Kenny Baker born 30 September 1912

Kenny Baker (September 30, 1912 – August 10, 1985) was an American singer and actor who first gained notice as the featured singer on radio's The Jack Benny Program during the 1930s. His signature song became the title music he performed in the Gilbert and Sullivan operetta 'A Wandering Minstrel.' 

Kenneth Laurence Baker was born in Monrovia, California. Before he became a star, Baker sang as a member of the Vitaphone chorus at Warner Bros. He was a young music student at Long Beach City College when his pristine tenor voice won him a radio contest. His initial reward was an engagement at the Cocoanut Grove in Los Angeles, where he was brought to Benny's attention in the mid-1930s. 

Baker appeared in 17 film musicals, including Mr. Dodd Takes the Air (1937), At the Circus (1939), and The Harvey Girls, with Judy Garland (1946). He also starred in the 1939 movie version of Gilbert and Sullivan's The Mikado. He later co-starred with Mary Martin in the original Broadway production of Kurt Weill and Ogden Nash's One Touch of Venus (1943). He also was the off-screen singing voice for many actors in various Paramount, 20th Century Fox and Walt Disney productions. 

Baker first appeared on Jack Benny's weekly radio program on November 3, 1935, having been hired to replace singer Frank Parker. Parker had been very popular on the Benny program, and with his departure, it was widely believed that Benny would lose a large part of his audience; however, Kenny Baker is said to have won audiences over almost instantly, even surpassing Parker in popularity. Baker portrayed a high-voiced, innocent young man on the show, who would frequently cause the Jack Benny character frustration with his "silly" remarks. 

                           

Baker's final regular appearance on Benny's radio show aired on June 25, 1939, leaving the $3,000 per week job because he no longer wanted to play the character. He was subsequently replaced by singer Dennis Day. After his four-year stint on the Benny program, Just before World War II he toured with Frances Langford in theaters across the country. Baker returned to radio as a regular performer on Fred Allen's Texaco Star Theater program (1940–1942). The singer himself, believe it or not, replaced the cigar-chomping Groucho Marx on a series entitled Blue Ribbon Town (1943-1944) because the producers thought Baker would be more entertaining. He was also heard on Glamour Manor (1945–1947). 

He had his own programs, the Kenny Baker Show and Sincerely – Kenny Baker (1946/7). The latter was syndicated by the Frederick W. Ziv Company via electrical transcription. Baker also recorded several albums of show tunes.  Baker had retired in the 1950s, telling the Los Angeles Times in 1954 that personal appearances across the country had made him "almost a stranger with his children." He became a Christian Science practitioner and motivational speaker and recorded a number of record albums of hymns for his church. He was awarded a Star on the Hollywood Walk of Fame for Radio at 6329 Hollywood Boulevard in Hollywood, California. 

On August 10, 1985, Baker died of a heart attack in Solvang, the small Danish resort community in Central California, where he lived in retirement with his family. He was 72 years old. 

(Edited from Wikipedia, AllMusic, LA Times & IMDb) (Footnote: He is no relation to other performers named Kenny Baker which include a bluegrass fiddler, a British jazz trumpeter, and an R&B saxophonist, not to mention to the dimunitive actor famous for his portrayal of the robot R2-D2.)

Tommy Tate born 29 September 1944

Tommy Tate (September 29, 1945 – January 20, 2017), was an American soul singer and songwriter, who had three hits on the R&B chart in the 1970s. 

Born Thomas Lee Tate in Homestead, Florida, 1945, he moved to his permanent place of residence in Jackson, Mississippi, six years later, after recovering from polio.  Singing first in a church choir, his first professional secular gig took place in Canton, Mississippi, at the age of fourteen.  In the mid-60s he was about to be hired as a drummer for B.J. Thomas, but then he met the production and writing team of Bob McRee, Cliff and Ed Thomas and supported by Tim Whitsett and his Imperial Show Band they released Tommy’s first single on ABC, What’s the Matter b/w Ordinarily in early 1965.  

More singles and some outstanding ones like Big Blue Diamonds and Stand by Me followed on Okeh, Big Ten, (Temporaire), Swing, Verve, Atco and Musicor.  Tim Whitsett and his Imperial Show Band was involved in almost all of them, and in the latter half of the 60s Tate toured widely with the band, which also included singer Dorothy Moore, and after Moore left he became the band's featured vocalist.  They also cut a lot of demos, mostly written by Tommy, for Ilene Berns’ Bang Records in ’68 and ’69, but so far they all remain shelved.  

