San Antonio Daily Light (San Antonio, Tex.), Vol. 25, No. 276, Ed. 1 Sunday, October 28, 1906 Page: 30 of 30
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30
| WHEN A MAN CHEATS YOU |
9 I —or tries to cheat you by offering you a substitute for the genuine BUTTER- I
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I E=l BUTTER -NUT
E ■ ' ' --T- I -- II - E
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ORIGIN AND EVOLUTION
OF NEGRO MINSTRELSY
Story of Development From Simple Plantation Melody of the Slave
Elaborate Minstrel Performances of Today—Men Who Have Won
Fame and Fortune in Minstrel Field—An American Institution
A chronicle of the origin and evolu-
tlon of negro minstrelsy from the aim- .
pie plantation melody of the slave to '
the present elaborate performance •
of the well known minstrel companies
cannot fail to be of more than passing
interest to the amusement-loving pub
lie. Negro songs and negro minstrelsy
ere purely American institutions and
have a history that is interesting
from the tact that they are connected
■with many persons who were promin-
ent In thei- day.
Events of the revolution afforded
subject matter for many plantation
songs. One favorite ditty with the
negroes was about Cornwallis and to
the effect that "Massa Washington
had shelled all de corn off of him.
and he was now 'Cob 1 Wallis.” An-
other )>cptilar song was “Possum up
de Gum Tiee."
The First Minstrel.
An actor by the name of Herbert
seems to have been the first man to
have appeared before an audience with
a blackened face and he sat In a
chair in front of the curtain while he
sang. He had been a cook in his
early days and was famous for his
cooking pottles therefore he was fa-
miliarly called Pot Pie Herbert.” His
song was entitled “The Battle of
Plattsburg He painted his face with
black paint the use of burnt cork
being unknown at that time. This
was in 1815 in Albany N. Y. The
next song that cut any figure was
"The Coal Black Rose." It was sung
st the Park theater. New York in
1828. Thomas S. Blakeley an actor
win the ginger. He was a vciy “use
ful man." and long appeared in all
sorts of characters in some of which
he was excellent and was at all times
acceptable The song made a “great
hit.” George Washington Dixon stole
Blakeley’s thunder the above men-
tioned song and made a fortune by
singing ft This was in 1827. Dixon
went from city to city and created a
furore in hl« day. Blakeley gave un
the field to Dixon and continued to
act character parts till old age caused
him to quit the stage altogether.
George Washington Dixon was a man
of varied fortunes. He was feted ad-
mired and well paid but he made the
common mistake—he deemed youth
would be eternal. He was as gener-
ous as s prince and nothing was too
good for him but the shining hour
was too brief as such gay moments
are. His pocket w-as a sieve and he
spent his money in thoughtless pro-
f ns ion. He was from Petersburg Va
and was more than usually good look-
] Ing. At one time he came within :
j eight votes of being mayor of Boston. I
He went into journalism and publish- .
cd a scurrilous newspaper served a :
six months’ sentence for libel in New
Yo-k. He then came to New Orleans
and published a weekly journal. Old
age came upon him and his last oc-
। cupation was that of keeping a cof-
fee stand in Poydras market. He died
; in the Charity hospital in 1861.
The next song that had a world-
wide name was
“Jim Crow.’’
It was first sung by an actor by the
name of Thomas D. Rice —afterward
called ' Dundy Rice"—while acting In
Louisville in the year 1831. One day
during the rehearsal of a play in which
he had nothing to do as he was stand-
■ Ing by the back door of the stage ।
■ which looked out into the rear of a
1 stable yard where a very black and
clumsy negro used to clean and rub i
down horses he was attracted by the
clearness and melody of the negro’s I
voice and he caught the words and I
music of his song. It was the negro
: version of “Jim Crow.”
Rice listened with delight to the
! negro for seteial days and finally weut ‘
| to him and paid him to sing the song
over and over till he learned It. The 1
| manager of the theater (N. M. Lttd- I
low । was bringing out a new play i
entitled “The Kentucky Rifle" tn i
which Rice was cast to play a corn- 1
field negro and when the piece was :
produced he requested the manager
to allow him to introduce his newly- 1
acquired song of "Jim Crow” which
was reluctantly consented to. The re- i
suit was the song saved the piece 1
and Rice went to Cincinnati on a starr- i
Ing tour. The song set the public 1
wild.
