Please see the [Transcriber’s Notes] at the end of this text.

Monarchs of Minstrelsy,
from “Daddy” Rice to Date

By
Edw. Le Roy Rice
Author of
“1000 Men of Minstrelsy, and 1 Woman;”
“Minstrelsy That Was, and Is;”
“A Ramble Among the
Minstrels,” etc.

Kenny Publishing Company
22-24 North William Street New York City, N. Y.

Copyright, 1911.
BY
Mrs. EMMA L. RICE
All Rights Reserved

EDW. LE ROY RICE.

To
My Mother
(The Best I Ever Had)
This Book is Affectionately Dedicated.

THE AUTHOR’S FOREWORD.

There were several reasons which prompted me to compile this volume, the chief one being the fact that the subject in its entirety had never before been attempted; and whenever individual articles appeared, they almost invariably treated of old times and old timers alone.

A second reason, and one of equal importance, was that these contributions which appeared both in the various newspapers and magazines, were in the main written on hearsay alone without any apparent regard for facts.

No one is infallible, and if the data that appears between the covers of this book of living performers who furnished me with the sketches of their careers is incorrect, obviously no blame can be attached to the author.

But of those who are past, I have given the most careful search of the records that were placed at my disposal, and verified or disavowed all statements made to me, or have qualified by attributing them to those from whom they emanated.

In this manner I hope to perpetuate the names and fame in story and picture of these “Monarchs of Minstrelsy from ‘Daddy’ Rice to Date.”

New York City, Oct. 12, 1910. Edw. Le Roy Rice.

INTRODUCTION.

Is Minstrelsy dying out? How often has the question been asked and how conflicting are the opinions of those who ought to know? Some maintain that minstrelsy is here to stay, while others insist there are no more minstrel shows.

But if the question were: Are the minstrels dying out? there could be no divergence of opinion. The passing away in the last decade or so of such luminaries as Neil. Bryant, Billy Rice, Billy West, Billy Emerson, Wm. Henry Rice, Frank Cushman, Ben. Cotton, Johnny Booker, Jack Herman, Andy Leavitt, E. F. Dixey, J. B. Donniker, “Eugene” J. H. Haverly, Sam. Hague, Dave Reed and many others, eliminate the matter of doubt entirely. Granting this, it would appear that the two terms: Minstrels and Minstrelsy are synonymous.

Some of the minstrel-loving public who recall the old days when Hooley’s in Brooklyn, The San Franciscos (Birch, Bernard, Wambold and Backus) in New York, likewise Bryant’s and the Christy’s; and Carncross and Dixey’s in Philadelphia were household words, will be astonished to learn that many of the burnt-cork heroes of forty years ago, yes, fifty years, are still living, scattered about the country, though it has been years since some of them have darkened their features.

But while most of the old-timers are past and gone, and those who are living, practically in retirement; yet there are many of the younger generation of sable performers who rank in many ways with their illustrious predecessors, and it is of these as well as of the “old guard” that “Monarchs of Minstrelsy; from ‘Daddy’ Rice to Date,” will specialize on. I wish to take this opportunity to extend my thanks to the New York Clipper, without whose assistance this work could not have reached the comprehensive form it has attained; and an invaluable auxiliary was obtained when this aid was further supplemented by the files and data of the Dramatic Mirror being placed at my disposal, and for which I am also extremely grateful.

From the Albert Davis collection of photographs, Brooklyn, I have received invaluable specimens, likewise Eddie Fox, Mrs. Billy Rice, “Hank” Mudge, Harry Booker, Emil Heusel, John Unsworth, Billy Huntley, Mrs. J. T. Huntley, Tommy Granger; Charles E. Ellis, author of “Official Elks History;” Mrs. James Budworth, Mrs. G. W. H. Griffin, Mrs. Archie Hughes, “Bill” Hines, Dan Mason, Phil. A. Paulscraft, Mrs. Ben Cotton, R. H. Mayland, Gus Hill, Fox & Ward, John P. Hogan, Miss Maggie Weston, Frank Dumont, William Blakeney, New York Sunday Telegraph; Louis Morgenstern, Tom Ward, Will Webster, Mrs. Catherine Griffin, Tom Waters, McIntyre & Heath, Geo. Lewis, Nick Norton, Geo. L. Willson, Chapin & Gore, Chicago; Willis P. Sweatnam, Walter Kingsley and the late J. H. Surridge.

Note.—Where dates and miscellaneous information found in this volume differ from those in my “1,000 Men of Minstrelsy; and One Woman,” it is because careful research has shown the latter to be erroneous.

INDEX

INDEX TO ILLUSTRATIONS

MINSTREL ORGANIZATIONS, THEATRES AND PROGRAMS

SKETCH OF THE AUTHOR, WITH PERSONAL RECOLLECTIONS.

“The Inception of Negro Minstrelsy.”

Let me begin by saying that I am not a “Monarch of Minstrelsy,” not even a duke or prince; as a matter of fact I am a mere subject, perhaps it would be more exact to say I am a slave, for I cannot recall the time when the curtain having been rung up on the first part, the interlocutor saying, “Gentlemen, be seated,” that it did not thrill me through and through; in all probability they would have been seated without his invitation, but still, disappointment would have been keen had he not have done so. Then the overture accompanied by the bones and tambos; but that part of the performance seems to be obsolete now; and how I yearn for it. The second son of the late Wm. Henry Rice, who put on cork for nearly fifty years, I was born in New York City, August 24, 1871, on Fourteenth Street, nearly opposite the Armory, above Sixth Avenue. If you happen to see a crowd around there at any time, you will know it is part of the excited populace trying to carry away portions of the building which housed me on my first appearance in any country.

I can remember, as a youngster even before my school days began, my father asking me if I wanted to be a minstrel? I knew that my mother was averse to it and, as they both looked at me awaiting my reply, I vehemently said NO; that was the first lie I ever told. I have done better subsequently, but they have no bearing on this matter. When I was about six or eight years of age, my father, wishing to celebrate the occasion in a fitting manner, took me down town (Philadelphia) and giving me my choice to go in one direction and see “Jack the Giant Killer,” or take another route and see the minstrels. I had heard a whole lot about the youthful prodigy who made a business of trimming big husky gents for the sake of getting an appetite that he might better enjoy his meals, and confess to a feeling of curiosity; but it was the “nigger singers” for mine, and it was there that I obtained my first recollection of any individual performer. It was Bobby Newcomb doing Topsy. Whether it was an “Uncle Tom” show, with which the late minstrel was prominently identified at one time, or whether it was a burletta on Mrs. Stowe’s immortal work, I never learned, but Newcomb’s dress, a ragbag affair, I remember distinctly, subsequently, one made from an American flag, finishing with the well-known suit of white duck in knee-breeches. That was the beginning. I decided then that a minstrel’s life was the life for me, and for years I importuned my father to take me on the road with him, finally obtaining a promise to go the next time he took a show out. This was somewhat hazy, but I clung to it tenaciously, and when in July, 1890, he organized the World’s Fair Minstrels, my happiness was unbounded. I was in Philadelphia at the time, passing cigars and tobacco over the counter of a Smoke Emporium presided over by Lew Simmons, one of the oldest active minstrels in harness to-day; observe the date again, please. July, 1890, was it not? At that time Lew had given up the minstrel business entirely. I recall Lew Dockstader dropping in one day and inquiring how he (Simmons) liked the business? “Like it?” said the senior Lew, “why I am perfectly happy; I wouldn’t go back in the business again for $100 per week.” (I remember it was PER week.) But he did, a couple of years later, and from all appearances looks good for a few more. I joined my father’s troupe. We opened at Elizabeth, N. J., on July 17th. In the company were Billy Birch, Frank Moran, Frank Kent and Bob Slavin; all since passed away.

