He is also blind, so one must feel sorrowful in the respect that he is not able to see the happiness that his music brings to people’s faces. Bradley was never a stereotypical street performer since he became renowned for his singing at coffeehouses, Baptist churches, and Detroit’s Eastern Market for nearly three decades, a local legend of sorts whose soulful voice and enigmatic presence made hordes of passerbys stop and take notice. For many this desire is subtle, and happiness is simply derived from seeing a dozen or so people a day walk by and display some sort of enjoyment in response to their music. How can they not lament an inability to get their music heard beyond the street they are performing on? Many street performers have devoted their lives to music, so there must be some apparent desire for recognition. Street performers can live happily if funds never go awry and they genuinely enjoy playing music for a living, but there must be an apparent frustration within these artists. From singing on the streets of Detroit to appearing on major-label albums and in high-budget films, he is reflective of artists that maximize even the most humble of circumstances to acquire experience and eventually prevail. Robert Bradley has strayed on both sides of the tracks.
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