After the band split up, Tate recorded for Stax Records in 1970 as a member of The Nightingales. In 1972 he started recording for KoKo Records, distributed by Stax, and had his first and biggest chart hit with "School of Life", produced by Johnny Baylor, which reached number 22 on the Billboard R&B chart. Between 1973 and ’76 Tommy performed in the Jackson, Mississippi area with his band, Southern Passion. 

                                  

He remained with KoKo for several years, and had two further minor chart hits in 1976, "Hardtimes S.O.S." (#62 R&B) and "If You Ain't Man Enough" (#93 R&B). He also recorded an album for KoKo, but it was never released until 1996 on the Japanese P-Vine label. 

Between 1973 and ’76 Tommy performed in the Jackson, Mississippi area with the  band, Southern Passion.  In 1979, he joined Malaco Records and released the album Hold On. A second album recorded at the Malaco studios, Tommy Tate, was issued on the Juana label in 1981.

He composed songs that were recorded by Luther Ingram, Bobby Bland, Johnnie Taylor, Isaac Hayes, Little Milton and others. He continued to perform in clubs and to record for small Southern soul labels, and released a third album, Love Me Now, on the Ichiban subsidiary label, Urgent!, in 1990. His last studio album was “All or Nothing” for the P-Vine label in 1992. Despite all his recordings Tate couldn’t replicate the success of ‘School For Life’ and his career experienced a downward trajectory to obscurity. 

His career ended in 2002 when he suffered a debilitating stroke which tied him to a wheelchair.  In 2006 he was honoured at the Jackson Music Awards, and his last years were spent in a nursing center and care-home in Jackson, Mississippi, where he died on 2017, at the age of 71. 

(Edited from Wikipedia, AllMusic & Soul Express)

Loyal Garner born 28 September 1946

Loyal Garner (September 28, 1946 – November 15, 2001) was a Hawaiian musician and de facto leader of the Hawaiian singing group Local Divas. She was one of the most popular contemporary Hawaiian singers of her time and was active in the local music scene since the late 1960s. She was nicknamed the "Lady of Love" and her hits included "Shave Ice" from the 1982 album Island Feelings and "Blind Man in the Bleachers" from her 1981 album Loyal. 

Loyal Garner was was born in Kalihi, and raised in Waialua, Honolulu and spent her high school years at Alewa Heights. Her grandfather Joseph Kuni, was noted for his musical tableaus that he would give throughout the islands. Her mother Alice Garner was a singer in the Royal Hawaiian Band. Loyal  was a self-taught singer who got her first big break in 1966 singing at the Golden Dragon at the Hilton Hawaiian Village, a six-night-a-week gig she took while attending UH Manoa. 

In 1975, she broke out on the local music scene as a performer at the Canoe House at the Ilikai. She released her first album, Hawai’i Today, two years later. Little did she realize how popular she would become. Her love of jazz, soul, and rhythm and blues would help her develop her style of music, a combination of Hawaiian and pop, appealing for those who wanted Hawaiiana but accessible for those who wanted a contemporary sound. Her first hint of success was being a co-writer of "Chotto Matte Kudasai" in 1970, which became favored not only by translated Japanese residents throughout Hawai'i, but the Japanese throughout parts of the United States as well as in Japan. 

                                   

Popularity with her compositions lead her to being signed by Hula Records, where she would record and release her debut album, Lady Of Love, which immediately became one of her nicknames. She would have a surprise hit in 1981 with "Shave Ice", a soulful dance song that was a combination of Cheryl Lynn's "Got To Be Real" and Teena Marie's 'Square Biz". She appeared on a national Jim Nabors Christmas special and continued recording and performing, including becoming a part of Local Divas, a Hawaiian supergroup featuring Nohelani Cypriano, Melveen Leed, and Carole Kai. 