Rice afterward went to New York
and captured the Empire city. After
making several tours in this country
.I he went to England. There he was
। likewise “a success.” The Marquts
। ot Waterford and the aristocracy took i
I him by the band the Countess of |
Blessington and the Duchess of St.
i Albans thiew their doors open to the
• singer of "Jim Crow.” The actors
s formed a 'Crow Club" in Ixmdon and
1 such artists as Charles Mathews
• Buckston--. Charles Kean Keeley
' WeiMc- Lyman Blanchard Douglas
r । Jerrold and John Lemon were enrolled
s ’ among the members.
Rice Amassed a Fortune.
■ I Rice amassed a fortune. He married i
. | in England returned to America with |
the aid approval and afterward made
| two more trips to Europe. He died in
New York some 25 years ago be-
loved and respected by all who were
’ fortunate enough to have his acqualnt-
i ance. The next song that came in |
favor was "My Long-Tall Blue." It 1
was sung by Lester. Then came
Johnny Harper with "Slch a Gittin’
Up Stairs" and "Hey Jim Along Jim
Along Josie" came into notice with
John Smith. "Niggar Jack" in 1838. !
John joined Stone & McColloms clr- |
cus as a business manager. He was
very popular He went to Australia |
with John Wilson’s circus and died 20 !
years ago in Melbourne. A clown I
named Barney Byrnes sang negro
! songs in the ring in the 30s. He was
a good singer and fine dancer. George
I Nichols also a saw-dust clown sang
negro songs and was the author of
“Zip Coon." This was in 1832-33.
The first band of negro minstrtfs
was formed in New York in 1842. It
was for a benefit. They performed in I
a circus ring on a board. They were
four In number Frank Brower Dan 1
Emmett Bill Pell and Billy Whitlock
all dead but Emmett who is playing
the fiddle.
This band afterward performed at ।
the Park theater and went over to .
England where they were joined by i
Joe Sweeney tthe first man who ever
played nn a banjo in public) and trav-
ckd all over Great Britain but with
indifferent success: they returned to
America. From this crude beginning
sprang all the great bands of the iat-
ter days.
Ethiopian Serenade™.
Companies were not called "mtu-
strols" as they are now.
Dumbieton was the first to introduce
■ “a first part." He went to England
with his company and some of its
members never returned. Among his
company were Gilbert Pell G. A.
White Stanwood George Howard and
others. Dumbieton died in Chicago
i after making many tours in the prin-
I cipal cities. This was In 1843-4.
j K. P. Christy in 1843. was playing
a fiddle in a dance hall in Buffalo N.
I Y. Christy formed a band. Earl Price
j and Dick Hooley were members of
his company. George Christy or Har-
rington was the adopted son of E P.
i Christy. After going the rounds of
[ the country E. P. Christy wisely Jo-
| cated in New York where he died
worth $400000. He went to England
; and founded In London the "Christy
Minstrels” which Is running at the
prosent day. Pony Moore the man-
ager. died very wealthy. E. P. Christy
; returned to America. During the war
be went insane and threw himself
I out of a window; fearing that the war
I would deprive him ot his wealth.
George Christy after making a large
amount of money died In poverty.
John Diamond was the first white boy
that ever danced a jig In public with
a black face. He was a wonder. P.
! T Barnum managed him and drew a
gr< at deal of money with him but
I finding him unreliable was obliged to
I dissolve his connection with him. Dia-
1 mond was a great dancer but a rascal
I and was sent to prison for theft came
j out and died a miserable drunkard.
•AN ANTONIO DAILY LIQHT BAN ANTONIO TKXAB »UNDAY OCTOBER 2«. 190B.
“Juba" a negro boy and the best jig
dancer that ever appeared In public
was a great "card" in his day. Bar-
num had him.
Made Reputation in England.
Juba went to England and made a
great reputation but dissipation caus-
ed his early death. When Charles
Dickens was on his first visit to
America he saw “Juba" in a dance
house on Five Points and made fa-
vorable mention of him. Dan Gar-
] diner a clown was a great wench
dancer and negro comedian. His
1 daughter married Edwin Adams. Dick
Risley a circus performer was an
excellent negro delineator and vocaJ-
1st. His great song was "Ginger
Bluo." He was the first man to bring
a company of Japanese jugglers to
this country.
Barney Williams was also a negro
singer and dancer of much ability.
Edwin Forrest introduced a negro
song In Cincinnati in a play while
। playing a part when In the “stock."
