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Negro Minstrelsy's Origin.
DIARY OF LATE CHARLEY WHITE GIVES IT'S HISTORY.
A HITHERTO UNPUBLISHED ACCOUNT.
__________________________________________________ _
We are now able to present an authoritative account of the origin of negro minstrelsy from the hitherto unpublished diary of Charley White, one of its pioneers, whose praises have been sung recently by correspondents of this paper with memories that go back to the days of the old Melodeon on the Bowery, where the black faced comedians sang:
Possum up the gum tree,
Conney in the hollow,
Show me the man who stole
My half a dollar.
Fi yi yi! Hoop up de doodledum, &c.
White died in 1891, leaving his diary, a thick volume written in script as plain as print, with newspaper clippings, programmes and pictures inserted, to his brother-in-law, Theodore F. Giese, of Whitestone, Long Island. It is doubtful whether the details of the early history of negro minstrelsy have been preserved by any other man, and there was probably no one else of that day whose opportunities for gathering them, even if he had the inclination to write a history of negro minstrelsy, were equal to Charlie White's. His Boswell-like attention to details gives his diary historical interest.
White's own life, as written by himself in this diary, shows the sort of stuff of which the negro minstrel of fifty years ago was made. He was born in Broad Street, Newark, in 1821. "His father," to quote him, "was an extensive boot and shoe manufacturer in those early days, but through the failure of two Southern firms with whom he largely dealt he became greatly embarrassed, and soon after, with his family of seven children, moved to New York City.
"Charley White was at this time only two years old. His parents passed through a series of hardships for a time, until the children grew up a little, and by their industry the labors of the old people began to lessen...
"Charley, while a boy, followed many different pursuits without regard to prospective results. Along about the year 1837 he became infatuated with the exquisite music of the French accordion, which was then quite new and a very good instrument in those days, and with his careful earnings he soon money enough to buy one and satisfy his ambition. He was not long in becoming a master of the instrument...
"Charley White's first performance in a professional way was for the Washington Total Abstinence Society, at 71 Division Street, New York, November 23, 1842. His second appearance was soon after, at Croton Hall, corner of Bowery and Division Street, for Joe Murphy's concerts. He joined the Kentucky Minstrels, Vauxhall Garden, in 1843.
They consisted of Billy Whitlock, T. G. Booth, Barney Williams, and Charley White. Mr. White afterward became connected with the following organizations: New York Minstrels, at Paterson Music Hall, February 10, 1844; Clay Minstrels, at Columbia Hall, Grand Street, New York, March 15, 1844; Virginia Minstrels, at Bunker Assembly Rooms, Philadelphia, June 17, 1844; Original Virginia Serenaders, at the Chatham Theatre, New York, July 1844; Ethiopian Minstrels, at Palmer's Opera House, Chambers Street, New York. During the next year Whites diary shows that he performed with these other organizations: Sable Sisters, African Serenaders, Kentucky Minstrels, Ethiopian Operatic Brothers, the Buffo Troupe of Ethiopian Singers, and several lessor organizations. Evidentlythe make-up of these companies changed rapidly.
White's success prompted him to open Charley White's Melodeon, opposite the Old Bowery Theatre, on November 24, 1846, and here he made a more valuable reputation than he could in traveling companies. It was named after the Melodeon in Boston. White writes of it, always referring to himself in the third person.
"The price of admission were 12 1/2 cents to the parquet and 6 1/4 cents to the gallery. When the place was ready to open White played an engagement of thirteen weeks under the proprietorship of W. B. Hatch.
"In the course of the season the following performers appeared: Mons. Adriant, William Carter, Frank Gallagher, Bill Price, Luke West, Frank Stanton, Dave Reed, Marvin Turner, Bobby Williams, Pete Morris, Charles Fisher, Clem Titus, Mrs. Oldfield, Billy Coleman, John H. Murray, Signor Francesco, Jimmy Reynoldson, W. T. Peterson and J. T. Huntley.
"On May 20, 1849, the building was destroyed by fire, and through the friendship of Mr. Bill Swift, the property on which the building stood was purchased and a new five-story building was erected on the site, in which Mr. White leased a theatre for some years...The prices of admission to the new place were raised to 12 1/2 and 25 cents.
