Bradford opinion. [volume] (Bradford, Vt.) 1874-1881, 1876-03-04
NEGRO MINSTRELSY.
Its Firss Start In the Cswutry. Minstrel
Characteristics, stc.s ~ Tsid BY Oae sf


Its Firss start In the Csussry...Aliassre
Then.
A Sun correspondent interviewed
Billy Birch, OF the San Francisco Min.
strels, ON the subject Of minstrelsy as i
was and is: The first troupe was called
the "Virginia Minstrels. There were
only four OF them-Dan Emmett, banjo
player--lie's on the stage yet, out IN
Chicago now; Dick Pelhsm-who went
over TO En- land, made fortune, and
never came back-bones; William Whit
lock and Frank Brown. They were not
the first TO appear blacked up on the
stage you know. Thomas d. Rice, better
known as daddy Rice" is called the
father OF negro minstrelsy, but incorrect
" 30. He was an actor and took negro
parts in plays, but he wasn't what we
would call q negro minstrel. "Jim
Grow" made him famous-that and the
i" Virginia Mummy" The comic opera
"Oh Hush |" was written for him by
Judge Philips. I've been told. 1t was
beautiful thing, just full Of gems OF
songs. You remember the "OoNl Black
Rose G"-well, that was one Of them.
Dumbleton's Ethiopian Seranaders
was started by Major Dumbleton the
year after the Virginia Minstrels.
After the Dumbleton's came George
Christy. Christy started in Buf-
falo. He had been in circus be-
fore he got up troup Of minstrels.
From the start he was great favorite,
and when his party came to New York
in 1916 and opened in the Alhambra.
they did an enormous business. Then,
in 1847 or 1848, the Buckeyes started
the Peedee Minstrels. They made
splendid music, had great deal Of
talent, and when they went over to Eng
land, fairly took the country by storm,
as you may say.
In 1874 l played first as boy for Ned
Underhill's father, who was then DO.
tanical doctor in Troy. Ned Underhill
was in the troupe, too. We played a
engagement OF one night.
We didn't run the risk of trying the
temper of the public by second per-
Torrance. The old man gave me half
dollar, I remember, and there was
bad sixpence in it, but I'd sooner have
given $40 to play than not to have got
the chance, go didn't mind the six
pence. In 1848 went on regularly, and
have been in the business ever since
with generally good success. and for a
number of years past with most excellent
fortune. Eph Horn started in Philadel-
phia in 1845, and Backus in California
in 1852. .
lis the minstrel business profitable
one yet, or has it, as some aver, seen its
best days3"
There are more minstrel troupes
low-good ones-than there ever were
before, and believe they are generally
loing we'll. As to whether there is
money in it or not, you may Judge for
from our figures. We cleared
while we were ct 5S5 Broadway $500, 900
n seven years. l think that was doing
pretty well, and we have had no reason
% complain Of any change since"
How are performers paidp
"That depends upon the individual
md the demand for him. In a general
way you may say that singers get from
40 to 1915 per week, instrument per-
ormers $50 to $50; comedians, that is
men of general usefulness, about the
anne us the singers; end men, from $40
O $50 all the way up to $3.50 or 5000, &C
ording to their individual popularity.
some song and dance men, too, like
Billy Emerson, get as big money as end
men,"
Where do you get your burnt
ork 2"
" Prepare yourselves. Just burn the
orks and pass the dust through a paint
Mill to get it all fine and we'll mixed with
vater, and then it is ready for use.
champagne corks are the best to use
make the finest dust"
SIT is less injurious to the skin than
he white and red used by the pale
aces of the drama, is il not."
" Not at all injurious. In fact, it is
,ood for the skin. l have known it to
ure skin diseases. just look at the old
ainstrels and see how smooth and fresh
heir faces are. That is due in great
MEASURE to the cork; something also no
oubt to our frequent and thorough
7ashings."