I In 1843 there appeared a very clever
negro performer by the name of James
| Western dubbed “The Great West-
ern." His daughters were Lucille and
Helen Western. He diet! young just
j as he formed an original style. He
! was the first to introduce a dance
in which he gave an imitation ot a
locomotive under way.
Frank Bower.
v rank Bower was the first to dance
“The Essence of Old Virginia" and
it was from him that J. H. McAndrews
got his idea of "The Watermelon
Man."
The Buckley's minstrels were organ-
ized in 1844. Tbey were all fine vocal-
ists and mu-sicians. T)tey had a ’’all
In New York for many years. In 1852
they went out to California and re-
mained about a year—Fred Richard
and Swain; they were joined by Ray-
ner and William Donaldson. They
wintered in Hangtown Cal. E. 1’.
Christy went out to California in 1855.
Among his company were Eph Horn
Tom Briggs Dick Hooley. Mike Mit-
chell Charley Abbott Earl Pierce
John Collins Steve Campbell and Wil-
' Ham Gourly. Charley Backus organ-
I ized the "San Francisco minstrels” in
1 Sopors. Bernard Birch. Coes. Rayner
Otto Burbank. Jeny Brant and Wam-
hold were of thia party. Th< >
to New York where they made a for-
tune. Backus Is dead; Bernard has
long since retired with plenty Wam-
bold performs no more but Birch
now and then "goes on" for a few
nights. Billy Emerson (or Redmond)
was a mimic dancer and singer. He
struck out a path of his own and has
commanded a greater salary than ant
other performer ever did—that was
$700 l»er week. Charley Reed may be
said to be a popular negro comedian.
He was born in New- York in 1839
hut went out to California when a
boy. He is a great favorite on the
Pacific coast but nowhere in the east.
He is a clever burlesque writer and
a hard worker.
George Julian.
When Campbell's minstrels were In
existence there was a fine ballad sing-
er in tho troupe called George Julian.
I He was known as Sankey the evan-
. gel is L
Bob Hart left a salary ot $80 per
week as a negro comedian to preach
tbe gospel. One of the best negro
dialect actors was Billy Manning. He
did not lack the power to create —
he was "an original." He was un-
equalled in his gait and manner and
I gesture—in fact he was "a nigger.”
j Poor Billy he took to whisky straight
; and died in extreme poverty in Chl-
cago years ago.
In 1843 and 1844 there was a min-
■ strel show in Baltimore. Admittance
|12 1-2 cents children half price. The
' middle man was Theodore Hamilton.
। Balladist Matt O'Brien. Edwin Booth
i played the tambourine and did a solo
on the banjo; John Sleeper Clark was
the "bones”; Stewart Robson was the
boy who played the jaw-bone.
Theo. Hamilton became a leading
actor Clark is a favorite manager
and comedian. Booth became the
greatest actor of the English speaking
language; Matt O’Brien is superin-
tendent of the Southern Express com-
pany In Atlanta and the only mem-
ber alive. Such are the changes of
men’s Ilves.
Toni Briggs went out to California
but never appeared in public on ac-
count of Illness from which he died
i Just before he breathed his last he
j said to his ohf companion Eph Horn:
। "Eph. hand me the banjo i want to
1 play on it cnce more.” With trembling
i and faltering touch Tom played "The
I Last Rose of Summer" laid his head
| away with a bright smile on his face.
When Eph Horn was on his death
bed Tony Pastor visited him and said;
"You have little to regret old fellow.
You never did anybody any harm and
you have been the cause of a great
deal of fun.” "That Is true” said
Horn to Tony "and I want you to
• bear witness for me chat I was a
good man ’at the end.’" With these
words on his lips the veteran joker
turned his head on the pillow and
breathed forth his life.
The most |>opular writer of negro
ballads was
Stephen C. Foster.
Over 400#00 copies of his “Old Folks
at Home” were sold. E. P. Christy
gave Forter $400 for the privilege
of having his own name as the author
tn one edition. Foster was very im-
provident and was often forced to sell
i for a few dollars what brought a for-
tune to Its purchaser. Several of his
I best songs were composed In the
j back room of a grocery store on pieces
Iof brown wrapping paper. Ho died
! In a New York hospital whither he
bad been brought from a very humble
boarding house January 18 1846.
Nelson Knesse was the author of
"Ben Bolt.” a very popular song m
its day. Kncsse arranged many op-
eras for "The Puckleys.”
It may be added that many of our
noted actors and managers of recent
days had been in the minstrel business
for Instance: Edwin Booth Joe Em-
mett Joe Murphy John Rickarby J.