There have been few better artists than those who made their mark in cork and otherwise in this popular resort. They consisted of the following: George White, Edwin Deaves, Phil. J. Rice, I. Carroll, Pete Lane, Jim Budworth, Dave Price, Dave Wambold, Dan Bryant, Tony Pastor, Ben Yates, William Withers, Charley Fox, T. D. Rice, Lew Donnelly and a score of others.
"There are many gentlemen today, now surrounded with their families, who will remember with pride the many pleasant hours passed in this old familiar resort of their boyhood days...Shortly after, Mr. White leased the premises 17 and 19 Bowery from the Beekman Brothers, on which site he built his theater called White's Varieties, and opened the same September 13, 1852, with an excellent company.
"Frank Chanfrau was manager, and among the company were Dolly Davenport, Jerry Merryfield, Miss Albertine, Mr. and Mrs. France, William R. Floyd and Mrs. Warwick. Mr. White appeared their for the last time as Anthony Snow, the mischievous nigger, Saturday evening. February 12, 1853. It was afterwards called the St. Charles Theatre, and closed in 1855.
White's diary tells of the writer's experiences in various houses of amusement on the Bowery, sometimes as his own manager and again as a member of a musical company. On February 22, 1857, he started the Bryant's Minstrels in business in Mechanic's Hall at 472 Bowery. He wrote songs, negro sketches and joke books that were standards in minstrelsy, and many of the names running through the diary of men who blacked their faces have since become well known in the legitimate drama.
It was an active life that he led. He owned several hotels at various times, saloons, a meat market, opera houses and negro minstrel companies. From 1882 until 1890 he traveled with Bartley Campbell's "White Slave" company, and he had played one week with Edward Harrigan in "Reilly and the 400," when he died on January 4, 1891.
Mr. White devoted many pages of his diary to a history of negro minstrelsy and a catalouge of the companies and a list of the names of the men famous in it. Under the heading: "Negro Minstrelsy; Its starting place, Origin and Progress; Minstrel Bands as They Organized," he wrote:
"Many individuals blackened their faces professionally a long time prior to the organization of this type of amusement. Others might have called themselves minstrel companies, but the brevity of their required services did not encourage an organization, for so many would have been difficult to compensate for the time and trouble requisite to support the same.
"However, there were four members of the cork farternity who undertook the venture of an organization. Their names were Frank Brower, Billy Whitlock, Dick Pelham and Dan D. Emmett. They went into a thorough concourse of rehearsals at the boarding house of Emmett, 37 Cathrine Street, New York, kept by one Mre. Brooks. They were all diligent in their labors (late January, 1843), and it did not take long to acquire the scanty versatility necessary in those days for a cork professor to delight his partons.
"The cause of thier organization was simply to make up a combination of negro stuff for one night which was expressly for the benefit of Pelham, who at the time was dancing at the Chatham Theatre. Their rehearsals were sufficiently encouraging to satisfy them, but they had found a novelty and to suit the term nowadays they thought they could first try it on the dog (Pelhams benefit).
"This was their title, 'Virginia Minstrels.' They made thier debut at the Chatham Theatre February 17, 1843. They were recieved with deafening applause. During the same week they played one night for the benefit of Mr. John Tyron, then manager of the Bowery Amphitheatre. Their performances here met with astonishing success, so much so that they were secured by Messrs. Welch and Rockwell, then managers of the the Park Theatre, at which place they performed two weeks in conjunction with the great dancer, John Diamond.
"This was about the middle of February, 1843, and after this they proceeded to Boston, where they played six weeks with wonderful success. They then returned to New York and performed for Manager Simpson at the Park Theatre. Having now fairly introduced their novelty and expecting every day to meet with opposition here in Yankee land they determined on a trip to England where all idea of rivalry was out of the question for the time at least..
"Accordingly, with George B. Wooldridge at their head, they immediatly embarked for Europe. Hence arose the various minstrel companies that are now in existence. On the arrival of the Virginia Minstrels they immediatly gave two concerts in Liverpool. From threr they proceeded to the Adelphi Theatre, London, at which place they performed six weeks in connection with Prof. Anderson, "The Great Wizard of the North."
