The New York Clipper (February 1912)

Fbbeuaby 17 THE NEW YORK CLIPPER. 13 COLUMBIA AMUSEMENT COMPANY J. HERBERT MACK, President JULES HURTIG, Vice-President SAM A.SCRIBNER, Sec. and Gen. Mgr. RUD K. HYNICKA, Treasurer CHARLES H. WALDRON •" •- IRECTORS CHARLES BARTON JOHN Gh JERMON EDWARD SIEGMAN aus HILL Playing only the Recognized Burlesque Attractions COLUMBIA AMUSEMENT COMPANY BUILDING, Broadway and 47th St., New York EARLY HISTORY OF NEGRO MINSTRELSY ITS RISE AND PROGRESS IN THE UNITED STATES »^^^% *****}\ r BT COL. T. ALL3T0N BROWN. <Mj#yMtfwy % ftftf^Sfttf*^f* ^cco Ethiopian minstrelsy, with Its accompani- ments of wit and drollery, became one of the standard amusements because of the strong appeal It made to the masses who were touched by Its simple melodies and its effusions of genuine wit. In Its proper place we confess to a tender admiration for burnt cork, and we believe that one of the moral uses of colored min- strels Is to give Increased amusement to the fagged public. We admire the "middle-man." We respect the quiet and simple dignity with which he endures tbe jests and ignorance of those frivolous creatures, the end men." We reverence, too, the vest Intellectual ac- quirements he displays when applied to for Information by those witless waifs, and his unlimited capacity for propounding conun- drums, and correcting tho errors In grammar and pronunciation of "brudder-bones" and "tambo." He la tbe minstrel mentor to a brace of African Telemacbuses, but he la- bors under the disadvantage that so many great minds labor under of being dwarfed By the circumstances by which he is com- pelled to remain surrounded. He is continually letting himself down to the capacities of the rest of tbe troupe, now making smooth a piece of disjointed syntax, now letting In Tight upon some scientific misconception, now ploddingly endeavoring to understand the tangled anecdote that one of his asso- ciates Is telling, and now the victim of a heartless jest that one of them has per- petrated, but always tbe same genial, gentle- manly, unruffled creature, surveying the end- men—those silly black butterflies at either terminus of the footlights—with the Bmlltng forbearance which comes of Innate superi- ority. Probably without a possibility of doubt we can safely say that William Ber- nard, of the Ban Francisco MlnBtrels, had no living equal as an Interlocutor or middle- man. The community owe3 much to those repre- sentatives of the negro who, by talent and In- dustry, divested the black face entertainment of the coarseness and vulgarity that once ihnrncterhted It; for amusements have an In- fluence os well as other popular demonstra- tions, and when that influence tends only to the production of fun and harmony, no sensi- ble or feeling mind can object to the popu- larity of an entertainment that can certainly do no harm and which will at times help to drive care from the aching heart, or tend to divert the musical taste In a channel that is correct, simple and pure. Many people, wonder why minstrel music las so broad a hold upon the public taste, and why the cork opera, with Its threadbare smartness and everlasting repetitions, so stub- bornly defies the ordinary revolutions of the public taste. But tbe explanation Is furnished on the one side by the talent and ever-spring- ing "animal" wit of such men as Billy Birch and Charley Backus, while, on the other hand, tbe genius of Tom Moore—dented by artists any lofty place in muslo—Is the un- seen shrine at which, through these touching minstrel tunes, the millions of our race on both sides of the Atlantic, who love music solely for Its melody, bow down and worship. Nothing could remain heavy, or be stale when handled by such men as birch and Backus. The merest commonplace, under their gro- tesque touch became at once Imbued with their overflowing fun, and every thought re- ceived a form so ludicrous that it couid not fall to electrify an audience. It is this singular faculty of diversifying sameness which we have