some other whaleman seen fit to transcribe shipboard fiddle and dance tunes,note-for-note, just as he knew them - preferably with grace notes and ornamentation, the way they were played in the forecastle and aftercabin at sea. But, so far, no such transcriptions have emerged, and Smith's mere list, inscribed on a single page of his journal, is about the best and most extensive documentation of such tunes on American whaleships." (p. 358) There is some indication that "Fanny" may have been used in minstrel performances. Frank says, "That the song may also have been making rounds on the music-hall circuit is suggested by an allusion on an earlier page of the same songster [NEGRO SINGER'S] (p. 196), in a section entitled "Conundrums," intended as a collection of vaudeville-like dialect quips for "Negro" musicians. It is attributed to the so-called "Black Apollo," whose real name was Charles White, "and all the Colored Savoyards at the Principal theaters in the United States": Why is Fanny Elssler like the Bunker Hill Monument? Because they are both out ob town. (Frank, p. 374) Out of the 230 or so songs in his book, Frank only lists seven as "deepwater chanteys" All of the rest were used for some form of entertainment on the whaling ships. Frank does seem to make the assumption that "Fanny" was used as a chanty, but gives not documentation for this assumption. See page xix in an introductory essay entitled "A Few Words about Chanteys" where he says, "A large