During her career, she recorded numerous albums and performed throughout the world from Carnegie Hall to Tokyo. She won two Na Hoku Hanohano awards (the Hawaiian equivalent of the Grammy) for best female vocalist of the year in 1982 and 1993. When Garner was first diagnosed with colon cancer, doctors said she had about six to nine months to live. Loyal fought it for two years. Her death came a week before a scheduled Divas concert. The remaining divas revamped the concert into a tribute concert, titled "This one's for you, Loyal." The proceeds helped to pay some of the $90 thousand in medical bills. She succumbed to the disease at the Queens Medical Center, on November 15, 2001 at the age of 55. 

Local Divas

In 2007 the Hawaii Academy of Recording Arts awarded Garner with a posthumous Na Hoku Hanohano Lifetime Achievement Award. On April 2, 2007, Hula Records re-issued Garner's Hawai'i Today for the first time on CD format at the request of fans. 

(Edited from Discogs, Wikipedia, Hawaii News Now, Aloha Got Soul, & Khon2)

Josh Graves born 27 September 1927

Josh Graves (September 27, 1927 Tellico Plains, Monroe County, Tennessee – September 30, 2006), was an American bluegrass musician. Also known by the nicknames "Buck," and "Uncle Josh," he is credited with introducing the resonator guitar (commonly known under the trade name of Dobro) into bluegrass music shortly after joining Lester Flatt, Earl Scruggs and the Foggy Mountain Boys in 1955. 

Born Burkett "Buck" Graves, and raised in Tellico Plains, Tennessee,. His father, who was a blacksmith, played harmonica, and his wife played the organ. Josh was only nine when he heard Cliff Carlisle of the Carlisle Brothers, performing a few Jimmie Rodgers tunes with the Dobro. Graves loved the sound and became close friends with Carlisle. 

Stoney Cooper, Wilma Lee & Josh

Graves invented the "Uncle Josh" persona as a teen while working as an announcer for Knoxville radio station WROL, and upon joining the Pierce Brothers in 1942 he served as both a guitarist and comedian. Later he played with Esco Hankins and Mac Wiseman before becoming a part of the Wheeling Jamboree with Wilma Lee and Stoney Cooper. Graves remained with Wilma and Stoney through the mid-'50s. During a performance at the Grand Ole Opry, Graves made a big impression upon Lester Flatt and Earl Scruggs who invited him to join their Foggy Mountain Boys. Initially he was a bass player, but about a month after joining, Scruggs and Graves worked out a way to use Scrugg's innovative three-finger banjo picking style on the Dobro. 

In the late '50s, acoustic instruments were out of favor, due to the popularity of rock & roll. The survival of the Dobro as an important instrument in country can largely be attributed to Graves, who alternately electrified audiences with a red-hot picking style and then cooled them down with a bluesy, sweet mellowness. Graves remained a primary member of the Foggy Mountain Boys until they disbanded in 1969. Afterward, he joined Flatt's Nashville Grass and did session work on the side. In 1971, he began playing with Earl Scruggs Review; three years later, he decided to go solo. 

                                  

Graves' first solo effort was Alone at Last on Epic. He also continued session work , playing with artists like Charlie McCoy, J.J. Cale, Steve Young, and Kris Kristofferson  and collaborating with other musicians, such as his 1975 duet album with Jake Tullock, "Just Joshing". He continued in a similar vein through the 1980s and the '90s. 

Josh Graves teamed up with such greats as Kenny Baker, Eddie Adcock and Jesse McReynolds in 1989 to form the Masters and release an eponymous album. In 1988, he recorded an album with his son Billy Troy (guitar). He joined producers Randall Franks and Alan Autry for the In the Heat of the Night cast CD “Christmas Time’s A Comin’” performing "Christmas Time's A Comin'" with the cast on the CD released on Sonlite and MGM/UA for one of the most popular Christmas releases of 1991 and 1992 with Southern retailers. 

Although Josh was best known for his Dobro playing, he was also an accomplished flat–top guitarist, and his stage shows usually featured a couple of solos on that instrument. Josh was also a composer of considerable merit and could boast of almost fifty BMI-licensed songs with his name listed as composer or co-composer. He is credited as being a major influence on many leading resophonic guitar players, including Jerry Douglas, Mike Auldridge, and Phil Leadbetter among them. 