Old minstrel habitues will recall that nigger-act wherein one of the performers declares loudly to his friends that he is boss in his own home, how he rules the ranch and so on; and just as he is saying it his wife would show up then he would inflict dire punishment upon her, she comes running down the aisle from the front of the house saying, “Where’s my husband?” gathers her lesser half by the ear and amidst the jeers of his companions, carries him away.

Being a Truthful Portrayal of the Author’s First Appearance on Any Stage; Morristown, N. J., July 18, 1890.

At the second performance, at Morristown, N. J., I was cast for the enraged spouse. I believe I was made up for the part fully an hour before the house opened. How nervous I was awaiting my cue, but when it came, my ears seemed to hear nothing but wife, wife, wife, and instead of saying, “Where’s my husband?” I said, “Where’s my wife?” * * * I won’t repeat what my father said, but what with the tears of mortification that flowed from my eyes and the perspiration from the pores of my face, almost made washing-up a superfluity.

After that awful first night I got away with the part without any trouble, and even indulged in conversations while awaiting my cue, which I had always thought to be a physical impossibility.

Billy Birch, who was with us, used to suffer severely from rheumatism, and just before parade would say to me, “‘Cully,’ would you mind going over to the hotel, on the bureau, right hand side, and get my medicine?” Would I go? I felt honored.

At the opening performance we had a song and dance team who, like myself, were just breaking into the business. Their act was not an unqualified success and extra tickets to Morristown were not purchased. Some one asked Bob Slavin what he thought of the act, to which he replied: “As a success, they’re a failure; as a failure, they’re a success.”

The company closed early in November and a couple of weeks before Christmas I consented to wrap parcels at Wanamaker’s store in Philadelphia for a small weekly stipend. It was hard to work for wages after having received a salary.

Various mercantile positions were mine until the Fall of 1894, when the late Harry Mann opened the old Arch Street Theatre in Philadelphia for the production of the old farces such as “Box and Cox” and others of a like nature. I had heard that there were to be specialties between the acts, wrote for an engagement and shortly afterwards received a reply from Mr. Mann asking me to call. (I have that letter yet.) I told him that I had a black-face monologue that was absolutely original; he told me that he could get Willis P. Sweatnam, but decided to give me the preference, I was quick to reply that I wasn’t as good as Sweatnam. (I was frightfully modest those days.) However, I was engaged, and was to receive $10 for my week’s services; I was certain he could not get Sweatnam for less than $12.50 or possibly $15. Monday, September 24, we opened; I wore a pale-blue suit and a pleasant expression; on Tuesday I still had the suit, but had lost the expression, caused by the sudden closing of the house. I have always maintained that if I had been billed stronger, the house might have remained open longer; possibly another night; the $1.67 due me for my one performance, I never received, but as compensation, one of the papers said that my monologue, besides being good in itself, was excellently rendered. It’s not true that the reporter who wrote this, attended a prizefight that evening. I banked a whole lot on that blue suit; it was part of my plan to be different from any other monologist, and I still think I was. Instead of making my entrance in the conventional manner, I hit upon the idea of having one of the scenes part in the centre, and then walk on saying, “I just blew in,” carelessly pointing to my blue suit at the same time.

The more I thought of this, the greater the sensation I was sure I would create; I pictured the reserves being called upon to quell the riot; I saw myself taking encore after encore, and conjured the immense audience rising in their seats as one, begging for just one more glimpse of that blue suit; I was so sure of my success to be, that in a burst of confidence, I told a friend about my idea, and was horrified to learn that George Thatcher had done the self-same thing some time before. Here was a dilemma, what was I to do? I had known Thatcher from boyhood, and the idea of utilizing any of his ideas was not to be thought of; fortunately, about this time, he (Thatcher) played an engagement at the National Theatre (Philadelphia), and I decided to see him and explain the situation thoroughly. I found him one evening standing on the steps of the theatre; I told the whole story, reserving nothing, and explained that I was willing to relinquish my idea if he thought it would conflict with him in any way, but with rare generosity he agreed not to prosecute me for plagiarism or piracy.

A week later I opened at Easton, Pa. I had a cold in the head and an old wig; the cold I obtained in Philadelphia, the wig in Easton, it was an old one (the wig) having lost my good one in Philly the week previous. * * * An uncle of mine graciously advanced me the price of a ticket to Philadelphia. * * * The watch was worth considerably more than $2. Six months later I might have been seen doing my specialty in Paterson, N. J.; provided you came Monday afternoon. * * * A performer in the same dressing-room asked me how much I paid for my trunk, which was a duplicate of his; $6 I said; why, I paid $12 for mine, he averred. And that was all I got out of the engagement. But that suit, little did the young lady who made it for me dream it would one day become historical; she is now a sedate matron in Detroit. Wonder if she still remembers it?

In the fall of 1898 I was a member of one of the many California Minstrel organizations that have invaded the country in the past fifty years. The Spring and Summer of 1900 found me selling pasteboards to the Southerners while with the Primrose & Dockstader Minstrels; in the Fall of 1900 I was agent for Andrew Robson in “The Royal Box;” 1901-02, agent for “Pud’dnhead Wilson,” with William S. Gill in the name part, Walker Whiteside, and a return to Primrose & Dockstader; 1902-03, manager, Western Alphonse & Gaston Co.; 1903-04, treasurer, Great Lafayette Company.

At various times I acted as usher and lithographer at the Park, Walnut and Arch Street Theatres in Philadelphia; Columbus Theatre, New York City, and the Park in Brooklyn.

In July, 1907, I conceived the idea of appearing daily at the ball games in New York City, and in the following afternoon’s paper give an accurate account of the conversations entered into, together with the description of the parties spoken to; in addition having my own features reproduced daily together with an accurate description of myself; to any party who could single me out was given a free pass to all the ball games on the ground where I was detected.

Under the title of the “Man in the Bleachers” I ran those on the New York Evening World with great success for five weeks.

Then came the idea of giving to the world the lives and careers of the minstrels, thus “presenting to the public and preserving to posterity the peculiarities and personalities of prominent performers of the past and present;” and here it is, after three years’ exhaustive and patient labor. Now for the big show.

THE FIRST BLACK-FACE PERFORMER.

The late Laurence Hutton in “The Negro on the Stage,” states that Shakespeare’s Othello was one of the earliest black-face stage characters; giving the date of the appearance at the Globe Theatre, London, England, on April 30, 1610; Oronoko followed in 1696. But several hundred years before the jealous Moor’s appearance, a couple of young men, named Cain and Abel respectively, did a brother act, though not necessarily a brotherly act, for the first-named gentleman one day in a fit of peevishness did smite Master Abel with such force that the breath did leave his body; Cain was punished, as he should have been; his complexion was changed from Caucasian to Ethiopian; this was the first black face turn. Anyway, that’s how the story runs. With the reader’s permission we will skip about 1,700 years, and come down to the comparative present.

The late Charles T. White, who made a study of minstrelsy all his life and was himself contemporaneous with it from its inception, stated that according to Russell’s Boston Gazette of December 30, 1799, at the Federal Theatre, Boston, a Mr. Graupner sang a song called “The Negro Boy.”

Federal Theatre, Boston, Mass.
The First Recorded Black-Face Act Was Given Here December 30, 1799.

W. W. Clapp, Jr., in his “History of the Boston Stage,” avers that this would be impossible, as the news of George Washington’s death, December 14, 1799, did not reach Boston until December 24, and that the theatre was closed a week in consequence thereof. Granting this, six days would have elapsed, and the performance undoubtedly was given, for had it not, the advertisement which was inserted announcing the performance for that evening, would not under any circumstances have been printed. However, for the sake of argument, let us concede that the first black-face appearance (the term black-face as used here has reference to a single performer doing a specialty) was not on the date specified.

The next mention of a black-face performer, by Mr. White, was in 1815, when an actor known as “Pot Pie” Herbert sang “The Battle of Plattsburg” in Albany; Mr. H. D. Stone in the “Drama,” published in Albany in 1873, credits one “Hop” Robinson as the singer of the song; while “Sol” Smith, a reputed eye-witness, in his (Smith’s) autobiography, published in 1868, credits it to Andrew Jackson Allen, claiming that Allen sang it at the Green Street Theatre, Albany, 1815, playing a black-face character. Obviously there could be but one “first” and a period of fifteen years had apparently elapsed between the reputed appearance of Mr. Graupner and the last named gentleman; in other words, no claims have been made for others between 1799 and 1815. Nevertheless, there was an appearance between these dates, and by none other than Mr. Graupner himself, who, on September 4, 1809 (while “Daddy” Rice was an infant in swaddling clothes), appeared as the “Gay Negro Boy” in a circus at Taunton, Mass.; the honor then beyond any doubt is Mr. Graupner’s; and equally certain is the fact that he appeared in Boston, December 30, 1799. Black-face performers sprang up rapidly, and in earlier days no circus was considered complete without at least one of them.

SOME EARLY BLACK-FACE PERFORMERS.

The following were all popular performers preceding minstrelsy proper; unfortunately the dates of their deaths are practically shrouded in oblivion:

George Nichols; Bob. Farrell, the original “Zip Coon”; Sam Tatnall, Barney Burns, Bill Keller, Horatio Eversell, George Rice (brother of T. D. Rice), William M. Hall, Thomas Blakely, Leicester, etc. Andrew Jackson Allen, already mentioned, was born in New York City in 1776, and according to Laurence Hutton was the costumer, dresser and personal slave of Edwin Forrest for many years; he was quite deaf, and was commonly known as “Dummy” Allen. He died in New York City, October 29, 1853. James Roberts, by the same authority, sang a song in negro character as early as October 7, 1824; he died in 1833.

George Washington Dixon sang “Coal Black Rose,” the air of which was appropriated from an old ballad, as early as 1827. His first New York appearance was of the Lafayette Theatre, July 19, 1828. He later became notorious as a filibuster during the Yucatan disturbances, and died in New Orleans in 1861. Some prominent early minstrel performers whose records and deaths were likewise lost in oblivion are: Charley Jenkins, Master Chestnut, Harry Mestayer, Neil Jamison and many more. There are others, too, of nearly every decade of whom the author has made every research to gather some knowledge, but without success.

“DADDY” RICE.

Thomas Dartmouth Rice was the original “Jim Crow,” the story has been told in many ways, but the authentic version appeared in the Atlantic Monthly in 1867, and herewith is reproduced verbatim; it is from the pen of Robert P. Nevin.

“Thirty-six years ago a young man, about twenty-five years of age, of a commanding height—six feet full, the heels of his boots not included in the reckoning—and dressed in scrupulous keeping with the fashion of the time, might have been seen sauntering idly along one of the principal streets of Cincinnati. To the few who could claim acquaintance with him he was known as an actor, playing at the time referred to a short engagement as light comedian in a theatre of that city. He does not seem to have attained to any noticeable degree of eminence in his profession, but he had established for himself a reputation among jolly fellows in a social way. He could tell a story, sing a song, and dance a hornpipe, after a style which, however, unequal to complete success on the stage, proved, in private performance to select circles rendered appreciative by accessory refreshments, famously triumphant always. If it must be confessed that he was deficient in the more profound qualities, it is not to be inferred that he was destitute of all the distinguishing, though shallower, virtues of character. He had the merit, too, of a proper appreciation of his own capacity; and his aims never rose above that capacity. As a superficial man he dealt with superficial things, and his dealings were marked by tact and shrewdness. In his sphere he was proficient, and he kept his wits upon the alert for everything that might be turned to professional and profitable use. Thus it was that, as he sauntered along one of the main thoroughfares of Cincinnati, as has been written, his attention was suddenly arrested by a voice ringing clear and full above the noises of the street, and giving utterance, in an unmistakable dialect, to the refrain of a song to this effect:

“Turn about an’ wheel about an’ do jis so,

An’ ebery time I turn about I jump Jim Crow.”

Struck by the peculiarities of the performance, so unique in style, matter, and “character” of delivery, the player listened on. Were not these elements—was the suggestion of the instant—which might admit of higher than mere street or stable-yard development? As a national or “race” illustration, behind the footlights, might not “Jim Crow” and a black face tickle the fancy of pit and circle, as well as the “Sprig of Shillalah” and a red nose? Out of the suggestion leaped the determination; and so it chanced that the casual hearing of a song trolled by a negro stage-driver, lolling lazily on the box of his vehicle, gave origin to a school of music destined to excel in popularity all others, and to make the name of the obscure actor, T. D. Rice, famous.

As his engagement at Cincinnati had nearly expired, Rice deemed it expedient to postpone a public venture in the newly projected line until the opening of a fresh engagement should assure him opportunity to share fairly the benefit expected to grow out of the experiment. This engagement had already been entered into; and accordingly, shortly after, in the Autumn of 1830, he left Cincinnati for Pittsburg.

The old theatre of Pittsburg occupied the site of the present one, on Fifth Street. It was an unpretending structure, rudely built of boards, and of moderate proportions, but sufficient, nevertheless, to satisfy the taste and secure the comfort of the few who dared to face consequences and lend patronage to an establishment under the ban of the Scotch-Irish Calvinists. Entering upon duty at the “Old Drury” of the “Birmingham of America,” Rice prepared to take advantage of his opportunity. There was a negro in attendance at Griffith’s Hotel, on Wood Street, named Cuff—an exquisite specimen of his sort—who won a precarious subsistence by letting his open mouth as a mark for boys to pitch pennies into, at three paces, and by carrying the trunks of passengers from the steamboats to the hotels. Cuff was precisely the subject for Rice’s purpose. Slight persuasion induced him to accompany the actor to the theatre, where he was led through the private entrance, and quietly ensconced behind the scenes. After the play, Rice, having shaded his own countenance to the “contraband” hue, ordered Cuff to disrobe, and proceeded to invest himself in the cast-off apparel. When the arrangements were complete, the bell rang, and Rice, habited in an old coat forlornly dilapidated, with a pair of shoes composed equally of patches and places for patches on his feet, and wearing a coarse straw hat in a melancholy condition of rent and collapse over a dense black wig of matted moss, waddled into view. The extraordinary apparition produced an instant effect. The crash of peanuts ceased in the pit, and through the circles passed a murmur and a bustle of liveliest expectation. The orchestra opened with a short prelude, and to its accompaniment Rice began to sing, delivering the first line by way of introductory recitative:

“O, Jim Crow’s come to town, as you all must know,

An’ he wheel about, he turn about, he do jis so,

An’ ebery time he wheel about he jump Jim Crow.”

The effect was electric. Such a thunder of applause as followed was never heard before within the shell of that old theatre. With each succeeding couplet and refrain the uproar was renewed, until presently, when the performer, gathering courage from the favorable temper of his audience, ventured to improvise matter for his distiches from familiarly known local incidents, the demonstrations were deafening.

Now it happened that Cuff, who meanwhile was crouching in dishabille under concealment of a projecting flat behind the performer, by some means received intelligence, at this point, of the near approach of a steamer to the Monongahela Wharf. Between himself and others of his color in the same line of business, and especially as regarded a certain formidable competitor called Ginger, there existed an active rivalry in the baggage-carrying business. For Cuff to allow Ginger the advantage of an undisputed descent upon the luggage of the approaching vessel would be not only to forfeit all “considerations” from the passengers, but, by proving him a laggard in his calling, to cast a damaging blemish upon his reputation. Liberally as he might lend himself to a friend, it could not be done at that sacrifice. After a minute or two of fidgety waiting for the song to end, Cuff’s patience could endure no longer, and, cautiously hazarding a glimpse of his profile beyond the edge of the flat, he called in a hurried whisper: “Massa Rice, Massa Rice, must have my clo’se! Massa Griffif wants me—steamboat’s comin’!”

The appeal was fruitless. Massa Rice did not hear it, for a happy hit at an unpopular city functionary had set the audience in a roar in which all other sounds were lost. Waiting some moments longer, the restless Cuff, thrusting his visage from under cover into full three-quarter view this time, again charged upon the singer in the same words, but with more emphatic voice: “Massa Rice, Massa Rice, must have my clo’se! Massa Griffif wants me—steamboat’s comin’!”

“DADDY” RICENED HARPER
JOE. SWEENEYDICK. SWEENEY
BLACK-FACE PERFORMERS WHO ANTEDATED MINSTRELSYPROPER.

A still more successful couplet brought a still more tempestuous response, and the invocation of the baggage-carrier was unheard and unheeded. Driven to desperation, and forgetful in the emergency of every sense of propriety, Cuff, in ludicrous undress as he was, started from his place, rushed upon the stage, and laying his hand upon the performer’s shoulder, called out excitedly: “Massa Rice, Massa Rice, gi’ me nigga’s hat—nigga’s coat—nigga’s shoes—gi’ me nigga’s t’ings! Massa Griffif wants ’im—STEAMBOAT’S COMIN’!!”

The incident was the touch, in the mirthful experience of that night, that passed endurance. Pit and circles were one scene of such convulsive merriment that it was impossible to proceed in the performance; and the extinguishment of the footlights, the fall of the curtain, and the throwing wide of the doors for exit, indicated that the entertainment was ended.

Such were the circumstances—authentic in every particular—under which the first work of the distinct art of Negro Minstrelsy was presented.

Next day found the song of Jim Crow, in one style of delivery or another, on everybody’s tongue. Clerks hummed it serving customers at shop counters, artisans thundered it at their toils to the time-beat of sledge and of tilt-hammer, boys whistled it on the streets, ladies warbled it in parlors, and house-maids repeated it to the clink of crockery in kitchens. Rice made up his mind to profit further by its popularity: he determined to publish it. Mr. W. C. Peters, afterwards of Cincinnati, and well known as a composer and publisher, was at that time a music dealer on Market Street in Pittsburg. Rice, ignorant himself of the simplest elements of musical science, waited upon Mr. Peters, and solicited his co-operation in the preparation of his song for the press. Some difficulty was experienced before Rice could be induced to consent to the correction of certain trifling informalities, rhythmical mainly, in his melody; but, yielding finally, the air as it now stands, with a pianoforte accompaniment by Mr. Peters, was put upon paper. The manuscript was put into the hands of Mr. John Newton, who reproduced it on stone with an elaborately embellished title-page, including a portrait of the subject of the song, precisely as it has been copied through succeeding editions to the present time. It was the first specimen of lithography ever executed in Pittsburg.

Jim Crow was repeated nightly throughout the season at the theatre; and when that was ended, Beale’s Long Room, at the corner of Third and Market Streets, was engaged for rehearsals exclusively in the Ethiopian line. “Clar de Kitchen” soon appeared as a companion piece, followed speedily by “Lucy Long,” “Sich a Gittin’ up Stairs,” “Long-Tail Blue,” and so on, until quite a repertoire was at command from which to select for an evening’s entertainment.

Rice remained in Pittsburg some two years. He then visited Philadelphia, Boston, and New York, whence he sailed for England, where he met with high favor in his novel character.

Before he sang “Jim Crow,” Rice was considered only a mediocre performer. Jos. N. Ireland, in his “Records of the New York Stage,” says that he drew more money to the Bowery Theatre than any other performer in the same period of time. His appearances were generally with dramatic organizations, where he usually performed between the acts. His minstrel performances were comparatively few, and mostly confined to Charley White’s Serenaders; though he played a star engagement at Wood’s Minstrels in August, 1858, also in New York. At the Bowery Theatre in the Metropolis, he appeared with much success for several weeks as Uncle Tom, commencing January 16, 1854. He was the author of several early negro farces, the most popular being, “Oh, Hush!” “The Mummy” and “Bone Squash.” The first New York performance of “O, Hush” was given August 15, 1832. He was noted for his eccentricity of dress; the buttons on his coat and vest were five and ten dollar gold pieces, which he would give away indiscriminately as souvenirs. He married a Miss Gladstone in England, June 18, 1837. “Daddy” Rice was born in New York City, May 20, 1808. He died there September 19, 1860.

THE FIRST MINSTREL PERFORMANCE.

There has always been considerable discussion as to the exact date when this interesting event took place; two things are certain, and have never been disputed, viz.: that it actually did occur, and that the initial presentation was in New York City, between January 31 and February 17, 1843.

That the idea of amalgamating the respective talents of the original four, Emmett, Brower, Pelham and Whitlock, was conceived by the latter, there is no doubt; the following was furnished by him many years before his death.

“The organization of the minstrels I claim to be my own idea, and it cannot be blotted out. One day I asked Dan Emmett, who was in New York at the time, to practice the fiddle and the banjo with me at his boarding-house in Catherine Street. We went down there, and when we had practiced, Frank Brower called in by accident. He listened to our music, charmed to his soul! I told him to join with the bones, which he did. Presently Dick Pelham came in, also by accident, and looked amazed. I asked him to procure a tambourine and make one of the party, and he went out and got one. After practicing for a while we went to the old resort of the circus crowd—the ‘Branch,’ in the Bowery—with our instruments, and in Bartlett’s billiard-room performed for the first time as the Virginia Minstrels. A program was made out, and the first time we appeared upon the stage before an audience was for the benefit of Pelham at the Chatham Theatre. The house was crammed—jammed with our friends; and Dick, of course, put ducats in his purse.”

The house on Catherine Street was No. 37, and was kept by a Mrs. Brooks. The “Branch” was a hotel opposite the Bowery Amphitheatre.

On January 31, 1843, Dick Pelham did have a benefit, but the performance was of the ordinary nature; nothing unusual, such as a quartet of black-face performers appearing at one time, which would have caused considerable stir; thus may we eliminate January 31, 1843, as the date of the first performance in public.

The following announcement appeared on February 6:

BOWERY AMPHITHEATRE,

Monday evening, Feb. 6. 1843, first night of the novel, grotesque, original and surpassingly melodious Ethiopian Band entitled

THE VIRGINIA MINSTRELS

Being an exclusively minstrel entertainment combining the banjo, violin, bone castanets and the tambourine, and entirely exempt from the vulgarities and other objectionable features which have hitherto characterized negro extravaganzas.

11:45
from the Hotel

The New York Herald commented on the performance for the first time on February 9.

The quartet remained at the Bowery Amphitheatre until February 11; five days later they were over Cornucopia Hall, at No. 28 Park Row; February 22, they began an engagement at the Park Theatre, and shortly afterwards went to Boston, where they played at Melodeon Hall for a few weeks, and sailed from New York, April 21, 1843. May 21, they gave their first performance at Liverpool, England, at the Concert Rooms on Concert Street; subsequently playing a week in Manchester, and thence to the Adelphi in London, where they remained one month; the original four disbanded then.

BILLY WHITLOCK

was a typesetter on the New York Herald, and appeared at various theatres in the evening, while retaining his position during the day.

He made his first appearance in New York City in 1835, as Cuff in “O, Hush.” He resigned from the Herald in 1837, and went with a circus; he returned to New York, and in the Winter of 1839 was engaged by P. T. Barnum to play the banjo for John Diamond, the great dancer.

Mr. Whitlock was the first to return to the United States after the dissolution of the original company; he arrived about August, 1844; subsequently appearing with various small organizations and circuses.

For many years he traveled as a Yankee comedian, and was also an actor at the Bowery Theatre about 1853; he was the composer of “Lucy Long,” one of the great songs of early minstrelsy. His last appearance was with Dan Rice’s Circus in 1855.

His daughter married Edwin Adams, the great actor.

It is a strange thing that no one seems to know where Mr. Whitlock is buried. Billy Whitlock was born in New York City, 1813; he died at Long Branch, N. J., March 29, 1878.

DICK PELHAM (Richard Ward Pell),

like Billy Whitlock, made his first appearance in his native city in “O, Hush,” in 1835. February 13, 1840, he danced against John Diamond in New York City.

November 14, 1842, he appeared at the Franklin Theatre in New York, and on January 16, 1843, he had a benefit at the Amphitheatre, on which occasion he appeared in sixteen songs and dances, and played in the farce “Negro Assurance;” yet we think continuous performances are of recent origin. After the dissolution of the original four in England, Mr. Pelham played an extended engagement at Sadler’s Wells Theatre in London. April 22, 1844, in conjunction with Dan. Emmett, Frank Brower and Joe Sweeney, they reorganized their little band and opened in Dublin, Ireland; at the Theatre Royal, afterwards, appearing in Cork, Belfast, Glasgow and Edinburgh, after which they disbanded.

Mr. Pell subsequently organized Pell’s Serenaders, and played all the large cities in England, Ireland, Scotland and Wales. His last appearance was at Birmingham, England, August 19, 1856.

BILLY WHITLOCKDICK PELHAM
DAN. EMMETTFRANK BROWER

The above four performers gave in New York City, February 6, 1843, the first minstrel performance ever given; they were known as the Virginia Minstrels.

R. BISHOP BUCKLEYJAS. BUCKLEYSWAINE BUCKLEY
FRED. BUCKLEY
THE ORIGINAL BUCKLEY SERENADERS.

Dick Pelham was born in New York City, February 13, 1815; he died in Liverpool, England, October 8, 1876.

DAN. EMMETT (Daniel Decatur Emmett)

was better known to the general public than any of his associates, from the fact that he outlived nearly all his contemporaries, and the more important one that he was the author of “Dixie,” which will live forever.

Town Hall To-Night—Minstrels.

Mr. Emmett first blacked up at the age of sixteen, and two years later joined Sam. Stickney’s Circus. At the age of twenty-five, he learned to play the banjo, and traveled with Angevine’s Circus until he reached New York, in 1842.

In 1843, after leaving his three associates in England, he performed at Bolton, Lancashire; he rejoined Pelham and Brower in Dublin, Ireland, April 22, 1844, and played with them and Joe Sweeney for several weeks.

Returning to the United States, he appeared with various circus and minstrel companies.

In 1853-54 he was part proprietor of White’s Minstrels in New York; in 1855 he opened the first minstrel hall in Chicago, at 104 Randolph Street.

Emmett’s Minstrels opened at St. Paul, Minn., April 26, 1858; he was also associated with Frank Brower in a minstrel company in the 50’s.

Mr. Emmett joined Bryant’s Minstrels in New York City in 1858, and remained several years; after Dan Bryant’s death in 1875, he accepted a position as leader in the Star Varieties, Chicago. In the Fall of 1881 he went out with Leavitt’s Minstrels, where in conjunction with several old timers, they gave a reproduction of the original Virginia Minstrels of 1843.

His last engagement was a tour of the country with Al. G. Field’s Minstrels about ten years ago.

An account of the famous song of “I Wish I Was in Dixie,” will be found [elsewhere].

Dan Emmett was born in Mt. Vernon, Ohio, October 29, 1815, where he died, June 28, 1904.

FRANK BROWER,

the junior member of the first minstrel company, made his first appearance at Dick Myers’ Museum in Philadelphia, doing a song and dance, about 1838; subsequently he joined John Robinson’s Circus, and later Raymond & Waring’s Circus.

After the separation of the original minstrel company in London in 1844, Mr. Brower traveled with Cook’s Circus in England; and in the Spring of 1844, with Pelham, Sweeney and Emmett, they gave their old performance, opening in Dublin, Ireland, April 22, 1844, and playing engagements in Cork, Belfast, Glasgow and Edinburgh, after which he returned to America and played with some of the principal minstrel and circus organizations.

In 1851 he revisited England, appearing as clown with Welch’s Circus. February 28, 1856, he opened at Sanford’s Minstrels in Philadelphia.

His last engagement in minstrelsy was with Tunnison’s Minstrels in Philadelphia, November 2, 1867; and his last appearance on the stage was in the same city, November 22, 1867, at the Walnut Street Theatre, in “The Lottery of Love.”

Mr. Brower’s “Happy Uncle Tom” was as perfect a piece of acting, it has been said, that has ever been seen on any stage. He was original to a degree, and never stooped to vulgarity in any form.

Frank Brower was born in Baltimore, Md., November 20, 1823; he died in Philadelphia, June 4, 1874.

THE BUCKLEY SERENADERS.

James Buckley, the father of R. Bishop, G. Swayne and Fred Buckley was the organizer of the justly famous Buckley Serenaders; they were originally known as the Congo Melodists; subsequently upon playing an extended engagement in New Orleans, they adopted the title of “New Orleans Serenaders”; later using the name they were ever after known by.

Mr. Buckley was leader at Harrington’s Museum in Boston in 1840.

In 1843 he organized the Congo Melodists in Boston, and gave their first performance at the Tremont Theatre; in October they were playing the Tabernacle, the present site of the Howard Athenaeum. Their first New York appearance was in 1845; the following year they went to England, where they remained about two years. For family reasons each of the four Buckleys adopted different names on this trip, and retained them for a time after their return to the United States in 1848; James Buckley was known as James Burke.

Their metropolitan reappearance was made at the Society Library Rooms, corner Broadway and Leonard Street; they played here as early as January 3, 1849.

The Buckleys were the first recognized company from the East to visit California, which they did in 1852; they played in tents at $3 per ticket. In June, 1853, they made their third New York appearance at the Chinese Assembly Room, 539 Broadway, which they leased and made into a minstrel hall; they remained three years. August 25, 1856, they opened at 585 Broadway; their last performance there was January 9, 1858; subsequently they played a brief engagement at 444 Broadway, commencing two days later.

In May, 1858, they began a brief engagement at the Ordway Hall in Boston, and in November, same year, they began a short season at Allston Hall on Tremont Street; subsequently returning to New York at 585 Broadway, opening July 11, 1859.

On March 21, 1860, they sailed again for England, where they met with pronounced success; in this engagement they played under their own names.

As a matter of actual fact, their success was so great, that rival managers became jealous, and succeeded in digging up an old law which prevented an opera other than the Royal Opera from being given; as the Buckley’s success depended on the production of these operas, which they produced on a lavish scale, they were compelled to return to America, which they did in 1861. After playing several engagements, they returned to Boston and opened at Allston Hall, October 13, 1862. December 22, same year, they began an engagement at the Palace of Music, New York (the present site of the Fourteenth Street Theatre), and June 15, 1863, they again visited Boston, appearing at the new hall, corner Chauncey and Summer Streets, remaining until April 9, 1866.

The retirement of James Buckley and the deaths of R. Bishop and Fred Buckley, left only G. Swayne Buckley, who reorganized the company and toured with intermittent success and failure until about 1876, when the Buckley’s Serenaders passed into oblivion.

Such is the history of this famous family whose talents and versatility are beyond comprehension to the present generation.

They were the first company to produce burlesque opera, which they did on a scale of magnificence never since duplicated.

The company originally consisted of the four members of the family; later they were augmented by Sam Sanford and J. C. Collins; this was about 1846; in after years many of the prominent lights of the minstrel profession appeared on their roster. Mr. Jas. Buckley was the only member of the organization who was not active up to the time of his death.

James Buckley was born in Manchester, England, 1803; he died in Quincy, Mass., April 27, 1872.

R. Bishop Buckley, began his career in 1843 in Boston as member of the original Buckley Serenaders.

He was an excellent mimic, accomplished musician and good actor.

He was best known for his performance on the Chinese fiddle, which was never equaled except by a native Chinaman. He was the possessor of a good tenor voice, which he used easily and gracefully.

Mr. Buckley was known as J. C. Rainer in the late 40’s while in Europe and shortly after their return.

R. Bishop Buckley was born in England, 1826; he died in Quincy, Mass., June 6, 1867.

George Swayne Buckley, the most versatile of the famous Buckley family, made his first appearance as a prodigy at Harrington’s Museum in Boston, in 1840.

Later, while learning to play the banjo, the famous Joe. Sweeney took an interest in him, and “starred” him for a lengthy period through the country as “Young Sweeney,” which title he used as late as May 15, 1845.

Some idea of Mr. Buckley’s versatility may be gleaned from the fact that in one performance he sang a song and done a banjo solo in the first part, played a solo on the kitchen bellows in a burlesque on the Julien Concerts; gave Locust Hum in the third part; played a part in the burlesque opera; danced with two others in the finale, and gave his bone solo, which was a wonderful performance; with them he gave imitations of the drums, the march, the reveille, etc., concluding with imitations of two horses running a race. It must be understood that all these performances were given in an artistic manner; and this was about sixty-five years ago.

Probably Swayne Buckley’s chief fame rests on the act he did in later years; it was called “Musical Moments;” in it he performed on twelve different instruments, playing several at one time.

July 8, 1867, he reorganized in Boston the Buckley Serenaders with himself as the one remaining member of the famous family in its company.

In 1870 Mr. Buckley played an engagement with the San Francisco Minstrels in New York City; and on September 3, 1872, with Sam Sharpley he organized a company and gave minstrelsy on new lines, eliminating the time-honored first part.

The two following seasons saw Buckley’s Serenaders on the road, and on September 13, 1875, he opened with the minstrels at Beethoven Hall, Boston; their stay was brief; a road tour was even less successful.

In 1871 he played in a sensational melodrama called “On the Track;” in this he portrayed seven characters. Mr. Buckley’s last appearance was at the Walnut Street Theatre, Philadelphia, playing Zip, a negro, in “Devotion.”

George Swayne Buckley was born in Bolton, England, August; 1829; he died in Quincy, Mass., June 25, 1879.

Fred Buckley came to America with his father and brothers in 1839; when, as previously stated, the family changed their names, Mr. Buckley was known as Master Ole Bull.

He was leader of the orchestra in their organization for many years.

Some of the famous ballads of early minstrelsy were composed by him, such as “We Are Growing Old Together,” “I’d Choose to Be a Daisy,” “Laughing Jennie,” “I See Her Still in My Dreams,” “I’m Turning Gray, Dear Kate,” and numerous others.

Mr. Buckley married Fanny Brown, the actress, January 29, 1857.

Fred Buckley was born in Bolton, England, October 12, 1833; he died in Boston, Mass., September 12, 1864.

CHRISTY’S MINSTRELS

were originated and first organized by Edwin P. Christy, and after that gentleman retired from the profession, a few years later, part of his old company organized and went to Europe, giving their first performance there August 3, 1857; they were called the “Christy” Minstrels. From this company several others sprung, and for a great many years all minstrel organizations in England were called “Christy’s.”

E. P. Christy had a “card” on his program for many years, stating that his was the first minstrel company organized, the date given as 1842. In support of this at one time gave a statement of receipts covering a period of six months in 1842, and up to January 1, 1848.

It is a noteworthy fact that Mr. Christy’s “card” did not appear until after Wood’s, likewise Campbell’s—two permanent minstrel organizations like his own in New York City, had prospered and made their presence felt.

As has been stated elsewhere, black-face performers there were a-plenty long before the original four gave their first joint performance; they played chiefly in circuses and dance houses, and it was in one of the latter that Mrs. Harrington, mother of George Christy, and subsequent wife of E. P. Christy, kept, where these performances were given, and were very common occurrences at that time, and this was the only basis that Mr. Christy had of ante-dating the original company. There is no doubt that after the intelligence reached Buffalo of the success of Pelham, Whitlock, Emmett and Brower, that Mr. Christy, like scores of others, formed a company and called them Christy’s Minstrels; the date of this interesting event has never been made public, if indeed it was ever recorded. The first record of the company that the author has been able to find was in Albany, N. Y., May, 1844. On Sunday, August 17, 1845, R. M. Hooley is said to have led the orchestra for them at the Assembly Room in Buffalo, N. Y.

Their first metropolitan appearance was at Palmo’s Opera House, April 27, 1846; they subsequently played at the Society Library Rooms and later at the Alhambra, all in the same city.

But it was at Mechanics Hall, 472 Broadway, New York, that the name of Christy’s Minstrels became famous; they opened there on February 15, 1847, and remained until July 15, 1854. On September 20, 1854, the company sailed for California; they played a few weeks at Pratt’s Hall in San Francisco, but were not overly successful.

Such is the story of E. P. Christy’s Minstrels; the original company consisted of E. P. Christy, George Christy, Tom Vaughn and Lansing Durand; the careers of most of these performers, also their portraits, will be found elsewhere.

It was the withdrawal of George Christy from E. P. Christy’s Company that caused their dissolution.

Edwin P. Christy was best known as a ballad singer, although he played the banjo acceptably and played parts in his entertainments; he made a specialty of singing Stephen C. Foster’s songs.

He returned from California early in 1855, and never appeared again professionally; nor did he ever play in England, although his name is a household word there yet even to this day.

Edwin P. Christy was born in Philadelphia, November 28, 1815; he died (suicide) in New York City, May 21, 1862.

George N. Christy (Harrington), is conceded to have been one of the greatest performers that ever graced the minstrel stage; he was versatile by all the term applies; had he deemed to use his talents otherwise, his name might have been enrolled as one of America’s great actors.

His career began at Buffalo, N. Y., in 1839; although he had not yet entered his teens, he was rated a fine jig dancer.

He was associated with E. P. Christy a few years before the latter organized his minstrel company.

George Christy was with Christy’s Minstrels in New York from February 15, 1847, until October 29, 1853, during which period he played every conceivable part; male and female equally well; he was a great endman and as a bone player ranked with the best.

Owing to a misunderstanding, he left E. P. Christy on October 29, 1853, and two days later he joined forces with Henry Wood at 444 Broadway, where as Wood and Christy’s Minstrels they held forth many years.

During the 50’s Wood and Christy took the house vacated by E. P. Christy, put a show in there and ran both establishments for several months; Billy Birch and Christy played on the ends in their respective houses, after which each would go to the other theatre and contribute to the rest of the entertainment.

December 2, 1854, “444” was destroyed by fire, and the company after a brief tour, resumed at “472.” “444” was rebuilt and reopened October 1, 1855.

Subsequently the company opened at Wood’s Marble Palace, 561-563 Broadway, which was especially built for them, October 31, 1857; the other houses were then closed.

Christy withdrew from Wood on May 1, 1858, and went to California, opening at San Francisco under the management of Tom Maguire, June 7; the company was known as Christy’s Minstrels; they remained in California several months; subsequently Christy and R. M. Hooley formed a partnership and returned to New York, opening at 444 Broadway, May 23, 1859. Christy had previously signed an agreement with Henry Wood not to appear within 100 miles of New York for a period of eighteen months, commencing May 1, 1858.

When George Christy attempted to perform, he was enjoined from doing so by Wood; Christy then took the road until the time limit had expired, opening at Niblo’s Saloon, November 7, 1859; he played here about one year, and subsequently moved opposite to 585 Broadway.

In 1864 he was with J. W. Raynor’s Company; and on September 4, 1865, he began an engagement with Hooley in Brooklyn; a year later he opened with Kelly and Leon’s Minstrels at 720 Broadway; this was the initial performance of the latter company in the metropolis.

January 16, 1867, with G. W. H. Griffin, he organized Griffin and Christy’s Minstrels, opening at the Fifth Avenue Theatre (late Madison Square Theatre); they closed June 27, went on tour and reappeared in New York, July 29, at Union Hall, Fifth Avenue and Twenty-third Street; they closed on September 23 and went traveling.

His last appearance was with Hooley’s Minstrels, May 2, 1868, in Brooklyn, N. Y.

George Christy was born in Palmyra, N. Y., November 6, 1827; he died in New York City, May 12, 1868.

THE VIRGINIA SERENADERS, 1843.

Reading from left to right, in later years the above performers were familiarly known as Jim Sanford, “Ole Bull” Myers, Jim Carter, Bob Edwards and “Cool” White.

BILLY LESTER PAUL ALLEN

LESTER AND ALLEN—They came later.

William A. Christy, the younger son of E. P. Christy, was a comedian, and a fair end man.

His greatest proficiency was in the delineation of the female character.

Late in 1860 “Christy’s” Minstrels, under his management, toured for a brief season; they closed, and on July 4, 1861, they reorganized and opened at the Athenaeum, Brooklyn, N. Y.

William A. Christy died in New York City, December 8, 1862, aged 22 years.

E. Byron Christy was a son of E. P. Christy; he was a comedian, and best known for his stump speeches. He played with Sanford’s Minstrels in Philadelphia in 1859, and with George Christy’s Minstrels same year, after the latter’s return from California. In 1865 “Christy’s” Minstrels made a tour under his management.

He died in New York City, April 6, 1866, aged 28 years.

JOE SWEENEY (Joel Walker Sweeney)

was the “father of the banjo” and one of the earliest black-face performers.

Mr. Sweeney and two brothers traveled in a wagon through the South in the early 30’s, and certainly as early as 1838 when he was with a circus that played in Lynchburg, Va.

He played many subsequent engagements with circuses, notably with the John Robinson Show.

About 1843 he went to England, where he traveled with Cook’s Circus.

April 19, 1844, with Brower, Pelham and Emmett, he formed again the Virginia Minstrels; they played in Dublin two weeks, and several other cities, after which the quartette broke up; Pelham and Sweeney then performed in the principal cities of the United Kingdom, Sweeney returning to the United States about 1845.

He subsequently organized Joe Sweeney’s Opera Troupe and traveled chiefly through the South at intermittent periods up to within about a year or two of his death.

In April, 1852, he played an engagement with Charley White’s Minstrels in New York. Up to the time of Joe Sweeney, the banjo, so-called, was made from a gourd and had four strings only; he took an old cheese box, cut it in half, covered it with a skin and added another string; the fine instruments we see to-day are the evolution of the crude affair just described; this was about 1830.

Joe Sweeney was born at Appomattox, Va., 1813; where he died October 27, 1860.

Geo. Holland, father of the late Geo. Holland, and of E. M. and Jos. Holland, and who was known as one of the great comedians of the old stock days, made his appearance with Wood and Christy’s Minstrels in New York City, December 21, 1857, playing female parts in black-face, and remained with the company six months.

The famous “little church around the corner” gained its name and fame through the death of this great old actor.

George Holland was born near London, England, December 6, 1791; he died in New York City, December 20, 1870.

Edwin Forrest, America’s first great actor, at the Globe Theatre, Cincinnati, Ohio, July 17, 1823, played Cuff, a Kentucky negro, in the “Tailor in Distress.”

In this play Mr. Forrest imitated the black man in dress, accent, gait, dialect and manner; and was said to be the first actor to do so.

Edwin Forrest was born in Philadelphia, March 9, 1806; he died there December 12, 1872.

“Ole Bull” Myers (J. Richard Myers) was one of the earliest and best violinists in minstrelsy.

He entered the profession in 1835, and was with numerous black-face companies, notably the Virginia Serenaders in 1843; this organization, a photograph of which will be found [elsewhere], played an engagement at the Chatham Theatre, New York, January 24, 1844.

“Ole Bull” Myers was born in Baltimore, Md., May 9, 1909; he died in Philadelphia, September 10, 1874.

P. T. Barnum, the great circus man, in the fall of 1836 while traveling with a small show of his own, had the misfortune to lose the services of Jim Sandford, one of his principal “cards,” who was doing “nigger” business; but rather than disappoint his audience, Barnum “blacked up” and sang “Such a Gittin Up Stairs,” and other songs that were popular that day.

P. T. Barnum was born in Bethel, Conn., July 5, 1810; he died at Bridgeport, Conn., April 7, 1891.

Tom Christian, one of the first, also one of the best to do Tyrolean warbling in minstrelsy, joined E. P. Christy’s Minstrels in New York in 1847, and continued as a member of that organization until it disbanded in 1854; subsequently he joined Sanford’s Minstrels in Philadelphia, and Raynor’s “Christy” which toured the country until they sailed for England in June, 1857, when Christian went with them; he remained with the organization which afterwards was known as Moore, Crocker and Ritter’s Minstrels, until his death.

Tom Christian died in London, England, January 29, 1867; aged 59 years.

Dr. G. R. Spalding, whose “Floating Palace” and steamers “Banjo” and “Gazelle” and “James Raymond” gave minstrel performances on the rivers for many years, commencing about 1855, was a native of Coeymans, N. Y.; he died in New Orleans, La., April 6, 1886, aged 68 years.

Sam Johnson (Isaac Ray) was one of the earliest minstrel performers; as early as the Summer of 1844 he appeared in Hoboken, N. J., at Otto Cottage as one of the Operatic Brothers and Sisters.

He died at River View, Ky., about November 1, 1876, aged 62 years.

Jim Sandford (Blandford) was one of the earliest jig dancers of minstrelsy. He appeared with small companies as early as 1843; and for several years traveled with the great John Diamond. He was noted for his fastidiousness in dress.

He was born in Baltimore, Md.; he died in Philadelphia, September 2, 1855; aged 41 years.

John Washington Smith was one of the earliest and best negro delineators ante-dating minstrelsy proper, although he was later associated with several prominent organizations.

His earliest recorded appearance was with the Lion Circus in Cincinnati, December, 1838.

The following year he played in New York, and a year later went to Europe, where he performed with “Pickaninny” Coleman. Returning to America, he played at the Bowery Amphitheatre, April 25, 1842.

In 1849 he wrote and first sung the song that was afterwards in the repertoire of many famous minstrels—“Old Bob Ridley;” this occurred in New Orleans, La.

In the Fall of 1855 he was with the original San Francisco Minstrels in the California metropolis. He subsequently went to Australia and other foreign countries, where for many years he piloted various minstrel organizations.

John Washington Smith was born in the United States about 1815; he died in S. Yarra, Australia, August 31, 1877.

Francis Germon was one of the early comedians and tambourinists in minstrelsy.

December 25, 1839, at Taunton, Mass., in a concert there he was singing the old song of “Sittin’ on a Rail.”

About 1844 he joined the Ethiopian Serenaders, and continued as a member of that party several years.

September 15, 1845, Mr. Germon and the company, as shown on another page, began an engagement at Palmo’s Opera House, New York.

Francis Germon died in Philadelphia, it is said, in the 50’s.

Ned Harper was one of the early black-face performers who ante-dated minstrelsy proper.

He was the author of “Jim Along Josey,” and the first to sing it in his drama, the “Free Nigger of New York,” about 1838.

February 22, 1837, at the Lion Theatre, Boston, he played Gumbo Cuff in “O’ Hush.”

He died in England about fifty years ago.

“Bill” Ceda (Wm. Price), up to the time of his death was the oldest living minstrel in England, where he had been since 1848; he was a comedian and general performer, and made his first appearance at the Bowery Theatre, New York, in 1840; in June, 1848, he was with the Virginia Harmonists.

Bill Ceda was born in the United States; he died in Liverpool, England, March 9, 1873.

Dick Sweeney, a brother of the famous Joe Sweeney, and who traveled with him in the 30’s and 40’s, giving concerts in black-face, died in Washington, D. C., in 1860, it is said. He was born in Virginia about 1815.

FRANK WARD
(of the Original Clipper Quartette)		HARRY A. ELLIS
(of the Original “The Quartette”)
JOHNNY THOMPSONFRANK KERNS
(Thompson & Kerns were the original double song and dance team; 1862.)
CHARLEY GARDNER
(Original “Hop Light Loo”)		FRANK E. McNISH
(Original “Silence and Fun”)

“SOME ORIGINALS.”

Nelson Kneass’ fame has been handed down to posterity for his association with the song of Ben Bolt, which was composed by Thomas Dunn English; an old German tune was supplied by Mr. Kneass, and through it the verses have become immortalized.

Mr. Kneass followed the profession of negro minstrelsy for many years.

February 1, 1841, he was leader of the “orchestra” at the opening of the Museum, Albany, N. Y. In 1846 he was a member of the Sable Harmonists; in 1853 with Sanford’s Minstrels in Philadelphia, and on June 2, 1854, Mr. Kneass and his daughter, Annie, who later married J. N. Rentfrow, of Rentfrow’s Jolly Pathfinders, were with Wood and Christy’s Minstrels in New York, the former as Aunt Chloe, and the latter as Eva in “Uncle Tom’s Cabin.”

In 1859 he was with a minstrel company in Chicago, and late that same year was with Dan Scott’s Dramatic Company.

Nelson Kneass was born in Philadelphia; he died in Chillicothe, Ohio, September 10, 1869.

G. Warren White was a famous vocalist in the early days of minstrelsy. He began as a boy singer, and later was with Dumbleton’s Serenaders; also with Ordway’s Aeolians in Boston.

His later years were spent with the Campbell-Castle Opera Company, and the Kellogg Opera Company.

Mr. White was born in Boston, Mass., in 1816; he died in Somerville, Mass., in March, 1886.

Dan Gardner was equally at home as a clown in a circus, or as a minstrel.

At the age of 13, on the 13th of the month, he ran away from home, and after walking thirteen miles, joined a canal boat show.

He soon after returned to his heath, and subsequently held the position of assistant property man at Mt. Pitt Circus in New York, on the site that is now occupied by the Hoe Printing Press Company. Mr. Gardner began his clown business there.

As early as 1835 he did a wench character; it is considerably more than probable that he was the first performer to do a female part in black-face. And he was absolutely the first to do Lucy Long, a famous characterization in early minstrelsy.

In every decade commencing in the 30’s, Mr. Gardner was prominently identified with minstrelsy. He was with Sam Sanford’s Minstrels as early as 1844, and when the latter took the present Eleventh Street Opera House in Philadelphia, he played numerous engagements there in the 50’s, 60’s and 70’s.

In 1845 he was one of the famous Operatic Brothers and Sisters in New York City.

Mr. Gardner was the father of W. H. Gardner, prominent in circus business; also Lida Gardner, who was the original Mabel Santley of the Rentz-Santley Burlesquers.

Dan Gardner was born in New York City, October 28, 1816; he died in Atlantic City, N. J., October 7, 1880.

M. C. Campbell (Cainan), one of the great ballad singers in the early days of minstrelsy, first appeared prominently at Wood’s Minstrels in New York in 1851; he remained successively a member of Wood and Christy’s; Wood’s; and George Christy’s Minstrels, covering a period of about nine years.

In February, 1861, he organized a company with James Budworth.

On November 10, 1862, he gave the first performance of Campbell’s Minstrels at what is now known as the Fourteenth Street Theatre, New York; June 27, 1864, his company opened at what is now known as the People’s Theatre, New York; January 16, 1865, R. M. Hooley became associated in the management, and in the Spring of the same year he disposed of his interest to Hooley.

Mr. Campbell had various minstrel companies until about 1870, when he retired; subsequently he was identified with the Evening News, New York City.

M. C. Campbell was born in London, England, 1817; he died in New York, January 6, 1883.

Edwin Deaves was associated with some of the very earliest minstrel companies in existence in his native and other Eastern cities in the middle 40’s.

About 1850 he went to California, where he remained many years. When he first played in the great coast metropolis, the “theatre” was a tent.

Edwin Deaves had a pleasing personality and a commanding presence, which eminently fitted him for the position of “middle-man” in the various companies in which he was associated. Mr. Deaves was among the first to sing the lamented Foster’s ballads, such as “Old Dog Tray,” “Nellie Gray” and others.

When George Christy and his company arrived in San Francisco in the Summer of 1858, Mr. Deaves at once became a member. Likewise was he associated there with Birch, Wambold, Bernard, Backus and many other burnt cork luminaries many years before these artists made a metropolitan reputation.

Edwin Deaves was born in Philadelphia, in 1817; he died in New York City, July 19, 1890.

Eph. Horn (Evan Evans Horn) was a name to conjure with for many years.

His professional career began more than seventy years ago. He first appeared in New York City about 1847 as a member of the Ethiopian Serenaders.

In conjunction with Charley White, they formed Horn and White’s Minstrels, opening in New York, April 2, 1851. Subsequently he was identified with practically all the famous permanent minstrel companies in the metropolis, including Wood’s, Campbell’s, Buckley’s, Bryant’s, and E. P. Christy’s; with the latter he went to San Francisco, Cal., in the Fall of 1854, where he remained eighteen months. Subsequently he appeared as clown in a circus, in black face. In 1858 he played an engagement with Ordway’s Aeolians in Boston. Mr. Horn was a fine end man in his day, and all-round general comedian.

In the Summer of 1865 he went to London, where he played a brief engagement.

Eph. Horn was born in Philadelphia, Pa., 1818; he died in New York, January 1, 1877.

Sam Gardner (Sylvester Gardner) was a prominent minstrel interlocutor for forty years; he was likewise a splendid bass singer, and had been identified with many prominent organizations, notably Wm. Henry Rice’s Minstrels in Cincinnati, with whom he opened September 2, 1872. He had been a resident of Omaha, Neb., where he died March 10, 1888, for many years. He was born in New York City about 1818.

Zenas Rumsey was one of the early minstrel performers of the ’40’s. He possessed a good tenor voice, and from 1847 to 1850 he sang at the Bowery Theatre.

That year he married Mary Van Keuren, and retired from the profession.

He was born in Shawangunk. N. Y.; he died in Ellenville, N. Y., December 10, 1891, aged 73 years.

Marshall S. Pike was one of the pioneers of minstrelsy, as well as one of the first female impersonators. In 1843 in conjunction with the Powers Brothers and L. V. H. Crosby, they formed a little company, and appearing with whitened faces and flaxen wigs, styled themselves the Albino Family subsequently they changed to blackened features, and were known as the Harmoneon Family, afterwards the Harmoneons. It was this company that sang for President Polk in the White House in 1847.

Mr. Pike married in 1849, and in that same year joined Ordway’s Aeolians in Boston, and continued with them for several seasons, leaving in 1857 and organizing “Pike’s Harmoneons.”

Subsequently he was identified with various dramatic companies, Mr. Pike was the author of more than 100 songs, the most popular of which was “Home Again,” written in 1849.

Marshall S. Pike was born in Westboro, Mass., May 20, 1818; he died in Upton, Mass., February 13, 1901.

Napoleon W. Gould, famous as a vocalist and guitarist in many minstrel companies, came to the United States in 1848.

He joined E. P. Christy’s Company in New York about 1850, remaining about four years.

In 1859 he became a member of Bryant’s Minstrels, same city, and continued there for several seasons. His last professional appearance was with George Christy’s Minstrels in New York about fifteen years previous to his death.

Napoleon W. Gould was born in London, England, June 7, 1819; he died in New York, May 23, 1881.