It is interesting to note here that Daniel Decatur Emmett of this original negro minstrel company was the same Emmett who in 1859 wrote the song which became to the South what the "Marseillaise" is to France, "I Wish I Were in Dixie." He wrote many other songs which are still popular, but none that compared to this. Presumably from Emmett himself Mr White obtained the following information about "Dixie" which he wrote in his diary:
"One Saturday night in 1859, when Dan Emmett was a member of Bryant's Minstrels at Mechanic's Hall, New York, Bryant said to Emmett:
"Can't you get us up a new walk-around dance? I want something new and lively for next Monday night."
Emmett of course went to work and as he had done so much in that line of composition he was not long in finding something suitable. At last he hit upon the first two bars, and any composer can tell you how good a start that is in the manufacture of a melody.
"The next day, Sunday, he had the words commencing: 'I wish I was in Dixie.' This colloquial expression is not, as most people suppose, a Southern phrase, but first appeared among the circus men of the North. In early fall when nipping frost would overtake the tented wanderers, the boys would think of the genial warmth of the section they were heading for and the common expression would be, "Well, I wish I were in Dixie."
"This gave the title or catch line, the rest of the song was original. On Monday morning the song was rehearsed and highly commended, and at night as usual the house was crowded and many of the auditors went home singing 'Dixie."
"Emmett got into trouble about his song during the war. It was considered a Rebel song, and a sapient editor in Maine declared that Dan was a Secessionist and that he should be treated as one. Although the song had been written two years before the commencement of the Rebellion, as originally written there was not a line that could be charged with any political bearing.
"The growing popularity of this well-known ditty was secured in New Orleans in the spring of 1861, when Mrs. John Wood played an engagement at the Varieties Theatre. 'Pocahontas,' by John Brougham was produced, and in the last act a Zouave March was introduced.
"Carlo Patti, brother of Adelina Patti, was the leader of the orchestra. At the rehearsal Carlo was at a loss as to what air to appropriate. Trying several he at last hit upon 'Dixie.' Tom McDonough shouted:
" 'That will do!'
"Mrs. John Wood, Leffingwell, John E, Owens and Mark Smith were delighted. Night came and the Zouaves marched on, led by Susan Denin, singing 'Dixie.' The audience became wild with delight and seven encores were demanded."
(To be continued.)
__________________________________________________
from The Cadenza, May 1902.
DIARY OF LATE CHARLEY WHITE GIVES IT'S HISTORY.
A HITHERTO UNPUBLISHED ACCOUNT.
__________________________________________________ _
We are now able to present an authoritative account of the origin of negro minstrelsy from the hitherto unpublished diary of Charley White, one of its pioneers, whose praises have been sung recently by correspondents of this paper with memories that go back to the days of the old Melodeon on the Bowery, where the black faced comedians sang:
Possum up the gum tree,
Conney in the hollow,
Show me the man who stole
My half a dollar.
Fi yi yi! Hoop up de doodledum, &c.
White died in 1891, leaving his diary, a thick volume written in script as plain as print, with newspaper clippings, programmes and pictures inserted, to his brother-in-law, Theodore F. Giese, of Whitestone, Long Island. It is doubtful whether the details of the early history of negro minstrelsy have been preserved by any other man, and there was probably no one else of that day whose opportunities for gathering them, even if he had the inclination to write a history of negro minstrelsy, were equal to Charlie White's. His Boswell-like attention to details gives his diary historical interest.
White's own life, as written by himself in this diary, shows the sort of stuff of which the negro minstrel of fifty years ago was made. He was born in Broad Street, Newark, in 1821. "His father," to quote him, "was an extensive boot and shoe manufacturer in those early days, but through the failure of two Southern firms with whom he largely dealt he became greatly embarrassed, and soon after, with his family of seven children, moved to New York City.
"Charley White was at this time only two years old. His parents passed through a series of hardships for a time, until the children grew up a little, and by their industry the labors of the old people began to lessen...
"Charley, while a boy, followed many different pursuits without regard to prospective results. Along about the year 1837 he became infatuated with the exquisite music of the French accordion, which was then quite new and a very good instrument in those days, and with his careful earnings he soon money enough to buy one and satisfy his ambition. He was not long in becoming a master of the instrument...
"Charley White's first performance in a professional way was for the Washington Total Abstinence Society, at 71 Division Street, New York, November 23, 1842. His second appearance was soon after, at Croton Hall, corner of Bowery and Division Street, for Joe Murphy's concerts. He joined the Kentucky Minstrels, Vauxhall Garden, in 1843.
