Los Angeles daily herald., 1888-12-03

will aid in inducing musical people to
make their homes here. No resident of
the city should miss the second concert.
Tony PASTORS Thousand Songs.
Tony Pastor has just brought out a
new song that bids fair to become very
popular. This makes the thousandth
song that Tony Pastor has given to the
public since he made his first bow before
an audience as comic and topical vocal
| ist. Tony seems to improve with as
and his jolly, mirth-making songs 20,
the magnets that draw the audie' az, ore
his theater. A'oo W
| Tony Pastor rendered his
comic singer in 1851, jus .s;'. ns. soms as
years ago, and during tf t,eyseten t;me ba hos
not been absent fror ts. tinv tant1;nS;n nb n"e %
eingie 81 ,h.. tnearricai s seS son, and not week
brornht % out utie .ssed than he hasn't
5no r0uHm' tbo crod? Uu. 4ew song. To him is also
tbeotnr e r Oh o' IS of lifting the vaudeville
U u 'o, az I'VE the plane of disrepute.
dr;nI: I:' die first to abolish the custom of
tars -as and smoking in variety thea
.<ege banished from his stage, so that
fpeople of refinement could witness
r jThe performance without fear of having
their sense of delicacy offended. Although
, it is not generally known, it was Tony
\ Pastor who originated the farce comedies
that seem to be so popular. 1t was in
! 1870, at PASTORS Bowery Theatre, when a
= = play called "Fun on the Stage" written
by John f. Poole, was produced. 1t de-
lineated theatrical manager in difficult
ties. The actors struck, but the actresses
were loyal and they organized hodge
podge of drama and speciality to help the
manager out. Mr.. PASTORS forte seems
to be in the discovery of latent force in
other people. 1t is seldom that he assists
4 a debutante that he makes mistake. He
has given great many actors and
r actresses, both amateur and professional,
a chance to get before the public, and his
theatre has been a sort of preparatory
q school in the career of many strong
1 artists. 1t is almost impossible to turn
on the legitimate stage without brushing
n against people who have been graduated
from Pastors. May Irwin and Lillian
:, Russell, among others, were graduated
from PASTORS.
With few exceptions, Tony's songs are
of his own composition. Those that are
: not are the work of English balladists
who give him the right to produce their
songs in America. His songs are built
upon his own ideas and are entirely
original. He is careful and thoughtful
reader OF the newspapers and is quick to
grasp any popular idea and turn it into
song. Among the songs popularized by
Tony Pastor Whoa, Emma" produced
in 1875, made decidedly the greatest hit.
1t was whistled, sung and played from
, one end OF this country to the other.
/ The first success was in 1851, when he
! sang topical song entitled, "Things l
, Don't Like to See." In 1858 he popular
lied the comic song Root, Hog or DE-"
and the synonym is still in vogue. Other
successful productions were: "Whack,
Row de Dow" in 1861; 81 Stand 1t Like
Lamb" 1862; "Sarah's Young Man,"
1865; "If You Can Stand That You Can
Stand Anything" in 1866; "Grand-
father Day." in 1861; care You Going
to the Ball This Evening"" very popu-
lar song, in 1873; "For the Sake of the
Dear Little Girls" in 1885.
In 1871, at his old Bowery Theatre, he
popularized the ballad, 'Down in Coal
Mlne,~ song that has been sung in
every State in the Union. In this song
he asked the gallery gods to join him in
the chorus, and newsboys, bootblacks
and street urchins focked in the theatre
every night, so great was their desire to
be a ''the-ater bloke," as they styled
themselves. At big benefit it was an
nounced that Mr.. Pastor wanted all the
boys to come and join him in the chorus.
Boys saved up their pennies for weeks to
be there, and when Mr.. Pastor came out
the gallery contained nearly a thousand
boys. He sang the first verse amid an
almost painful silence, but when the
chorus opened, "Down in Coal Nine"
the boys nearly raised the roof. 1t was
the largest chorus ever heard in any
theatre in this city. 1t is not generally
known that Tony Pastor originated the
Campaign war cry: whats the mat
ter with? He's all right" 1t was in
1884, in song, in which he asked the
orchesteI whats the matter with nv
singing?' ooh, you're all right" came
the answering chorus. This was soon
adopted by several campaign clubs and
the cry speedily became universal.-[N.