considered to be the birthplace of the Blues.

The most widely known legend surrounding Robert Johnson says that he sold his soul to the Devil at the crossroads of U.S. Highway 61 and U.S. Highway 49 in Clarksdale, Mississippi in exchange for prowess in playing the guitar. Actually, the location Johnson made reference to is a short distance away from that intersection. The legend was told mainly by Son House, but finds no corroboration in any of Johnson’s work, despite titles like “Me and the Devil Blues” and “Hellhound on My Trail”. With this said, the song “Cross Road Blues” is both widely and loosely interpreted by many as a descriptive encounter of Johnson selling his soul. The older Tommy Johnson (no relation, although it is speculated that they were cousins) also claimed to have sold his soul to the Devil. The story goes that if one would go to the crossroads a little before midnight and begin to play the guitar, a large black man would come up to the aspiring guitarist, retune his guitar and then hand it back. At this point (so the legend goes) the guitarist had sold his soul to become a virtuoso (A similar legend even surrounded virtuoso violinist Niccolo Paganini a century before.)

Seventy or so years ago, a man who was then known as Robert Johnson passed away. He was poisoned, presumably by a houseman/barkeep whose wife had been flirting with him on an August Evening. Around the same time, a king pin of the then small, homely music industry sent out a middle man to find Johnson, in hopes of striking a record deal. It took until almost a year after Johnson’s death for word to get back to the industry that Johnson was, in fact, deceased. This is not a surprise, considering that the spread of news at the time, let alone in poor black Mississippi (or really, where ever he may have taken up residence at the time), was reserved to word of mouth.

Robert Johnson is arguably the most important, influential, and respected blues artist of all time. Back in the days when Johnson was still with us, recording equipment was sparse. Johnson recorded a grand total of forty one cuts, twelve of them alternate takes.

In 1900, Bill and Annie Patton and their 12 children took up residence at Dockery Farms. Their nine-year-old, Charlie, took to following guitarist Henry Sloan to his performances at picnics, fish-fries, and social gatherings at boarding houses where the day laborers lived. By 1910, Patton was
himself a professional musician, playing songs such as his own “Pony Blues,” often with fellow guitarist Willie Brown. Within the next five years Patton had come to influence Tommy Johnson, considered one of the best ragtime-blues guitarists of the day, who had traveled to Dockery. He had also joined the Chatmon brothers who recorded using the name the “Mississippi Sheiks” at their musical jobs throughout the area.

Even though there were no juke joints on the farm, Charlie Patton and other bluesmen, drawn to Dockery by its fame, used the plantation as their base. They would travel the network of state roads around Dockery Farms to communities large enough to support audiences that loved the blues. One of these roads, Highway 61, from Memphis to Vicksburg, was immortalized by 1960s folk/rock icon Bob Dylan. This was “blues country.” The plantation was located between the towns of Cleveland and Ruleville, just south of the state prison at Parchman and north of Indianola, the birthplace of the blues guitar great B.B. King. Shops in the area sold “race records.” These were typically blues sung by women like Ma Rainey and Bessie Smith and produced presumably for African-American buyers. In 1929 Charlie Patton recorded 14 songs for Paramount Records, featuring his gruff voice and rhythmic, percussive plucking. They immediately became top sellers, and resulted eventually in his second recording sessions, producing 26 titles, for the ARC company in New York in 1934.

But it was Patton’s live performances that inspired and influenced fans such as Robert Johnson, Bukka White, Ed ‘Son’ House, Chester Burnett (also known as Howlin’ Wolf), and Roebuck ‘Pop’ Staples. These important artists in blues history either lived at or passed through Dockery Farms. Bluesmen Sonnyboy Williamson and Leadbelly were among ‘guests of the state’ at nearby Parchman Prison during the same era.

Besides his blues guitar playing and singing, Patton was well known for his stage moves. He danced while playing and swinging his guitar around, often playing it behind his back. These crowd-pleasing antics imitated by rock stars including Jimi Hendrix have survived today in the acts of bluesmen such as Buddy Guy.

Enjoy 🙂
Quinoacat

Duration : 0:6:48

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Why can I not donate my organs upon my death? I have my card, my D.L., and a statement in my med. records stating my desire to be a donor. Problem is I found out that I do NOT have the right to donate them. It is up to my NEXT OF KIN to actually decide if my organs will be donated, and they are NOT required to follow my wishes..Why is this the case? I have called attorneys and received this same information. I live in Mississippi. What can I do as my family is against organ donation and I want to be a donor???
It wouldn’t do any good to have it in a will as donation has to be done as soon as possible following death.
I’m 42, and DMV does NOT make any type contract. All they can do is state my wishes on my D.L….already done that.
I have all possible forms filled out and in place. The problem is that they are NOT ENFORCEABLE. It is still up to my next of kin to consent, and they had stated that they will NOT as they do not agree with organ donation.

Whether you call it “first person
consent” or “donor designation,” it means
the same thing—the donor’s decision is
paramount and should be respected at all
costs.

Write to the organ recovery agency in your state and ask them to push your representatives to create a ‘first-person consent registry’ like we have here in California.

Our DMV adopted the registry, so now when people check ‘yes’ to be a donor, their name goes on the registry, which is considered a legal document and nurses can look up names once someone has been declared brain dead to see if they are registered. If they are registered, their families are informed of the deaceased’s wishes to be donor – no consent is required.

Born John Smith Hurt in Teoc, Carroll County, Mississippi and raised in Avalon, Mississippi, Hurt learned to play guitar at age 9. He spent much of his youth playing old time music for friends and dances, earning a living as a farm hand into the 1920s. In 1923 he partnered with the fiddle player Willie Narmour as a substitute for his regular partner Shell Smith. When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, Narmour recommended John Hurt to Okeh Records producer Tommy Rockwell. After auditioning “Monday Morning Blues” at his home, he took part in two recording sessions, in Memphis and New York City. The “Mississippi” tag was added by Okeh as a sales gimmick. After the commercial failure of the resulting records, and Okeh Records going out of business during the Great Depression, Hurt returned to Avalon and obscurity, working as a sharecropper and playing local parties and dances.

In 1963, however, a folk musicologist, Tom Hoskins, inspired by the recordings, was able to locate Hurt near Avalon, Mississippi. Seeing that Hurt’s guitar playing skills were still intact, Hoskins encouraged him to move to Washington, D.C., and begin performing on a wider stage. His performance at the 1964 Newport Folk Festival saw his star rise amongst the new folk revival audience. Before his death he played extensively in colleges, concert halls, coffee houses and also on the Tonight Show with Johnny Carson, as well as recording three further albums for Vanguard Records. The numbers his devotees particularly liked were the ragtime songs “Salty Dog” and “Candy Man”, and the blues ballads “Spike Driver Blues” (a variant of “John Henry”) and “Frankie”.

Hurt’s influence spanned several music genres including blues, country, bluegrass, folk and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which remained a mellow mix of country, blues and old time music to the end.

Hurt died in November 1966 from a heart attack in Grenada, Mississippi.

Duration : 0:5:12

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http://www.GovRegistryFiles.org

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Duration : 0:2:14

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