In 1992 Graves was inducted into the Hall of Greats by the Society for the Preservation of Bluegrass Music of America. He was also inducted into the International Bluegrass Music Hall of Honor in 1997. In the 90s and 00s, Graves was still in demand for session work and regularly made appearances on various radio and television shows. He continued to release numerous solo recordings, including King of the Dobro and Memories of Foggy Mountain, and performed on the Nitty Gritty Dirt Band's third installment of their Will the Circle Be Unbroken series in 2002. Also that year, he issued his swan song, Memories of Foggy Mountain, teaming with a new generation of bluegrass pickers including J.D. Crowe and Audrey Haney. 

He died in Nashville, Davidson County, Tennessee, 30 Sep 2006 (aged 79) 

(Edited from Brad’s Page of Steel, Wikipedia, & Flatt & Scruggs.com)

Ted Weems born 26 September 1901

Wilfred Theodore Wemyes, known professionally as Ted Weems (September 26, 1901 – May 6, 1963), was an American bandleader and musician. Weems's work in music was recognized with a star on the Hollywood Walk of Fame. 

Born in Pitcairn, Pennsylvania, Weems learned to play the violin and trombone. Young Ted's start in music came when he entered a contest and won a violin. His parents arranged for music lessons. He was a graduate of Lincoln School in Pittsburgh. When the family moved to Philadelphia, young Weems entered West Philadelphia High School. He joined the school's band and became its director. 

He attended the University of Pennsylvania, where he and his brother Art organized a small dance band that became the "All American Band". It soon started receiving offers to perform in well-known hotels throughout the United States. Weems, who had originally intended to become a civil engineer, found himself being attracted to a musical career. They were one of the bands that played at the inaugural ball of President Warren Harding. Going professional in 1923, Weems toured for the MCA Corporation, recording for Victor Records. "Somebody Stole My Gal" became the band's first #1 hit in early 1924. It sold over one million copies, and was awarded a gold disc by the RIAA. 

Weems was a Victor band from 1923 through 1933, although the final three sessions were released on Victor's newly created Bluebird label. He then signed with Columbia for two sessions in 1934 and subsequently signed with Decca from 1936. Weems also co-wrote several popular songs: "The Martins and the McCoys", "Jig Time", "The One-Man Band", "Three Shif'less Skonks", and "Oh, Monah!", which he co-wrote with band member "Country" Washburn. 

Weems moved to Chicago with his band around 1928. The Ted Weems Orchestra had more chart success in 1929 with the novelty song "Piccolo Pete", which rewarded him with his second Gold Record, and the #1 hit "The Man from the South". The band gained popularity in the 1930s, making regular radio broadcasts. These included Jack Benny's Canada Dry program on CBS and NBC during the early 1930s, and the Fibber McGee & Molly program in the late 1930s.

In 1936, the Ted Weems Orchestra gave singer Perry Como his first national exposure; Como recorded with the band (on Decca Records), beginning his long and successful career. Among Weems's other discoveries were whistler-singer Elmo Tanner, sax player and singer Red Ingle, Marilyn Maxwell, who left the band for an acting career; and arranger Joe Haymes, who created the band's unique jazz-novelty style. In 1940, Weems and his orchestra were featured on Beat the Band on the NBC-Red radio network. 

                                    

In November 1942, Ted Weems and his entire band enlisted in the United States Merchant Marine, directing the Merchant Marine Band. Reorganizing his big band in 1945, he made records for Mercury, including the hits "Peg O' My Heart" and "Mickey". However, the biggest hit of Weems's career was a reissue on his former Decca label: the Weems Orchestra's 1938 recording of "Heartaches" topped the national charts for 13 weeks. This version featured Elmo Tanner's whistling, and the tune was played briskly but not at the breakneck tempo of his first version recorded in 1933 for Victor who decided to re-release its own version of the song. Both labels shared credit on the charts. "Heartaches" topped the Hit Parade on April 19, 1947; nine years after it was recorded. 

The new-found popularity of the 1938 "Heartaches" came at a time when Weems was struggling to re-form his band; many former members had other music-related jobs, others were no longer interested in performing. Two of his band members were killed in World War II. Weems was then able to recruit new band members and was again being asked to play at the same venues as before the war. Ted Weems made front-page news in 1947 when he publicly repaid his debt to disc jockey Kurt Webster, who had revived "Heartaches" and thus Weems's career. Weems staged a benefit performance by his band on June 6, with all proceeds going to war veteran Webster. Decca cashed in on Weems's new popularity by reissuing another oldie, "I Wonder Who's Kissing Her Now" with vocals by Perry Como, which became another major chart hit. 