designated animal «rtt; not because it U grovefilhg and low, but because Instead of depending upon idea or upon verbal turn, it consists mainly in a certain indescribable magnetism of manner, which Is usually involuntary with the actor, but which surprises and irresistibly captures the rlslbles of every looker on. A dull story, which in ordinary hands would send every listener yawning to his bed, would, when told by one of those comedians, fairly split the sides of the gravest of his audience. Those who look on everything with a serious face will find in the popularity of negro min- strelsy, among the educated classes, a singu- lar illustration of the close connection that exists between Puritanism and extreme fri- volity. -Scores of persons who would think it wicked to see the highest work of dra- matic art, performed by the finest company In the world, will, with the utmost compla- cency, spend a long evening with the min- strels. When minstrelsy was In its Infancy tbe opening part was always the great feature of the evening's entertainment, the simple vet beautiful ballads touching the great heart of tbe masses, while the well-told Jokes and conundrums of the end-men leav- ened the whole with a spice of life and joy- ousness which sent the audience to their homes In a delightful frame of mind. In those days the members of the troupe ap- peared In the first part dressed as humble laborers or slave hands of the Southern plantations, and afterwards as dandy darkeys or the Northi Many changes have since taken place. Negro minstrelsy of the pres- ent time is quite a different amusement to that given in the olden times. If our min- strel managera would give simple, touching melodies, more real negro minstrelsy Instead of so much tomfoolery and lavish scenic dls- Elay and wardrobe, it would engender a more ealthful tone and prove more attractive and beneficial in tbe end. When and why should genuine negro min- strelsy be refined? Was there anything coarse and vulgar about the sports and songs of a group of field hands who enjoyed them- selves on the lawn and amused the planter and his friends and family on the veranda? Never I What might be considered vulgar la minstrelsy has been Introduced by per- formers who prefer the boisterous guffaws of the gallery to the more subdued ana dignified plaudits of the orchestra. ORIGIN OF IVEGUO MINSTRELSY. For nearly seventy years negro minstrelsy has been one of our public amusements. Ever since 1843 It has been steadily improving. The plantation darkey who sung about the ham-fat and danced the essence, is a thing of the past, and "Old Black Joe" traveling back to Dixie is an absurdity and an anomaly in the present day. Much has been said and written of this popular branch of amusement—as to where it had Its origin, who were Its originators, etc. As early as 1790 a Mr. Graupner blacked up and appeared at the old Federal Street Theatre, Boston, and sang a song of a negro. In character. In the part of the poor African slave, in the play of Orlnoko; or, the Slave." This was on the 30th of Dec., of that year. Lewis Hallam the younger was the origi- nal Mungo In America. Mungo Is a stage negro, snd Mr. Hallam did it at the John Street Theatre, New York, May 20, 1760. "Pot-pie" Herbert blackened his face and publicly sang a song on tbe stage at the Al- bany (N. Y.) Theatre, In 1810. When the curtain rose the Immense audience were as- tonished to see appear before them, dressed end blacked-up, a man the perfect representa- tion of a full blooded African, when he commenced singing to an original air the ex- citement was great. Tbe following Is the song. It was called "SIEGE OF PLATTSBTJRGH." Tune—"Boyn Water." Back side Albany, stan' Lake Champlatn, One little pond, haf full o'water, Plat-tes-burg dare too, close 'pon de main, Town so small—he grow bigger dough here- arter. On Lake Champlaln Uncle Sam set he boat. And Massa M'Donough he sail 'em; While Gen'ral M'Comb Make Plat-tes-burg he home, -Wld de army, whose courage nebber fall 