They consisted of Billy Whitlock, T. G. Booth, Barney Williams, and Charley White. Mr. White afterward became connected with the following organizations: New York Minstrels, at Paterson Music Hall, February 10, 1844; Clay Minstrels, at Columbia Hall, Grand Street, New York, March 15, 1844; Virginia Minstrels, at Bunker Assembly Rooms, Philadelphia, June 17, 1844; Original Virginia Serenaders, at the Chatham Theatre, New York, July 1844; Ethiopian Minstrels, at Palmer's Opera House, Chambers Street, New York. During the next year Whites diary shows that he performed with these other organizations: Sable Sisters, African Serenaders, Kentucky Minstrels, Ethiopian Operatic Brothers, the Buffo Troupe of Ethiopian Singers, and several lessor organizations. Evidentlythe make-up of these companies changed rapidly.
White's success prompted him to open Charley White's Melodeon, opposite the Old Bowery Theatre, on November 24, 1846, and here he made a more valuable reputation than he could in traveling companies. It was named after the Melodeon in Boston. White writes of it, always referring to himself in the third person.
"The price of admission were 12 1/2 cents to the parquet and 6 1/4 cents to the gallery. When the place was ready to open White played an engagement of thirteen weeks under the proprietorship of W. B. Hatch.
"In the course of the season the following performers appeared: Mons. Adriant, William Carter, Frank Gallagher, Bill Price, Luke West, Frank Stanton, Dave Reed, Marvin Turner, Bobby Williams, Pete Morris, Charles Fisher, Clem Titus, Mrs. Oldfield, Billy Coleman, John H. Murray, Signor Francesco, Jimmy Reynoldson, W. T. Peterson and J. T. Huntley.
"On May 20, 1849, the building was destroyed by fire, and through the friendship of Mr. Bill Swift, the property on which the building stood was purchased and a new five-story building was erected on the site, in which Mr. White leased a theatre for some years...The prices of admission to the new place were raised to 12 1/2 and 25 cents.
There have been few better artists than those who made their mark in cork and otherwise in this popular resort. They consisted of the following: George White, Edwin Deaves, Phil. J. Rice, I. Carroll, Pete Lane, Jim Budworth, Dave Price, Dave Wambold, Dan Bryant, Tony Pastor, Ben Yates, William Withers, Charley Fox, T. D. Rice, Lew Donnelly and a score of others.
"There are many gentlemen today, now surrounded with their families, who will remember with pride the many pleasant hours passed in this old familiar resort of their boyhood days...Shortly after, Mr. White leased the premises 17 and 19 Bowery from the Beekman Brothers, on which site he built his theater called White's Varieties, and opened the same September 13, 1852, with an excellent company.
"Frank Chanfrau was manager, and among the company were Dolly Davenport, Jerry Merryfield, Miss Albertine, Mr. and Mrs. France, William R. Floyd and Mrs. Warwick. Mr. White appeared their for the last time as Anthony Snow, the mischievous nigger, Saturday evening. February 12, 1853. It was afterwards called the St. Charles Theatre, and closed in 1855.
White's diary tells of the writer's experiences in various houses of amusement on the Bowery, sometimes as his own manager and again as a member of a musical company. On February 22, 1857, he started the Bryant's Minstrels in business in Mechanic's Hall at 472 Bowery. He wrote songs, negro sketches and joke books that were standards in minstrelsy, and many of the names running through the diary of men who blacked their faces have since become well known in the legitimate drama.
It was an active life that he led. He owned several hotels at various times, saloons, a meat market, opera houses and negro minstrel companies. From 1882 until 1890 he traveled with Bartley Campbell's "White Slave" company, and he had played one week with Edward Harrigan in "Reilly and the 400," when he died on January 4, 1891.
Mr. White devoted many pages of his diary to a history of negro minstrelsy and a catalouge of the companies and a list of the names of the men famous in it. Under the heading: "Negro Minstrelsy; Its starting place, Origin and Progress; Minstrel Bands as They Organized," he wrote:
"Many individuals blackened their faces professionally a long time prior to the organization of this type of amusement. Others might have called themselves minstrel companies, but the brevity of their required services did not encourage an organization, for so many would have been difficult to compensate for the time and trouble requisite to support the same.
