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Charles Callender was the owner of blackface minstrel troupes that featured African American performers. Although a tavern owner by trade, he entered show business in 1872 when he purchased Sam Hague's Slave Troupe of Georgia Minstrels.[ citation needed ]
Blackface is a form of theatrical make-up used predominantly by non-black performers to represent a caricature of a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the "happy-go-lucky darky on the plantation" or the "dandified coon". By the middle of the century, blackface minstrel shows had become a distinctive American artform, translating formal works such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the minstrel show and became a form in its own right. In the United States, blackface had largely fallen out of favor by the turn of the 21st century, and is now generally considered offensive and disrespectful, though the practice continues in other countries.
The minstrel show, or minstrelsy, was an American form of entertainment developed in the early 19th century. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent. The shows were performed by white people in make-up or blackface for the purpose of playing the role of black people. There were also some African-American performers and all-black minstrel groups that formed and toured under the direction of white people. Minstrel shows lampooned black people as dim-witted, lazy, buffoonish, superstitious, and happy-go-lucky.
A tavern is a place of business where people gather to drink alcoholic beverages and be served food, and in most cases, where travelers receive lodging. An inn is a tavern that has a license to put up guests as lodgers. The word derives from the Latin taberna whose original meaning was a shed, workshop, stall, or pub.
Renaming them Callender's Original Georgia Minstrels, he and his business manager, Charles Hicks, followed the lead of other showmen such as J.H. Haverly and advertised the troupe far and wide. Callender's Minstrels played to packed houses and positive reviews in the Midwest and Northeast. Over time, the Callender name came to signify "black minstrelsy", [1] and when rival troupes tried to appropriate it, Callender persuaded The Clipper to refrain from writing about them.[ citation needed ]
Charles Barney Hicks was an African-American advance man, manager, performer, and owner of blackface minstrel troupes composed of African-American performers. Hicks himself was a talented minstrel performer who could sing and play challenging roles such as the minstrel-show interlocutor or endmen. However, he was most interested in the business side of minstrelsy. Over the course of his career, he worked with most successful black minstrel troupes as manager, owner or both. The white-dominated minstrel market proved hostile to a black owner, and Hicks had to travel abroad or manage for white owners in order to make a reliable living. Nevertheless, both white and black rivals came to respect him. One observer in 1891 wrote, "This man Hicks was a dangerous man to all outside managers and they all were afraid of him." In 1912, Hicks was the sole African American listed on M. B. Leavitt's list of "best known advance agents during the last fifty years".
Advertising is a marketing communication that employs an openly sponsored, non-personal message to promote or sell a product, service or idea. Sponsors of advertising are typically businesses wishing to promote their products or services. Advertising is differentiated from public relations in that an advertiser pays for and has control over the message. It differs from personal selling in that the message is non-personal, i.e., not directed to a particular individual. Advertising is communicated through various mass media, including traditional media such as newspapers, magazines, television, radio, outdoor advertising or direct mail; and new media such as search results, blogs, social media, websites or text messages. The actual presentation of the message in a medium is referred to as an advertisement, or "ad" or advert for short.
The New York Clipper, also known as The Clipper, was a weekly entertainment newspaper published in New York City from 1853 to 1924. It covered many topics, including circuses, dance, music, the outdoors, sports, and theatre. It had a circulation of about 25,000. The publishers also produced the yearly New York Clipper Annual. In 1924, The Clipper was absorbed into the entertainment journal Variety.
Despite the revenues brought in by his star performers, including such talents as Bob Height, Billy Kersands, and Pete Devonear, Callender ignored their demands for more pay and better recognition. Some of them quit to form their own company, an action Callender claimed was tantamount to theft.[ citation needed ]
Bob Height was an African American blackface minstrel performer. He was a standout talent in the companies with which he performed, although frustrations eventually drove him to pursue a career in Europe. Later writers have compared him to his contemporary, Bert Williams.
Billy Kersands was an African-American comedian and dancer. He was the most popular black comedian of his day, best known for his work in blackface minstrelsy. In addition to his skillful acrobatics, dancing, singing, and instrument playing, Kersands was renowned for his comic routines involving his large mouth, which he could contort comically or fill with objects such as billiard balls or saucers. His stage persona was that of the dim-witted black man of the type that had been popularized in white minstrel shows. Modern commentators such as Mel Watkins cite him as one of the earliest black entertainers to have faced the dilemma of striking a balance between social satire and the reinforcement of negative stereotypes.
The issue came to public attention for its racial implications, and most of the performers who had left eventually returned to Callender. The company stayed at the top of black minstrelsy through the mid-1870s. In 1874 or 1875, Callender organized a second troupe of black minstrels that would tour secondary circuits, such as the Midwest. After a bad year in 1877, he sold his main troupe to J. H. Haverly. He continued to operate his secondary troupe until 1881, when he sold it to Charles and Gustave Frohman.[ citation needed ]
Charles Frohman was an American theatrical producer. Frohman was producing plays by 1889 and acquired his first Broadway theatre by 1892. He discovered and promoted many stars of the American theatre.
Gustave Frohman was a theatre producer and advance man. He was one of three Frohman brothers who entered show business and he worked for most of his career alongside his brother, Charles Frohman. These two financed a number of theatre productions, often featuring African American actors. For instance, in 1878, they starred Sam Lucas in the first serious stage production of Uncle Tom's Cabin with a black man in the lead role.
Callender eventually got back into minstrelsy with new black troupes and stakes in others. He funded non-minstrel fare, such as a staging of Uncle Tom's Cabin starring Emma Hyer and Anna Hyer. Minstrelsy remained his main draw, and he owned troupes into the 1890s.[ citation needed ]
Uncle Tom's Cabin; or, Life Among the Lowly, is an anti-slavery novel by American author Harriet Beecher Stowe. Published in 1852, the novel had a profound effect on attitudes toward African Americans and slavery in the U.S. and is said to have "helped lay the groundwork for the Civil War".