'em. On 'lebenth day of Sep-tem-ber, In eighteen hund'ed an' fourteen, Gubbcner Probose, an' he British soger, Come to Plat-tes-burg a tea party courtin'; An' he boat come too Arter Uncle Sam boat, Massa 'Donough da look sharps out de winder— Den Gen'ral M'Comb, •■ (Ahl He always a'home.) . Catch fire too, Jlsa like a tinder. . » > Ban!.bang! bang) den de cannons gin to roar . - " , In Plat-tes-burg, an' all 'bout dat quarter; Oubbencr Probose try he hand 'pon de shore While he boat take he luck 'pon de water- But Massa M'Donough Kneck he boat In he head. Break he hart, broke he shin, 'tore he caffln In, An' Gen'ral M'Comb 8tart ole Probose home— Tot me soul den, I mus* die a'laffin'. Probose scare bo, he lef all behlne, Powder ball, cannon, tea-pot an* kittle— Some day he cotch a cole—trouble In he mine, 'Cause he eat so much raw an' cole vlttle— Uncle Sam berry sorry. To be sure, for be pain: Wish he wubs heself up well an' harty— For Gen'ral M'Comb An' Massa M'Donough home. When be notion for anudder tea party. As the song proceeded in detail with the Incidents of the battle and final success oi the American Army, the excitement lncrcnscd to the highest Intensity, and the'enthusiasm beenme uncontrollable. The curtain was again rung up and the song again sung, and this was continued until the manager was compelled to apologise for the exhaustion of the singer. Sn great was Its success that Pot-pie Herbert wns engaged to open at the Park Theatre, New York. The tunc In which it was sung was the most musical and char- acteristic of tbe rich African melody ever MR. PARK MANAGER! From whom are you to get your Vaudeville Attractions this Summer P Why not from the Largest Booking Organization in the World? We supply more than 200 Theatres in the West and Middle West with Vaudeville. We supply more than one-half of the County and State Fairs in the same section with their attractions. We have a department devoted to the booking of Bands as well. We are associated with the Great Orpheum Circuit, Ous Sun's Cirouit, and the Interstate Cirouit. Why not write us on the subject? over with you. We will send a representative to talk it C. E. BRAY, General Manager Western Vaudeville Managers 9 Ass'n Three Whole Floors in the Majestic Theatre Bldg., CHICAGO. heard, and the verse was flowing and dis- closed poetic talent. George Mchois, the clown, attached many years to Purdy Brown's Theatre and Circus of the South and West, was also among the first of burnt cork gentry. Nichols was a man of no education, yet he was the author of many anecdotes, stories, verses, etc. He was original. He would compose the versos for bis comic songs within ten minutes of the time of his appearance be- fore the audience. Ills "flights of fancy" and "flashes of wit" wore truly astonishing and hlgbly amusing. Nichols first sang "Jim Crow as clown In 1834, afterwards as a negro. He first conceived the idea from a French Barkle, a banjo player, known from New Orleans to Cincinnati as Picayune Butler —a copper colored gentleman, who gathered many a picayune by singing "Picayune But- ler is Going Away," accompanying himself on his four stringed banjo. An old dnrkey of New Orleans, known as "Old Corn Meal," furnished Nichols with many airs, which he turned to account. This old negro sold In- dian meal tor a living; he might be seen from morning till night with bis cart and horse; he frequently stopped before Bishop's cele- brated hotel and sang a number of negro melodies. He possessed a fine falsetto and baritone voice. Corn Meal picked up many bits andjplcs for his singing. A brother to Arch Madden, the down, sang n°gro songs on. a raised platform at the old Vauxball Garden, In New York, la 1628, one refrain of his songs reading: "Come, brudder, let us go off to Haytl, There we be as grand as Gen. Lafayette." He also sang negro songs at the Military Garden, kept by Gen. Storms, southwest cor- ner of Broadway and Prince Street, New York. Bob' Farrell, an actor, sang "Zip Coon," composed by Nichols. Lewis Hyel, of Brown's Company, sang "Boley Boley," by Nichols. Nichols first sang "Clar de Kitchen.'' This song he arranged from hearing it sung by the negro firemen on the Mississippi Hirer. The tune of "Zip Coon" was taken from a rough jig dance, called "Natchez Under the Hill," where tbe boatmen, river pirates, gam- blers and courtesans congregated for the en- joyment of a regular hoc-down, in tbe old time. Sam Tatnall, the equestrian, sang "Back Side of Albany." John and Frank Wblttaker sang "Coal Black Rose" in 1830. Bill Keller, a low comedian, of Philadelphia, was the original "Coal Black Rose." John Clements, leader of the orchestra for Duffy & Forrest, composed the music. George Wash- ington Dixon created a furore by singing this song; also "Long-tailed Blue," "Lubla Rosa," ana other plantation songs, at tbe Chatham Theatre, New York, under the management of Flynn, in 1820, when Sloman commenced singing buffo songs. Dixon commenced sing- ing buffo at the Albany Theatre in 1830. In July, 1880, he was at the Park Theatre. New York, announced as "The celebrated American buffo singer," and continued to get his name at the head of tbe bills. The New York Uirror of Aug. T, 1840, said: "We do not exactly understand on what he fouDds his claim, unless it bo Impudence; and we are strongly urged to this conclusion by a comparison between the gentleman and Mr. Plnclde. whose name Is to be found the same night Dixon appears. In small letters, while Dixon's is In capitals. Dixon swings about his limbs with the same vile motion which Mr. Sloman used to rejoice in; but he has neither Slomao's voice nor humor, and In his Imitations of African character be Is far in- ferior to Blakcly." Mr. Dixon first appeared In Philadelphia, at the Arch Street Theatre, June 10, 1834, and sang his prize extravaganza of "Zip Coon," for tbe benefit of Andrew J, Allen. When the cholera, broke out in Phllaciel- fihra, he published a "Cholera Gazette," glv- ng, day by day, the exact state of the city's health. Just at mid-day each day, there as- sembled in front of the Health Office, a crowd, dense enough to breed a cholera, to listen to the report of the Board of Health, on the cases and deaths of the previous twenty-four hours. And as true as the bell struck twelve, so true would Dixon come forth, and from tbe elevated step announce the calamities of the time. But the cholera left, and so did Dixon. In May, 1880, he visited Boston, and what his reception was there wo refer to tho fol- lowing, which we extract from the Boston Courier of that date: "This fellow, tho notorious 'buffer singer' and humbug, who has been vagabonding about the country for many years, Is at last likely to obtain a steady home and some- thing useful to do. He has been arrested for forgery and lodged in Jail. The stu- pendous amount of tblrty dollars Is what ho Is 'In for.' Ho will be remembered by many of our citizens as the competitor of Mens. Chabert, In the tire-eating business, and for the Ignominious manner in which he re- treated from bis dangerous victuals when the glowing meal was placed before him. He succeeded no better In his attempt to toko poison for a living. He is tho most miserable apology for a vocalist that ever bored the public ear, Any bearer of taste would much prefer a dose of Ipecacuanha to hearing him sing." In 1830 we find him In New York, pub- lishing a paper called the "Polyanthus," which dealt in personal abuse; he suffered six months' Imprisonment for an alleged libel on the Rev. Dr. Hawks, rector of St. Thomas' Church. In 18B2 he was living In New Orleans. He Is said to have been tho causo of tbe death of Miss Missouri, by publishing a' filthy article against her In bis notorious sheet. Dixon died at the Charity Hospital, New Orleans, March, 1801. Barney Burns, known from Quebec to New Orleans as a lob actor, first sang "Long-tall Blue" and "Sfch a Getting Up Stairs," writ- ton and composed by Joo Blackburn. Bu»b was very eccentric and talented, and originated many of tbe