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Muddy Waters was married to his first wife, Mabel Berry, from 1932 to 1935. [56] Muddy Waters' second wife, whom he married in the 1940s, Geneva Wade, died of cancer on March 15, 1973. Gaining custody of three of his children, Joseph, Renee, and Rosalind, he moved them into his home, eventually buying a new house in Westmont, Illinois.
The similarity is evident in For Pops: A Tribute To Muddy Waters, an album on which he performs several Muddy Waters songs. [citation needed] Morganfield launched his music career in blues clubs on the south side of Chicago, where he performed a mix of his father's material and his own original works. Regarding his performances of Muddy Waters ...
In 1941, he married Revetta Sloan, who was also Jewish; they had three children: son Marshall and two daughters, Elaine and Susie. [9] [10] [11] On October 16, 1969, six months after selling his namesake label to General Recorded Tape, Leonard Chess died of a heart attack. [3] He was buried at Westlawn Cemetery in Norridge, Illinois.
Robert Leroy Johnson was born in Hazlehurst, Mississippi, possibly on May 8, 1911, [4] to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). Julia was married to Charles Dodds (born February 1865), a relatively prosperous landowner and furniture maker, with whom she had ten children.
"Mannish Boy" (or "Manish Boy" as it was first labeled) is a blues standard written by Muddy Waters, Mel London, and Bo Diddley (with Waters and Diddley being credited under their birth names). First recorded in 1955 by Waters, it serves as an "answer song" to Bo Diddley's "I'm a Man", [1] which was in turn inspired by Waters' and Willie Dixon's "Hoo
Waters knew he had a huge recovery ahead. But his family had survived. So, like others in the area, he first grabbed his chainsaw to help clear roads and check on neighbors.
He did not begin playing music seriously until after his father's death in 1983, and then spent six years studying guitar. [2] A well-received performance with Lonnie Mack at Atlanta's Center Stage convinced Morganfield that his career move was a good one, but dissatisfied with his craft, he returned to studying traditional blues forms and ...
children's tales. "The classic fairy tale was appropriated to serve the purpose of socializing children," writes Tatar, and "the Grimms seem to have favored violence over whimsy." Violence, in the right context, was considered funny to young readers, while explicit references to sex were perceived as superfluous to the story, providing neither ...