Muddy Waters hit the headlines in June 1956 when a fight broke out on the bandstand at Ricky’s Show Lounge on Indiana Ave, reported under the headline “Cast in Muddy Waters Fracas.” Source: Chicago Defender, June 9, 1956. 1/🧵
Those charged in Women’s Court were Muddy Waters, Dorothy Shelton, Geraldine Williams, Ruth Johnson, and Muddy’s manager James Triplett on counts of malicious mischief and fighting. Source: Chicago Defender, June 9, 1956. 2/🧵
Shelton, 19, a West Side tavern manager who said she was Muddy’s girlfriend, confronted 23-year-old Geraldine Williams during the show after Muddy “dropped” her following a long courtship, and a brawl erupted on the stand. Source: Chicago Defender, June 9, 1956. 3/🧵
The article notes Shelton had a revolver in her possession and that windows of Muddy’s station wagon were smashed in the aftermath of the melee. Source: Chicago Defender, June 9, 1956. 4/🧵
Judge Cecil postponed the case to June 19 when Muddy’s attorney failed to appear, moving the nightclub dust-up from stage drama to a formal court calendar. Source: Chicago Defender, June 9, 1956. 5/🧵
Ricky’s Show Lounge at 3840 Indiana Ave sat in the South Side show-lounge belt where blues stars mixed with neighborhood crowds and late-night press, a setting that made private quarrels very public. Source: Chicago Defender, June 9, 1956; South Side club histories. 6/🧵
Why this matters: the Defender framed a blues love triangle as front-page theater, showing how Black press, South Side nightlife, and rising blues celebrity turned offstage life into citywide news. Source: Chicago Defender, June 9, 1956. 7/🧵
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On Nov 22, 1982, Stevie Ray Vaughan and Double Trouble accepted Jackson Browne’s offer to use his LA warehouse studio, three days free tape time, after Browne caught their Montreux set; they arrived unsigned, broke, and hungry to make a demo. Source: de Visé, TexasFlood. 🧵1
The “studio” was concrete floor, scatter rugs, amp stacks in a corner; Vaughan, Tommy Shannon, Chris Layton set up like a bar gig and rolled tape—no baffles, no click, just room bleed and sweat. Source: de Visé, TexasFlood. 🧵2
Engineer Greg Ladanyi grabbed used reels, the trio ran their live set twice, virtually no overdubs; most album cuts are full-band first or second takes, straight to 2-inch tape. Source: Epic, SessionSheet. 🧵3
Willie Dixon wasn’t merely a bassist—he was a creative powerhouse behind over 600 songs that defined Chicago blues. His prolific songwriting wasn’t just about numbers; it was an artistic revolution that redefined a genre, challenging norms and inspiring authenticity.
Through songs like “Hoochie Coochie Man” and “Spoonful,” Dixon fused storytelling with swagger-filled lyrics. His work captured the spirit of struggle, resilience, and triumph—a testament to how music can serve as a powerful narrative of cultural identity and social experience.
Dixon disdained terrestrial radio, criticizing its failure to embrace authentic blues. He argued that mainstream channels diluted the true essence of the genre, highlighting a broader tension between commercial interests and the preservation of genuine artistic expression.