“Astonishing to see this. Original features extant, too. Was in Memphis on pilgrimage in 2016 but missed the opportunity to see this. It should be made far more well known for blues travellers. Best, from England.”
“HOOKS BROTHERS PHOTOGRAPHY ESTABLISHED IN 1907 – Established by Henry Hooks, Sr. and his brother Robert B. Hooks, Hooks Brothers Photography Studio was the second oldest continuously operating black business in Memphis. Located during its early years at 164 Beale Street, it next moved to Linden Avenue and finally to McLemore Avenue where it ceased operation after a destructive fire in 1979.”
The rear of this marker reads:
“Covering much of the 20th century, the company chronicled and documented the history and lives of black Memphis and Memphians. Among the subjects and luminaries captured on film by the Hooks Brothers were Booker T. Washington, W.C. Handy, Robert R. Church, the beginning days of the Memphis NAACP, the Lincoln League, early high school and college graduating classes from Howe Institute, LeMoyne College and many other activities of black society and ordinary people.”
The office and studio space used by the former Hooks Brothers Photography is now the Absinthe Pool Room, part of the King’s Palace Cafe located downstairs at 162 Beale Street.
Many of the original features of this space are still intact and it is possible to get some idea of what the Hooks Brothers’ offices and studio may have looked like in the mid-1930’s when the confirmed studio portrait of Robert Johnson was taken here circa 1934-1938.
Here are some photos of how the space now appears.
The photo above shows what the entrance area of the Absinthe Pool Room looks like today.
This is the second floor room you first enter after coming up the staircase from Beale Street. The Absinthe Pool Room uses this space as a bar and sitting area.
The main architectural features of interest today are the original wooden wainscoting, transoms above the doors and the interior windows that open in all the interior walls. The interior sliding windows are an interesting remnant of the days before air conditioning. Interior windows that opened allowed air to circulate more freely through the interior spaces, allowing more effective ventilation and circulation of interior air.
The photos below show the current appearance of what we believe to have been a room used by Hooks Brothers as a photography studio. These rooms overlook Beale Street and have large south facing windows overlooking Beale Street which allow natural light to enter. These are the only rooms in the space with natural light, which leads us to believe Hooks Brothers Photography would have used them as studios. If so, this is where the confirmed studio portrait of Robert Johnson was taken.
These photos show the view looking toward the north, away from the Beale Street frontage of the building.
The photos below show another view of the same room shown in the photos above.
This view looks south toward the Beale Street frontage of the building. The large windows face south onto Beale Street and allow natural light into the interior space at the front of the building.
A reader has drawn our attention to a 1965 painting by Carroll Cloar entitled “Where The Southern Cross The Dog” which depicts a railway crossing in Moorhead, Mississippi. This railway crossing became part of the lyric in W.C. Handy‘s Yellow Dog Blues.
Our reader was wondering whether we knew where he could buy a print of this painting. We couldn’t find any available prints of this painting. If any of our readers know of any commercially available prints of this Carroll Cloar painting, please let us know via the dialog box below. We will pass the information along.
Here is how the same scene in Moorhead, Mississippi appears today.
Alan Lomax (1915 – 2002) played a major role in recording Delta blues artists from the 1930’s to 1978.
In the 1930’s he worked with his father, John Lomax. They made a trip through the southern United States in which they discovered and recorded Huddy Ledbetter in Angola State Penitentiary in Louisiana.
He made the first recordings of Muddy Waters (1941-42) at Stovall Farm near Clarksdale. He also made historic recordings of Son House in Tunica County 1941 and 1942. He also recorded David “Honeyboy” Edwards (1942) and other Delta bluesmen.
Hooks Brothers Photography was established in 1907 at 164 Beale Street, Memphis, Tennessee and, over the years, took photographic portraits of many well known people in Memphis history, particularly people from the African-American community.
Here’s a clip of Bessie Smith’s 1925 recording of Yellow Dog Blues, with Fletcher Henderson (piano), Coleman Hawkins (tenor sax), Joe Smith (cornet), Charlie Green (trombone) and Buster Bailey (clarinet).