Despite this sudden surfeit of popularity, the hits dried up after 1947. Weems toured until 1953. At that time he accepted a disc jockey position in Memphis, Tennessee, later moving on to a management position with the Holiday Inn hotel chain. Perry Como played host to his old boss, Elmo Tanner, and three other Weems band members on his Perry Como's Kraft Music Hall show of October 18, 1961. 

Ted Weems died of emphysema in Tulsa, Oklahoma, in 1963. He had been operating a talent agency in Dallas with his son which also served as his band's headquarters. Weems was in Tulsa with his band for an engagement the day he was taken ill. His son Ted Jr. led a revival band at times during the 1960s and 1970s. 

(Edited from Wikipedia)   

Glenn Gould born 25 September 1932

Glenn Gould (September 25, 1932 - October 4, 1982) was a Canadian pianist known for his contrapuntal clarity and brilliant, if often unorthodox, performances. At age 31, on April 10, 1964, he gave his last public performance, at Los Angeles’s Wilshire Ebell Theater. He never married and was known to walk city streets alone at late hours. 

Glen Herbert Gould was born in Toronto and enjoyed a privileged, sheltered upbringing in the quiet Beach neighbourhood. He studied piano from the age of 3, began composing at 5, and entered the Royal Conservatory of Music of Toronto at 10, earning its associate degree in 1946. He became a professional concert pianist at age 15, and soon gained a national reputation. By his early twenties, he was also earning recognition through radio and television broadcasts, recordings, writings, lectures and compositions. 

Early on, Gould’s musical proclivities, piano style and independence of mind marked him as a maverick. Favouring structurally intricate music, he disdained the early-Romantic and impressionistic works at the core of the standard piano repertoire, preferring Elizabethan, Baroque, Classical, late-Romantic and early-20th-century music. Bach and Schoenberg were central to his aesthetic and repertoire. 

In 1952 Gould isolated himself and, working only with a tape recorder, developed an individual style of playing with his head hunched over the keyboard. He was an intellectual performer, with a special gift for clarifying counterpoint and structure, but his playing was also deeply expressive and rhythmically dynamic. He had the technique and tonal palette of a virtuoso, though he upset many pianistic conventions – avoiding the sustain pedal, using détaché articulation, for example. 

          Here’s “Variation 24 A1 Canone All’Ottova” from above album 

                               

Believing that the performer’s role was properly creative, he offered original, deeply personal, sometimes shocking interpretations (extreme tempos, odd dynamics, finicky phrasing), particularly in canonical works by Mozart, Beethoven and Brahms. Gould’s American début, in 1955, and the release a year later of his first Columbia recording, of Bach’s Goldberg Variations, launched his international concert career. The quality of his performances of Bach’s keyboard works was probably unrivaled in the 20th century. 

In 1964 he gave up a successful concert career to work exclusively in the recording studio as performer, editor, and producer of his own recordings. His retirement was fuelled by his devotion to the electronic media. Gould was one of the first truly modern classical performers, for whom recording and broadcasting were not adjuncts to the concert hall but separate art forms that represented the future of music.

He made scores of albums, steadily expanding his repertoire and developing a professional engineer’s command of recording techniques. He also wrote prolifically about recording and the mass media, his ideas often harmonizing with those of his friend, the influential intellect, Marshall McLuhan. 

Though he never became the significant composer that he longed to be, Gould channeled his creativity into other media. In 1967, he created his first “contrapuntal radio documentary,” The Idea of North, an innovative tapestry of speaking voices, music and sound effects that drew on principles from documentary, drama, music and film. Over the next decade, he made six more such specimens of radio art, in addition to many other, more conventional, recitals and talk-and-play shows for radio and television. He also arranged music for two feature films. 

Gould lived a quiet, solitary life, and guarded his privacy. He maintained a modest apartment and a small studio, and left Toronto only when work demanded it, or for an occasional rural holiday. He recorded in New York until 1970, when he began to record primarily at Eaton Auditorium in Toronto. In the summer of 1982, having largely exhausted the piano literature that interested him, he made his first recording as a conductor, and he had ambitious plans for several years’ worth of conducting projects but, shortly after his 50th birthday, Gould died suddenly of a stroke. Among the numerous honours conferred upon him was a lifetime achievement award from the Recording Academy, presented posthumously in 2013. 

