It’s been hot during the past few days here in Washington, DC, making everyone think we’ll have an early and long summer.
And that brings to mind the song Summertime from the Gershwin, Heyward, and Gershwin opera Porgy and Bess. This excellent version features Ella Fitzgerald and singer/trumpet player Louis Armstrong. I believe this is from the album Porgy and Bess done by Armstrong and Fitzgerald in 1958.
Here’s another great version of the song by DC’s own Billy Stewart:
We commonly think of Uncle Tom’s Cabin as a literary phenomenon. But it was on the big stage that this story had some of its greatest impact.
Uncle Tom at the whipping post
Scene from the stage production of “Uncle Tom’s Cabin”
All photos in this post are by Joseph Byron, N.Y., c1901
Source: Library of Congress (click on the link for identification and other information)
In 1860, at the eve of the Civil War, there were 18 free states, where slavery was prohibited. Those states had roughly 18.5 million whites, and 225,000 free blacks. So, only 1% of the free state population was African American. 168,000 of those free blacks lived in just four states: Pennsylvania, New Jersey, New York, and Ohio. Millions of northern whites saw ‘real live’ black people only a handful of times in their entire lives, if at all. And as unlikely as it was for them to see a black person, it was even less likely that they would ever see a slave.
There was, of course, no radio, television, telephones or Internet. The kind of immediate, in your face journalism that’s enabled by today’s technology did not exist. Slavery was certainly not an uncommon subject for the press, or other forms of paper communication. But for many northerners, the horrors of slavery were out of sight, and would have been out of mind – if not for people like Harriet Beecher Stowe.
The isolation of northern whites from slavery helps to explain the interest in Stowe’s book Uncle Tom’s Cabin; or Life Among the Lowly. The book was published in 1852, following a serialized version in an antislavery newspaper. It opened a window to a world, hidden by distance, that many northern whites never saw or knew.
The book’s negative portrayal of slavery was filled with melodrama and overt religious symbolism and appeals. It was not just a story about the grace and love of little Eva; the abuse of the devout Uncle Tom; the salvation by love of the slave girl Topsy; and the preservation of Eliza’s family. It was, as historian David Goldfield put, “a book about family, God, and redemption-surefire topics to attract a broad audience in mid-nineteenth century America.”
The Auction Scene
Source: Library of Congress (click on the link for identification and other information)
For several years, Uncle Tom’s Cabin was a huge best-seller, second in popularity only to the Bible. It would become an international best-seller as well. Historian James McPherson noted that “within a decade [of its 1852 release] it sold more than two million copies in the United States, making it the best seller of all time in relation to population.”
But Uncle Tom’s Cabin was more than just a literary phenomenon. As mentioned in Wiki,
“Given the lax copyright laws of the time, stage plays based on Uncle Tom’s Cabin—”Tom shows”—began to appear while the story itself was still being serialized… Even though Uncle Tom’s Cabin was the best-selling novel of the 19th century, far more Americans of that time saw the story as a stage play or musical than read the book. Eric Lott, in his book Uncle Tomitudes: Racial Melodrama and Modes of Production, estimates that at least three million people saw these plays, ten times the book’s first-year sales… The many stage variants of Uncle Tom’s Cabin “dominated northern popular culture… for several years” during the 19th century and the plays were still being performed in the early 20th century.”
These stage productions allowed the book to be visualized and dramatized, and touched theater patrons in a way that the written word could not. Now the horrors of slavery had a human face that northern people could see. The resulting ire led Abraham Lincoln to tell Stowe in 1863 – apocryphally, it turns out – “So you’re the little woman who wrote the book that made this great war!”
Little Eva’s death scene
Source: Library of Congress (click on the link for identification and other information)
Back in the old days, they didn’t have these fancy prosthetics and stuff you see nowadays. If a man lost a leg, a piece of wood might have to do for a replacement.
Legend has it that before the Civil War, a sailor named Peg Leg Joe led slaves out of bondage through the Underground Railroad. However, no reliable evidence has been found to prove there was such a person. This mythical Peg Leg is credited with writing the song “Follow the Drinkin’ Gourd”, which supposedly helped guide slaves on their way to freedom.
Another famous Peg Leg, the late Arthur “Peg Leg Sam” Jackson, would probably say that despite the loss of his leg, he wasn’t missing a thing. Although he was from what many would call “humble beginnings” in South Carolina, he became a wonderful blues singer, harp (harmonica) player, and story-teller. As noted here, “When he wasn’t riding the rails, (Sam) worked as an entertainer with a medicine show run by ‘Chief Thundercloud,’ a Potawotomi Indian… Sam was the last country bluesman to tour the U.S. with a medicine show. Back when the blues was mostly a rural genre, many bluesmen connected with these shows. Each was typically run by a ‘doctor’ whose goal was to make money hawking homemade remedies made primarily from alcohol.” In this excerpt from a documentry, Sam tells us a little bit about hard luck:
There’s nothing but good medicine in Sam’s soul-stirring performance of Joshua Fit The Battle Of Jericho, done with help from guitarist Louisiana Red; it’s from Sam’s album “Joshua”:
Perhaps the most famous Peg Leg of them all was the late Clayton “Peg Leg” Bates. Like Peg Leg Sam, Bates was from South Carolina. He lost a leg at the age of 12 in a cotton gin accident. According to wiki, “Bates was a well-known dancer in his day. He performed on The Ed Sullivan Show approximately 58 times, and had two command performances before the King & Queen of the England.” Bates ran the “Peg Leg Bates Country Club” in upstate New York, from 1951 to 1987, his wife. It was one of many segregated vacation spots that took black customers in the days of Jim Crow. My own family visited the Bates Country Club when I was a child.
Nobody could stomp and tap like Peg Leg Bates:
