The Indiana State sentinel. [volume] (Indianapolis) 1868-1895, 1879-07-16
THE LAST MINSTREL.
A Few Rsoollsotions of Good Old Times
When Negro Minstrelsy Saw Its PaImy
Days. 50. Z
IBoston Herald. 4

Buckley, as ne was more commonly knowB,
in Quincy, on the 25th inst, recalls the
scenes of departed days." in the words of
recent writer, when minstrelsy. In its purity,
was form of entertainment worthy the lib
eral and dignifed patronage it received, and
when the melodies of the black harp were
relished as gems. Mr.. Buckley was the last
of famous family, who were among the
pioneers in negro minstrelsy, and whose
clever impersonations Of the genuine
Southern darkey, aided by musical abili
ties of a high order, served to gain for
them q world wide popularity, and for
ever endeared them to that great body of
amusementseekers who delighted in that spe-
cies of humor which possessed depth with
out coarseness, and which combined with
the eccentricities of dress and manner of
the typical plantation negro the touching
plaintiveness or rollicking fun of the mel
odies OF race into whose composition, pri-
marily, music largely entered, and with
whom it was as natural to sing and dance as to
breathe. The year 1913 witnessed the adj
vent of Ethiopian minstrelsy. At that
time, at the circusin the Bowery, New York,
the Virginia Serenaders appeared as the first
organized company of mlnstrels in this coun-
try. This company comprised Dan Emmett,
Gil Pell, Frank Bowery and Billy Whitlock.
Many will remember their excellent per
formances, and the sensation they pro-
duced gave ready evidence of the success
the business was destined to attain. The
| novelty of the thing quickly induced the
shrewd ones to take it up, and the Serenad-
ers were shortly followed by the
Kentucky minstrels who appeared at
Pelby's old National theater in this city in
the same year. Up to that time minstrelsy
had been in the hands of those who were, to
be sure, clever actors, and whose mirthful
| extravsgances met with unbounded ap-
plause; but it was evident from what fol-
| lowed that the profession was destined to
accomplish even more artistic results, for in
May, 1S43, the Congo Melodi>ts appeared
| at the fremont theater, headed by MIR. James
Buckley, wh1 brought to his work long ex-
perience as a musical director (having been
previously engaged at HarrlDgton's museum
on Court street. as leader of the orchestral
| and introduced what served to Immediately
| place mlnstrelsy among the arts-namely,
harmony. The vocal efforts of the pioneers
| in the business were marked by great crudity,
and the Introduction of harmony, as spec
| ialty, by the Congo Melodists, instantly met
with abundant success, and was recognized
as long stride In black business. Those
who remember the opening performance of
the Melodists, when the Buckley family sus-
tanned the leading parts, will recall the
boundless enthusiasm which greeted their
| harmonious renditions. About fortnight
later the Ethiopian serenders appeared.
| They were principally composed of Cen
non, Whittemore, Wilson. Quinn and STAN
wood, all well-known and clever comedians.
| During the three years from 1913 to 1916,
| but four companies of Ministries were formed
in this country, namely, Virginia Serena
ders, Kentucky Minstrels," Congo Melo-
dists," Ethiopian Serenaders-" To
such an extent was the bust
| ness conducted. and 80 great had
been the growth in public favor since its
institution, that in 1916 it had become gen.
orally acknowledged to be one of the most
popular forms of entertainment before the
people, if, indeed, it did not even stand the
very head of all. In 1916, the celebrated
Virginia serenaders appeared ia Philadel-
phia. With that troupe appeared Dick
Myers, Billy Edwards, Cool White and the
| 'inimitable" Eph. Horn. The success of
their predecessors in the business, and the
rich talent they possessed, together with
the marvellous popularity already won by
the profession, afforded most fiatterlng pros
poets for the talented Virginia serenaders,
who enjoyed a season of remarkable success.
With this company, as before stated, ap-
peared Eph. Horn, probably the most sue
cessful lend man" ever associated with the
business, and one whose original voice,
brilliant wit and able action will
ever be remembered by old play
goers G. Swaine Buckley was not,
III the popular Interpretation of the
term, a negro minstrel; he was q musician.
And many of the present playgoiDg genera
ton who are perhaps less familiar with him
est successes have been achieved in a white
face. As performer upon the widest
range of musical instruments he is almost
without peer. Thirty years ago an ETH
opian comedian was an Ethiopian come
dian. The negro was his example for study.
| &1,4 Oh. rf he onl-
man those eccentricities which gave to the
art its pith, its great interest, and its re-
| spectability. The true Ethiopian comedian
esteemed music as the most valuable lin its
originality and the most interesting charac
teristic of the race he studied. To sing the
old plantation songs with credit and justice
is truly an art. 1t is, however, an
art that Is in a great measure lost. For
while the average minstrel of to-day may
be able to touch the banjo with some degree
of credit, his dialect In song and recitation
is, as rule, abominable. 1t is not known
apparently, that there are as many distinct
dialects among the black people of the South
as among the different tribes" of Yankees
The Virginian differs decidedly from the
South Caroliniau, and 1t is in the proper an6
distinct rendition of such differences tha
the art exists. Almost any one may be able
to sing plantation melody in French, Ger
man or Italian; but it is difficult to find
comedian capable OF properly rendering
negro song In negro dialect Mlnstrelsy a
it existed a quarter of a century ago was al
art. Artists engaged IN It. Such names a
Horn, PeIl, Buckley, Sharpley, McAndrews
Whitlock, Myers and others were found
among its disciples; and IN the palmy
days 1T was profession full,
worthy the intense public esteem and .popu
larity 1t enjoyed. tAnd its decline" sale
Mr.. Buckley, in conversation with tn,
writer upon the subject. sis due to the intro
duct;on of what is known as the variet,
N business. In the hands of bunglers tn,
banjo has become hideous organ OF dis
cord. The melodies OF the Carolinlas ant
the Mississippi have been tempered witt
and abused, and the delicate sentiments o
minstrelsy have become scattered beyon,
recall. II should be borne in mind that tn
inspiration of minstrelsy is music-melod,
and harmony-and that only is worthy tn
name which draws Its charm from the sigh
, ing strings. In its infancy Ethiopian min
strelsy in this country was conducted Of
that principle. The appearing artists wer