Cotton’s father, Christ Chapel Church of God in Clinton, said that while other churches had been conservative in not allowing people to bring in drums or guitars, the COGIC church was open to all. Both musicians used the weekly free-form services as a training camp — Singleton’s grandfather was a pastor at Christ Chapel Church of God in Clinton — where they had to learn how to play different instruments and tempos, while also practicing their improvisational skills. He says that anyone could stand up and sing. People shouted if they wanted to shout. You had to play music while they were performing. Cotton was accused of not being capable of catching them if he didn’t. After the services, Cotton turned his attention towards the blues in Sarah Dickey, the neighborhood where he grew. This was the music that Cotton heard while riding in his uncle’s car on 90.1 FM. It included old schoolers such as Howlin’ Wolf and B.B. King and Albert King, to “southern” blues artists Tyrone Davis and Elmore James, and Little Milton, who recorded at Jackson’s Malaco Records. Cotton says that blues was always played in the neighborhood and that the music intrigued him. Cotton knew how the music in his church related to the music around him as a child. He says that even though the songs in the Church of God in Christ were Gospel, they used blues-based scales and chord progressions. This gave him an appreciation for blues. He expanded his knowledge and tried other types of music at Jackson State University. But blues was his mainstay and he looked for like-minded musicians. He recalls that King Edward was the first person that I saw that could play the blues. “That was the most encouraging thing for me, because it felt like I had found a home.” Cotton formed a friendship and began playing with Edward on the guitar during live performances. He says that it is one thing to hear blues on the radio, but another thing to watch someone play it live. Although I have heard guitarists all my life, they did not possess the same mastery of lead as King Edward. He was doing it for money.” Although they were half a century apart, the lives and music of Cotton, 35, and Singleton, 50, intertwined through their faith, music, and family bonds. Singleton’s grandfather and Eddie Cotton Sr. were leaders in their respective churches. They also led revivals. Honey Emmett Shearry was Jimmy’s older brother and taught Cotton how to play the guitar. As Cotton became more popular, he began to mentor Singleton, teaching him how to play the guitar. Tony Shearry was then his uncle and he opened his eyes to the blues. Singleton recalls that he saw Cotton perform at the Alamo, Jackson in high school. Tony, his uncle, would take him to the 930 Blue Cafe on North Congress Street to listen to music, even though he wasn’t yet 18. Cotton and Singleton have an independent streak. This is not only in their dedication to blues music. Both Singleton and Cotton put in the effort to make it work for them, building their audience and managing their businesses. They also invest back into their businesses and become savvy marketers. Both have recorded for major record labels. However, they still retain control of their recording and performing careers. Others choose to work with traditional booking agents, managers, and publicists. This is becoming more common as consumers prefer streaming music to own physical CDs. Cotton says, “I wanted it to be done a certain way.” Cotton says, “I wanted to make certain amounts [of money]. Vicksburg Blues Society/Jesse Worley You have these people. They think and make things difficult for you if you don’t do it the right way. Their friendship and mutual respect has endured. Singleton and Cotton have become well-known blues musicians across both the Atlantic Ocean by touring clubs and playing at festivals in Europe and America. Singleton said, “I go to him every now and again.” He’ll grab a guitar and tell me to get one. He is a great musician. He plays the organ and drums, and he may be able to play more instruments than he does.” The two artists were due to perform together at Clinton’s 31st Family Fireworks Extravaganza on July 4, but the spread of COVID-19 forced the city to cancel their performance. Singleton instead has been at Brudog Studios, Pelahatchie, working on his fourth album. Singleton states that the pandemic is hindering his ability to play live. He has more pressing matters at his heart these days, however, considering recent events. We must address this racial issue, and it is getting out of control. He says, “I’m just thinking about the need to address racism and police brutality and unwarranted behavior towards blacks and other minority groups.” These issues are back in the forefront of public conversation after the killings of George Floyd and Breonna Taylor by policemen or citizens acting in this capacity this spring. Cotton says, “A policeman should always be friend of the people.” Cotton says, “He should be someone I can trust to uphold law.” You can see that this kind of authority has been abused throughout history. “What I think is happening now is that social media makes it impossible to get away from things you used to be able to do.” In response to the falling of Confederacy symbols and statues around the country, Mississippi lawmakers voted to take down the state flag. It had been flying for 126 years, with the Confederate battle emblem at the top left corner. Gov. Tate Reeves signed legislation to remove the flag on June 30, Cotton states, “[The flag] shouldn’t even be an issue.” I hear people talking about their heritage. While I understand the sentiment, as an African American, I found it difficult to accept. This is the essence of white supremacy. This is the part that I disagree with. This is what it means.”