The Yazoo Delta RR was nicknamed the “Yellow Dog.” The Ruleville Depot National Historic Register designation says this nickname came about because the Yazoo Delta RR’s s locomotives and rolling stock were constantly covered in yellow dust from the surrounding agricultural areas and because of the trains’ habit of regularly jumping jumping the tracks.
W.C Handy gives a different explanation for the origin of the nickname “Yellow Dog” in Chapter 6 of his autobiography.
In W.C. Handy’s version, a “blistering sun beats down upon a gang of black section hands during the late nineties [note: construction of the the Yazoo Delta Railroad began in 1897]. They are working down in Mississippi, laying the railroad tracks for the Yazoo Delta line between Clarksdale and Yazoo City. Their hammers rise and fall rhythmically as they drive the heavy spikes and sing ‘Dis ole hammer killed John Henry, won’t kill me. Dis ole hammer killed John Henry, won’t kill me.’
A locomotive, following the progress of the men, is steaming idly on the track. The letters ‘Y.D.’ are painted boldy on its coal car.
A travelling salesman comes up the embankment, mops the sweat from his face, shifts a chaw of tobacco from one bulging red cheek to the other, and says:
‘Hey, boy. What in tarnation does that Y.D. stand for?’
A Negro straightens up, rubs the kink out of his back and begins to scratch his head in obvious puzzlement.
‘H’m,’ he ventures slowly. ‘Yaller Dawg, I reckon.’
The strangers eyes twinkle. He cackles softly and walks on down the track. ‘Yaller Dawg,’ he repeats under his breath. ‘that’s pretty cute, hanged if it ain’t. Yaller Dawg. Gee whiz, that’s a good one.’ The Yazoo Delta R.R. was christened The Yellow Dog.
The story was circulated and the idea spread until one branch of of the Yazoo Delta was known as the North Dog. For reasons equally suggestive, the fast, direct train from Clarksdale to Greenville was known as the Cannon Ball, while its slow-time, round-about companion between those points was called the Peavine. Negroes had nicknamed all those roads.”
Whatever the source of the Yazoo Delta Railroad’s nickname of the “Yellow Dog,” W.C. Handy used the name in his composition Yellow Dog Blues, which he copyrighted in 1914 and which featured the lyric, “I’m Going Where The Southern Cross The Dog“, referring to the rail intersection of Southern Railway with the “Yellow Dog” in Moorhead, Missisippi.
For blues historians, Tutwiler, Mississippi is probably best known as the place where W.C. Handy first discovered the blues, likely around 1903-1904, as he was waiting at Tutwiler’s railway station for a delayed train. At that time, Handy was managing a band based in Clarksdale, Mississippi. The photo below shows the site of the Tutwiler, Mississippi train station as it appears today. The train station has been demolished but the concrete pad on the left of the photograph is what remains of the foundation and floor of the Tutwiler train station.
“The band which I found in Clarksdale and the nine-man orchestra which grew out of it did yeoman duty in the Delta. We played for affairs of every description. I came to know by heart every foot of the Delta, even from Clarksdale to Lambert on the Dog and Yazoo City. I could call every stop, water tower and pig path on the Peavine with my eyes closed. It all became a familiar, monotonous round. Then one night in Tutwiler, as I nodded in the railroad station while waiting for a train that had been delayed nine hours, life suddenly took me by the shoulder and wakened me with a start.
A lean, loose-jointed Negro had commenced plunking a guitar beside me while I slept. His clothes were rags, his feet peeped out of his shoes. As he played he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who use steel bars. [note: to see what W.C. Handy was describing, watch this video of Bukka White playing Poor Boy in the early 1960s]
The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard. The tune stayed in my mind. When the singer paused, I leaned over and asked him what the words meant. He rolled his eyes, showing a trace of mild amusement. Perhaps I should have known, but he didn’t mind explaining. At Moorhead the eastbound and the westbound met and crossed the north and southbound trains four times a day. This fellow was going where the Southern cross’ the Dog, and he didn’t care who knew it. He was simply singing about Moorhead as he waited.