best "gags" still popular with his successors. He was fa- mous as a clown In tho circus. He was the first clown to sing "Jim Crow" in a cir- cus, the song having at that time Just been popularized by Daddy Rice. Joe Blackburn wns originally trained for the Roman Cath- olic priesthood, but proved a great favorite as a circus clown. lie was the first Ameri- can clown to visit England. He died at Memphis. The first to do "Lacy Long" were Dan Gardner, Rarney Williams and 8. S. Sanford. The first black "clown" was William Don- aldson; ho had been a minstrel performer. He first appeared In the circus ring In Phila- delphia. The flr»t long ever lung on any ttagt by a band of minitrtlt imj "The Boatman't Dance" by R. IP. Pelham, De botetaan dance, de boteman sing, De boteman's up tu eborytlng, Wen de hoteman gets on shore Ho spends bis moane den work, fo mo. CnorM—Dance de boteman dance, Dance de boteman dance, Dance all nlte till brord dallte, Den go hum wld de gals In tbe morula. Ill ro, de boteman ro, » ' Flotln doun tho riber, de Ohio. HI ro, de boteman ro, Flotln doun do riber, de Ohio. I went on board de Oder da, Tu hero wat de boteman had tu so, Wen I lef ml pnshun lose Doy kxamm'd me In de kalabuse. I kum <Ms time an kum no mor, i Lof me luse and I'll go on sfaor; Doy bole dey was a built krew, Wid a hooser mate an capten too. Wen yu go tit do boteman's ball Dance wid ml wife or don't dance at all, Hkytilu jacket and tarpaulin bat, Look out niggers fo de nine-tale kat. ; Do boteman, he Is a'lucky man, , Nun kan do as de boteman kan, I nobcr sor a prltte gal In my life But dat she wus sum boteman's wife. In 1835 a miscellaneous entertainment was given at tho Patriot House, In Chatham Square, New York. Dan Gardner was tbe wench-dancer, and William Whltlock made his first appearanco on tho stage here in the negro sketch of "Ob, Hush." A young man by the name of Lester first composed and sang a song called "Sitting on a Kail;" also another no called "Gumbo Chaff." This was about the year 183(1. In 183S P, T. Baraum traveled with Aaron Tumor's Circus, and In consequence of somo of the negro performers of tbe com- §any having left at Camden, 8. C„ Barnum lacked himself thoroughly and sang tha songs, "Zip Coon," "Glttln r Up Stairs" and "Tito Raccoon Hunt; or, Sitting on a Ball." T. D. Itlce accumulated qulto a fortune by singing tho song of "Jim Crow" and "Long Toll Blue." In 1887 an entcrtanment consisting of equestrianism and minstrelsy was given at the Lion Theatre, Boston, commencing on Feb. 22. A burlesque Ethiopian opera was given. "Oh, Hush,'' was performed with B. Harper (tho original representative) as Gumbo Cuff, alias Jim Brown. Hall ap- peared as Sambo Johnson, Reeve as Peat Williams, Rugsles as Clem Green, Churchill as Col. Ben, Knnpp as Joe Harris, Robinson ns I'oDipc.v, and Mr. Natban as Miss Dinah, "Daddy" Rico appeared at tbe Chatham Theatre, New York, in November, 1843, In the farce of "The Foreign Prlnco: or, Nigger Assuranco:" also In "Bone Squash Dlable. During the year of 1888 ID. P. Christy, Dick Sitter, John Daniels and John Perkins, a negro Jig dancer, who played on the jaw- bone were giving entertainments in Child's Alloy (now Pino 8treot), Rochester, N. Y. Thoy charged three cents each admission. Tbcy all blacked up and bad bones, tam- bourine, banjo (mode out of a gourd), fiddle, Jawhono (horses), and triangle. The bones used wcro horse-rib, fifteen Inches long. H. P. Christy wns tho originator and manager. In 1838 James Sanford played the 'lllack Doorkeeper" at tho Franklin Theatre, New York. Charles Jenkins and 0. W. Pelham appeared at the Museum, New York, In Janu- ary. 1842. Tho same month Frank Diamond, Hilly Whltlock nntl Tom Booth appeared at tho Arcade Garden, 255 Blcccker Street, New York. At tho samo time Dick Pelham, Master Chcsnut, Dick Van Bremen and Joe Sweeney performed at the Bowery Amphitheatre, New York. In April of the same year Frank Diamond and Whltlock wcro at tho Chatham Theatre, New York. (To OS Continued.)