"However, there were four members of the cork farternity who undertook the venture of an organization. Their names were Frank Brower, Billy Whitlock, Dick Pelham and Dan D. Emmett. They went into a thorough concourse of rehearsals at the boarding house of Emmett, 37 Cathrine Street, New York, kept by one Mre. Brooks. They were all diligent in their labors (late January, 1843), and it did not take long to acquire the scanty versatility necessary in those days for a cork professor to delight his partons.
"The cause of thier organization was simply to make up a combination of negro stuff for one night which was expressly for the benefit of Pelham, who at the time was dancing at the Chatham Theatre. Their rehearsals were sufficiently encouraging to satisfy them, but they had found a novelty and to suit the term nowadays they thought they could first try it on the dog (Pelhams benefit).
"This was their title, 'Virginia Minstrels.' They made thier debut at the Chatham Theatre February 17, 1843. They were recieved with deafening applause. During the same week they played one night for the benefit of Mr. John Tyron, then manager of the Bowery Amphitheatre. Their performances here met with astonishing success, so much so that they were secured by Messrs. Welch and Rockwell, then managers of the the Park Theatre, at which place they performed two weeks in conjunction with the great dancer, John Diamond.
"This was about the middle of February, 1843, and after this they proceeded to Boston, where they played six weeks with wonderful success. They then returned to New York and performed for Manager Simpson at the Park Theatre. Having now fairly introduced their novelty and expecting every day to meet with opposition here in Yankee land they determined on a trip to England where all idea of rivalry was out of the question for the time at least..
"Accordingly, with George B. Wooldridge at their head, they immediatly embarked for Europe. Hence arose the various minstrel companies that are now in existence. On the arrival of the Virginia Minstrels they immediatly gave two concerts in Liverpool. From threr they proceeded to the Adelphi Theatre, London, at which place they performed six weeks in connection with Prof. Anderson, "The Great Wizard of the North."
It is interesting to note here that Daniel Decatur Emmett of this original negro minstrel company was the same Emmett who in 1859 wrote the song which became to the South what the "Marseillaise" is to France, "I Wish I Were in Dixie." He wrote many other songs which are still popular, but none that compared to this. Presumably from Emmett himself Mr White obtained the following information about "Dixie" which he wrote in his diary:
"One Saturday night in 1859, when Dan Emmett was a member of Bryant's Minstrels at Mechanic's Hall, New York, Bryant said to Emmett:
"Can't you get us up a new walk-around dance? I want something new and lively for next Monday night."
Emmett of course went to work and as he had done so much in that line of composition he was not long in finding something suitable. At last he hit upon the first two bars, and any composer can tell you how good a start that is in the manufacture of a melody.
"The next day, Sunday, he had the words commencing: 'I wish I was in Dixie.' This colloquial expression is not, as most people suppose, a Southern phrase, but first appeared among the circus men of the North. In early fall when nipping frost would overtake the tented wanderers, the boys would think of the genial warmth of the section they were heading for and the common expression would be, "Well, I wish I were in Dixie."
"This gave the title or catch line, the rest of the song was original. On Monday morning the song was rehearsed and highly commended, and at night as usual the house was crowded and many of the auditors went home singing 'Dixie."
"Emmett got into trouble about his song during the war. It was considered a Rebel song, and a sapient editor in Maine declared that Dan was a Secessionist and that he should be treated as one. Although the song had been written two years before the commencement of the Rebellion, as originally written there was not a line that could be charged with any political bearing.
"The growing popularity of this well-known ditty was secured in New Orleans in the spring of 1861, when Mrs. John Wood played an engagement at the Varieties Theatre. 'Pocahontas,' by John Brougham was produced, and in the last act a Zouave March was introduced.
"Carlo Patti, brother of Adelina Patti, was the leader of the orchestra. At the rehearsal Carlo was at a loss as to what air to appropriate. Trying several he at last hit upon 'Dixie.' Tom McDonough shouted:
" 'That will do!'
"Mrs. John Wood, Leffingwell, John E, Owens and Mark Smith were delighted. Night came and the Zouaves marched on, led by Susan Denin, singing 'Dixie.' The audience became wild with delight and seven encores were demanded."
(To be continued.)
__________________________________________________
from The Cadenza, May 1902.
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