That was not unusual. Southern Negroes sang about everything. Trains, steamboats, steam whistles, sledge hammers, fast women, mean bosses, stubborn mules – all become subjects for their songs.They accompany themselves on anything from which they can extract a musical sound or rhythmical effect, anything from a harmonica to a washboard.
In this way, and from these materials, they set the mood for what we now call blues…….”
After these encounters in Tutwiler, Mississippi and in Cleveland, Mississippi, W.C. Handy changed his own musical direction to a course which led to his becoming one of the most influential figures in the history of American music.
Bandleader W.C. Handy was waiting for a train here at the Tutwiler railway station circa 1903 when he heard a man playing slide guitar with a knife and singing ‘Goin’ where the Southern cross’ the Dog.’ Handy later published an adaptation of this song as ‘Yellow Dog Blues,’ and became known as the ‘father of the Blues’ after he based many of his popular orchestrations on the sounds he heard in Tutwiler.”
At the start of the twentieth century, the rail crossing once located nearby was an important land transportation point. The junction of the Southern Railroad and the Yazoo Delta Railroad (the ‘Yellow Dog’) was established in 1897. For decades it was the Delta’s major rail link, making Moorhead one of the region’s most active passenger and freight connections. The crossing gained national fame in 1914 with W.C. Handy’s seminal blues song ‘The Yellow Dog Blues.’ ”
Other blues songs mentioning the Yellow Dog or this specific location in Moorhead include:
Removal of the Railroad Tracks In Moorhead, Mississippi
The rail tracks were removed when the railways shut down these lines in the late 1970’s. When the tracks were taken up, the railroads had no plans to leave tracks in place to mark “where the Southern cross the Dog.” The railroads wanted to remove all the rails and scrap them. They eventually relented when Moorhead residents demanded that rail tracks be left in place to mark this important location in Blues history.
While we were in Moorhead, Mississippi we met a lifelong resident of the town named Gail Oswalt, who told us that her late husband, Steve Oswalt, had been Mayor of Moorhead between 1973 and 1993 and was Moorhead’s Mayor when the railways took up the rail tracks through Moorhead after the rail lines were closed in the late 1970s. She told us her late husband “threw a fit” when he heard of the railroad’s plans to remove all the rail tracks from Moorhead and scrap them. Mayor Oswalt asked the railway to leave the rail tracks in place in Moorhead to commemorate the importance of this rail intersection in American music history but the railway management strongly resisted this request. Gail said her late husband, along with the Moorhead Town Council and local residents, fought a very time consuming battle to get the railway management to leave some of the tracks in place in Moorhead. As a result of their actions, a short section of track was replaced at the former rail intersection to commemorate “where the Southern cross’ the Dog.”
Local residents told us that this house (shown below) near the southwest corner of the former rail intersection in Moorhead, Mississippi was the home of Chester Pond, who built the Yazoo Delta R.R. in 1897. They also told us that Chester Ponds was instrumental in developing the town of Moorhead.
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Parchman Farm is the maximum security Mississippi State Penitentiary for men. It is located on Highway 49W between Tutwiler and Drew. Also see our web page for Parchman Farm Blues.
The Mississippi Blues Trail marker for Parchman Farm Blues is located directly across the highway from the main entrance gate of the Mississippi State Peniteniary. There is an unpaved parking lot immediately adjacent to the marker so you can pull off the highway to see it.
The Mississippi State Penitentiary at Parchman has inspired many songs, including ‘Parchman Farm Blues‘ by singer-guitarist Booker ‘Bukka’ White, who was once an inmate here, and ‘Parchman Farm‘ by jazz singer-pianist Mose Allison. Folklorists from the Library of Congress and other institutions also came to Parchman beginning in the 1930s to document the pre-blues musical forms of field hollers and work songs, which survived due to the prison’s relative isolation from modern cultural influences.” Continue reading Some Recordings About Parchman Farm