Wallace. P. T. Barnum. Ous Williams
Billy Barry. Den Thom)>son. Dan Shel-
by. Dick Hooley. Sol Smith Russell
John s. Clark. William Hayden. Lotta
I Sophia Irene and Jennie Worrell
Maggie Moore Barney Williams Wll-
I liam Castle John B. Gough Sher
I Campbell and Con Murphy.
Charles Koppltz one of our greatest
' musicians was formerly connected
t with minstrel shows. Nap Lithian.
I long leader of the old Boston theater;
Pat Gilmore of "Gilmore's band" was
on the tambourine end.
Dave Bidwell
the New Orleans manager was a good
j jig dancer and fiddler.
Jacob Tanntbaum manager of the
| Mobile theater and Southern circuit.
I was not only a superb leader of or-
! chestras In New Orleans Brooklyn
New York and other metropolitan
: theaters tut is the composer of many
beautiful |>opular ballads. Among his
songs Is "I Ain't Going to Tell.” He
wrote the music of this song for Tom-
my Ryan. Billy Emerson sang it for
years. The words were by Pool now
manager of Pool's opera house New
York. "Sadie Ray” a sentimental
song is also by Tannebaum. The
chorus is considered the finest over
written to a song. It has a world-
wide reputation and has been sung
by all first-class minstrel companies.
Sant Sanford. Ben Cotton Ix-w Rat
tier and Edwin Deaves may be said
to be the i ioneers of those of the lat-
ter days.
The pay of performers In the early
days was from $15 to $25. Now they
range from $30 to $200 per week. Em-
O iS" if® /B IM © Bought in
£_ O# M MW O Any Quantities
Our headquarters are In New York and Chicago. We have a pecan
shelling plant in San Antonio Texaa. We being direct consumers you
save the middleman's profit. Write or wire us what you have to sell.
HABICHT BRAUN &. CO.
Buena Vista and Comal Streets. San Antonio. Texas.
SAN ANTONIO TRANSFER CO*
HERNANDEZ BROS. Props. SAN ANTONIO TEXAS.
MAIN OFFICE CORNER SOUTH LAREDO AND EL PASO STREETS
New Phone 801. Old Phone 1274.
FREIGHT DELIVERY—Carloads Consigned to Us for Dlstrlbutlo
given prompt attention. Moving Safes snd Heavy Machinery a Specialty
THE. ELEPHANT HAS BUT ONE TRUNK
Fentiman has a multiplicity. They come in all sizes styles
R&JjLaryS and prices. The Drummer —the Traveler—the Collector—all
can be suited here.
The Isrgest stock of all leather goods in the south.
The Trunk Factory Opposite the Alamo.
Kristeller's University Preparatory School
Will begin on Oct. 1st. Mr. Krlsteller's "Modern Spanish Course" foi
ladies and gentlemen. Two evening lessons per week. $5 per month.
Address F. L. KRISTELLER Ph. o„
New Telephone 1087. 602 Carson 8t. San Antonio Tex.
erson has received as high as $700 a
j week and be gets It now.
The number of minstrel shows from
their first organization (1842) their
name is simply legion. Hnverly w-ts
the first to get forty performers In a
I band. In Matt Peel's days ten was
| considered a "big show." Thatcher
Primrose and West are large In num-
. bers. The early minstrels were of a
crude sort and some of them border-
ing upon vulgarity but a chage has
come for the better.
KISSING GAME IN SCHOOL.
Lawton O. T. Oct. 27.—The beard
of education in a district near here
has been called in special session by
. the teacher to pass an ordinance
; against kissing among the school chfl>
| dren. The teacher reports that the
practice of kissing between the sexes
among the children on the playground
has become obnoxious and is likely to
lead to an tnfectuous disease. The
। board will act wisely on her sugges-
' tlon.
It appears that tho children have
i been playing a game tbey call “post-
! office ” dur»ng which the boys are
! called separately into thq domains of
i the girls to receive their “mail" and
I get kisses instead. The teacher has
I made frequent efforts to stop this
I game but the children eluded her and
I the kissing has continued to a ridicu-
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San Antonio Daily Light (San Antonio, Tex.), Vol. 25, No. 276, Ed. 1 Sunday, October 28, 1906, newspaper, October 28, 1906; San Antonio, Texas. (https://texashistory.unt.edu/ark:/67531/metapth1691216/m1/30/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .