One of my older brothers was a professional artist. On the weekends, he drew portraits on Beale Street. He was also a musician, he played alto and tenor saxophone. For over 20 years, he was surrounded by the excitement and sounds of Beale Street.
He wrote about Beale Street and before he passed, gave me his manuscript. He knew the history of Old Beale Street and New Beale Street. When he was a young boy, he and our eldest brother went with our Dad to this amazing street. When my other siblings and I were older, we went. We played in Handy Park. To my young eyes, it was a huge park. When I became older, I realized how small it really was. During the summer, my sister and I spent time with our cousins. Handy Park was the meeting place for them to get us.
People who frequented Beale Street, especially musicians, were referred to as Beale Streeters. W.C. Handy was one of the well -known musicians. He had a large white audience and was swamped with engagements. He began playing at one of the most elegant dancing spots in town located in the Fall’s Building downtown. He drew the top of Memphis society. He had a big name and small income. He eventually moved on to New York.
The Palace Theatre was a place where many entertainers performed in the 1930s. White people came to see big name musicians like Ella Fitzgerald, Duke Ellington, and Count Basie. Black bands were booked to play for white people at the Casino ballroom. Another big name musician, Cab Calloway, played for a packed house. He was handsome, light skinned, and talented. He was a threat to white men because white women thought he was attractive. Once after playing, a fight broke out because a white woman requested a song. Calloway and his band were ordered out of town. Afterwards, the city administration discouraged Black bands playing for white audiences.
A young Elvis Presley lived in a public housing development within walking distance of Beale Street. He began listening to the records of many bluesmen. When he was in high school, he went to Beale Street and emulated the musician’s style of dress, singing, and dancing. He was introduced to many Beale Street entertainers. It is said that he got the “shake and wiggle” from Charlie Burse. Black people had been doing that style of dance for years, but people went wild over Elvis. He performed with Black contestants on the amateur shows at the Palace Theatre. He was well received and made it on Beale Street.
Old timers like Lighting Hopkins, Furry Lewis, Piano Red Williams, Sleepy John Estes, Little Laura Dukes, Ma Rainey Two, Booker T. Washington White, B.B. King, Albert King and many others got their start on Beale Street. After becoming tourist attractions, some returned to a life of poverty, and others worked nine to five jobs. A few, like B.B. King, became well known. They all enjoyed singing the blues.
Booker’s cousin, B.B. King moved to Memphis from Mississippi. Initially, he lived with Booker while struggling to make it on Beale Street as an itinerant blues singer. He went on to be a singing deejay at WDIA radio station. Later, he became one of the most famous blues singers and musicians.
Memphis Slim was a blues pianist, singer, and composer. He was best known for his song, “Every Day I Have the Blues.” The song was later recorded by numerous artists, including B.B. King. Slim moved to Paris in 1962. He later died there. His body was returned to Memphis, where he is buried.
Muddy Waters, like most blues singers and musicians, played on Beale Street. He lived in Mississippi and drove 70 miles to Memphis. He may go up on Saturday morning and return home Sunday. In 1943, he moved to Chicago and began playing house parties. On trips back to Memphis, he was booked at the Hippodrome Nightclub. His travels took him all over the world. His music influenced many music genres, including rock and rock and roll. The Rolling Stones named themselves after his song “Rollin’ Stone.” He was the recipient of many awards, and won six Grammy Awards.
References
McKee, Margaret and Chisenhall, Fred. 1981. Beale Black & Blue: Life and Music on Black America’s Main Street. Baton Rouge. Louisiana State University Press.