Old Corn Meal, or Signor Cormeali, was an African-Americanstreet vendor in New Orleans, Louisiana who became famous in the late 1830s for singing and dancing while he sold his wares. He is one of the earliest known African Americans to have had a documented influence on the development of blackfaceminstrelsy specifically and American popular music in general.
Old Corn Meal was known for walking through New Orleans singing and dancing while he led his horse and cart and sold corn meal. "Fresh Corn Meal", which he composed, was his signature song; he also did popular material from blackface acts like "Old Rosin the Beau" and "My Long Tail Blue". He was a natural baritone, but he could "easily [transform] into a ringing falsetto".[1] His popularity led to an invitation to perform at the St. Charles Theatre in 1837. There he did a solo act alongside his horse and cart. Old Corn Meal performed there at least once more, in 1840.
News clipping from November 24, 1860, recalling George Nichols and "Corn Meal", a New Orleans personality. Nichols got songs from Corn Meal, which he used in his minstrel performances. This clipping itself both describes Corn Meal and portrays him like a character in a minstrel show.
White performers who did blackface acts probably took material from Old Corn Meal. George Nichols, a blackface circus clown is one, as is Thomas D. Rice, whose "Corn Meal" skit most likely came from seeing Old Corn Meal's act during one of his visits to New Orleans in 1835, 1836, and 1838.
In 1837, "Old Corn Meal" was included in a performance at the recently opened St. Charles Theatre in a melodrama called Life in New Orleans. The newspaper accounts of the performance make clear, Kmen argues, that as a musician he was widely known — he was described in one article as "the celebrated sable satellite," and another mentioned "the popular song Fresh Corn Meal" that he sings. The performance, which featured Old Corn Meal performing on stage the way he did in the street — from his horse-drawn vendor's cart — was such a success that another was organized, though during the second performance his horse fell on stage and was killed.[2] In 1840, he performed at the Camp Street Theater on at least two occasions.[2]
Kmen describes this as "the first appearance of a Negro on the white stage in New Orleans, indeed perhaps in the United States," though at least the latter claim is inaccurate. But his research shows clearly that Old Corn Meal was a much discussed figure, coming up repeatedly in articles in the Picayune during the late 1830s. When he died in 1842, his passing was noted in several newspapers. The Bee declared: "Poor old Corn Meal . . . is gone. never again shall we listen to his double toned voice — never again shall his corn meal melodies, now grumbled in a bass — now squeaked in a treble, vibrate on the ear. He was a public-spirited a character as any we ever met with, and was as thoroughly known as a popular politician."
Notes
↑ Wittke, Carl (1968). Tambo and Bones. Quoted in Watkins 106.
Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.
Watkins, Mel (1994). On the Real Side: Laughing, Lying, and Signifying—The Underground Tradition of African-American Humor that Transformed American Culture, from Slavery to Richard Pryor. New York: Simon & Schuster.
Blackface is the practice of non-black performers using burnt cork or theatrical makeup to portray a caricature of black people on stage or in entertainment.
Thomas Dartmouth Rice was an American performer and playwright who performed in blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time. He is considered the "father of American minstrelsy". His act drew on aspects of African American culture and popularized them with a national, and later international, audience.
"Jump Jim Crow", often shortened to just "Jim Crow", is a song and dance from 1828 that was done in blackface by white minstrel performer Thomas Dartmouth "Daddy" Rice. The song is speculated to have been taken from Jim Crow, a physically disabled enslaved African-American, who is variously claimed to have lived in St. Louis, Cincinnati, or Pittsburgh. The song became a 19th-century hit and Rice performed it all over the United States as "Daddy Pops Jim Crow".
The minstrel show, also called minstrelsy, was an American form of theater developed in the early 19th century. The shows were performed by mostly white actors wearing blackface makeup for the purpose of comically portraying racial stereotypes of African Americans. There were also some African-American performers and black-only minstrel groups that formed and toured. Minstrel shows stereotyped blacks as dimwitted, lazy, buffoonish, cowardly, superstitious, and happy-go-lucky. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent.
Master Juba was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and the only one of the era to tour with a white minstrel group. His real name was believed to be William Henry Lane, and he was also known as "Boz's Juba" following Dickens's graphic description of him in American Notes.
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Christy's Minstrels, sometimes referred to as the Christy Minstrels, were a blackface group formed by Edwin Pearce Christy, a well-known ballad singer, in 1843, in Buffalo, New York. They were instrumental in the solidification of the minstrel show into a fixed three-act form. The troupe also invented or popularized "the line", the structured grouping that constituted the first act of the standardized three-act minstrel show, with the interlocutor in the middle and "Mr. Tambo" and "Mr. Bones" on the ends.
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Thomas Dilward was an entertainer who appeared in blackface minstrel shows from 1853 until the early 1880s under the name Japanese Tommy. He was also sometimes billed as "The African 'Tom Thumb'" and the "African Dwarf Tommy". Dilward is one of only two known African-Americans to have performed with white minstrel companies before the American Civil War.
The Ethiopian Serenaders was an American blackface minstrel troupe successful in the 1840s and 1850s. Through various line-ups they were managed and directed by James A. Dumbolton (c.1808–?), and are sometimes mentioned as the Boston Minstrels, Dumbolton Company or Dumbolton's Serenaders.
John "Picayune" Butler was a black French singer and banjo player who lived in New Orleans, Louisiana. He came to New Orleans from the French West Indies in the 1820s. One of his influences was Old Corn Meal, a street vendor who had gained fame as a singer and dancer at the St. Charles Theatre in 1837. By the 1820s, Butler had begun touring the Mississippi Valley performing music and clown acts. His fame grew so that by the 1850s he was known as far north as Cincinnati. In 1857, Butler participated in the first banjo tournament in the United States held at New York City's Chinese Hall, but due to inebriation, he only placed second.
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.
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"Coal Black Rose" is a folk song, one of the earliest songs to be sung by a man in blackface. The man dressed as an overweight and overdressed black woman, who was found unattractive and masculine-looking. The song was first performed in the United States in the late 1820s, possibly by George Washington Dixon. It was certainly Dixon who popularized the song when he put on three blackface performances at the Bowery Theatre, the Chatham Garden Theatre, and the Park Theatre in late July 1829. These shows also propelled Dixon to stardom.
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Tom show is a general term for any play or musical based on the 1852 novel Uncle Tom's Cabin by Harriet Beecher Stowe. The novel attempts to depict the harsh reality of slavery. Due to the weak copyright laws at the time, a number of unauthorized plays based on the novel were staged for decades, many of them mocking the novel's social message, and leading to the pejorative term "Uncle Tom".
Coon songs were a genre of music that presented a stereotype of Black people. They were popular in the United States and Australia from around 1880 to 1920, though the earliest such songs date from minstrel shows as far back as 1848, when they were not yet identified with "coon" epithet. The genre became extremely popular, with white and Black men giving performances in blackface and making recordings. Women known as coon shouters also gained popularity in the genre.
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