 (Edited from The Canadian Music Hall of Fame & Britannica) 

Blind Lemon Jefferson born 24 September 1893

Lemon Henry "Blind Lemon" Jefferson (September 24, 1893 – December 19, 1929) was an American blues and gospel singer-songwriter and musician. He was one of the most popular blues singers of the 1920s and has been called the "Father of the Texas Blues". 

Jefferson was born blind, near Coutchman, Texas. He was the youngest of seven (or possibly eight) children born to Alex and Clarissa Jefferson, who were African-American sharecroppers. Disputes regarding the date of his birth derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas. Jefferson's birth date was recorded as September 1893 in the 1900 census. The 1910 census, taken in May, before his birthday, confirms his year of birth as 1893 and indicated that the family was farming northwest of Wortham, near his birthplace. 

In his 1917 draft registration, Jefferson gave his birthday as October 26, 1894, stating that he lived in Dallas, Texas, and had been blind since birth. In the 1920 census, he is recorded as having returned to Freestone County and was living with his half-brother, Kit Banks, on a farm between Wortham and Streetman. Jefferson began playing the guitar in his early teens and soon after he began performing at picnics and parties. He became a street musician, playing in East Texas towns in front of barbershops and on street corners. 

In the early 1910s, Jefferson began traveling frequently to Dallas, where he met and played with the blues musician Lead Belly. Jefferson was one of the earliest and most prominent figures in the blues movement developing in the Deep Ellum section of Dallas. It is probable that he moved to Deep Ellum on a more permanent basis by 1917, where he met Aaron Thibeaux Walker, also known as T-Bone Walker. Jefferson taught Walker the basics of playing blues guitar in exchange for Walker's occasional services as a guide. By the early 1920s, Jefferson was earning enough money for his musical performances to support a wife and, possibly, a child. However, firm evidence of his marriage and children has not been found. 

Jefferson did what few had ever done before him – he became a successful solo guitarist and male vocalist in the commercial recording world. Unlike many artists who were "discovered" and recorded in their normal venues, Jefferson was taken to Chicago in December 1925 or January 1926 to record his first tracks. Uncharacteristically, his first two recordings from this session were gospel songs ("I Want to Be Like Jesus in My Heart" and "All I Want Is That Pure Religion"), released under the name Deacon L. J. Bates. A second recording session was held in March 1926. 

                                  

 His first releases under his own name, "Booster Blues" and "Dry Southern Blues", were hits. Their popularity led to the release of the other two songs from that session, "Got the Blues" and "Long Lonesome Blues", which became a runaway success, with sales in six figures. He recorded about 100 tracks between 1926 and 1929; 43 records were issued, all but one for Paramount Records. Paramount's studio techniques and quality were poor, and the recordings were released with poor sound quality. In May 1926, Paramount re-recorded Jefferson performing his hits "Got the Blues" and "Long Lonesome Blues" in the superior facilities at Marsh Laboratories, and subsequent releases used those versions. 

Jefferson was reputedly unhappy with his royalties. In 1927, when Williams moved to Okeh Records they quickly recorded and released Jefferson's "Matchbox Blues", backed with "Black Snake Moan". It was his only Okeh recording, probably because of contractual obligations with Paramount. In 1927, Jefferson recorded another of his classic songs, the haunting "See That My Grave Is Kept Clean" (again using the pseudonym Deacon L. J. Bates), and two other uncharacteristically spiritual songs, "He Arose from the Dead" and "Where Shall I Be". "See That My Grave Is Kept Clean" was so successful that it was re-recorded and re-released in 1928. 

Jefferson died in Chicago at 10:00 a.m. on December 19, 1929, of what his death certificate said was "probably acute myocarditis". For many years, rumors circulated that a jealous lover had poisoned his coffee, but a more likely explanation is that he died of a heart attack after becoming disoriented during a snowstorm. 

Jefferson was buried at Wortham Black Cemetery, Freestone County, Texas. His grave was unmarked until 1967, when a Texas historical marker was erected in the general area of his plot; however, the precise location of the grave is still unknown. By 1996, the cemetery and marker were in poor condition, and a new granite headstone was erected in 1997.  In 2007, the graveyard's name was changed to Blind Lemon Jefferson Memorial Cemetery.

(Edited from Wikipedia)