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parodies. Pastor's afterpieces became popular from 1865 to 1875, and because of its popularity, the afterpieces became a staple in Pastor's shows. Although the afterpieces were all different, they all dealt with what is meant to be a working-class citizen in New York. Not only did the afterpieces discuss issues such as crime and poverty, but they also discussed leisure activities the working class couldn't afford. This made Pastor's audiences respond well to the afterpieces, since the working class was his target audience.
588:. He was 71, and though greatly mourned at his death as one of the last gentlemen of the early vaudeville halls, the medium had passed him by with the advent of the vaudeville circuit in the 1880s. Pastor had remained a local showman in an epoch that increasingly came to be dominated by regional and national chains. Fighting against the monopolies for the rights of individual local showmen was an undertaking that marked the last years of his life, earning him the nickname of "Little Man Tony".
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427:'s American Music Hall, a variety theater located at 444 Broadway in what is now called Soho, but was then the heart of the lower Manhattan theater district. Pastor published "songsters", books of his lyrics which were sung to popular tunes. The music had no notation, as it was assumed that the audience had a collective knowledge of popular song. The subject matter of his music was intended to be bawdy and humorous.
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496:. Vaudeville was popular with the masses from the 1880s to the 1910s. Pastor wanted to capture a mass audience by bringing family entertainment to the middle class. In order to do this, Pastor sought out to make vaudeville "respectable". He did not sell liquor in his theatre and required a level of decency to his performances which encouraged women and families to attend.
460:, presenting an evening of clean fun that was a distinct alternative to the bawdy shows of the time and more appropriate for middle-class families. With shows that appealed to women and children as well as the traditional male audience, his theater and touring companies quickly became popular with the middle classes and were soon being imitated.
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performer, Sam
Sharpley, whom he later bought out. The same year he organized traveling minstrel troupes who toured the country annually between April and October. Although Pastor was referred to as the "Dean of Vaudeville", as mentioned before, he is best known for cleaning up variety acts. Pastor
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following it. They played a major role in his shows, often written in the final act of the program. The afterpieces were written by a group of regular writers, and sometimes Pastor himself. They lasted anywhere from fifteen minutes to an hour. There were three categories; pantomime, melodrama, and
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patriotism and a strong commitment to attracting a "mixed-gender" audience, the latter being something revolutionary in the male-oriented variety halls of the mid-century. Although he was a performer and producer, Pastor is best known for "cleaning up" bawdy variety acts and presenting a clean and
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Pastor sang for the Union cause throughout the Civil War, then started his own variety show which went on tour for around five months before settling in New York City. In 1865, Pastor opened his own theatre,
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According to the humor of the time, Pastor wrote several songs that negatively portrayed ethnic stereotypes, such as "The
Contraband's Adventures", the story of a freed slave. After the slave is set free by
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Antonio Pastor, father of Tony, was a fruit-seller, barber, and violinist from Spain. His family was reputed by contemporaries to be "of gypsy blood". He met his future wife, Cornelia
Buckley, who was from
423:. Pastor became a celebrated singing clown at a time when circus performances typically concluded with a variety revue. He established himself as a popular singer and songwriter during a four-year run at
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Though he separated some ethnic groups in his music, he also intended to unite the lower and middle classes. In songs like "The Upper and Lower Ten
Thousand", he defended the common man of the Bowery:
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was popular with the nearly all-male variety theater audiences; however, he knew that his ticket sales would double if he attracted a female audience. Soon he began to produce
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in the mid-to-late-nineteenth century. He was sometimes referred to as the "Dean of
Vaudeville". The strongest elements of his entertainments were an almost-
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The Soul of
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Monod, David. "Art with the
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In 1846, Pastor embarked on a career in show business. He obtained a job singing at
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From
Traveling Show to Vaudville: Theatrical Spectacle in America, 1830 - 1910
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where he brought his riding, tumbling, and mimicry skills to performances.
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try to scrub off his dark pigment. The slave concludes by singing...
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203:. Statements consisting only of original research should be removed.
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The Voice of the City: Vaudeville and
Popular Culture in New York
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and family-oriented variety shows, creating what became known as
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Romeo and Juliet; or, the
Beautiful Blonde who Dyed for Love
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In 1874, Pastor moved his company a few blocks to take over
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Tony Pastor Presents: Afterpieces from the Vaudeville Stage
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Throughout the 1880s, Pastor's performances often had an
580:, New York, on August 26, 1908, and was interred in the
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American impresario, variety performer and theatre owner
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soldiers, he attends an anti-slavery meeting where the
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The matter's hushed up and they'll let him step out.
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For to keep him from starving, the price of a meal,
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Den just skedaddle home-leave de colored man alone;
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Vaudeville entertainer, showman and theatre manager
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97:. Unsourced material may be challenged and removed.
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880:...De nigger will be nigger till de day of jubilee
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898:For you'll neber, neber, neber wash him white!
368:New York Public Library for the Performing Arts
920:If a Lower-Ten Thousand chap happens to steal,
821:High Life and Low Life; or, Scenes in New York
1221:"Tony Pastor: An Inventory of His Collection"
1187:"Tony Pastor and His 60 Years on the Stage".
983:"Tony Pastor: An Inventory of His Collection"
888:For you're only making trouble for de nation;
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928:For they call him a thief, and he's sent to
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60:Learn how and when to remove these messages
884:For he never was intended for a white man.
704:Yeast Lynne; or, The Humors of Lady Isabel
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1317:Burials at the Cemetery of the Evergreens
1223:. Harry Ransom Humanities Research Center
1114:Tony Pastor: Dean of the Vaudeville Stage
985:. Harry Ransom Humanities Research Center
392:in 1837 at his parents' residence at 400
355:family-friendly genre called vaudeville.
237:Learn how and when to remove this message
219:Learn how and when to remove this message
157:Learn how and when to remove this message
739:William Carleton or William A. Mestayer
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499:His theater featured performers such as
19:For the saxophonist and bandleader, see
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415:During the next few years he worked in
360:Harry Ransom Humanities Research Center
834:Unknown (Possibly Charles F. Seabert)
628:Masaniello; or, Fish Catcher of Naples
366:in Austin, and in the archives of the
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1210:. University of Kentucky Press, 1965
1118:. Eastern Michigan University Press.
1071:Forty-odd Years in the Literary Shop
95:adding citations to reliable sources
892:But you never will make tings right
1302:American people of Spanish descent
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1086:Tony Pastor, Father of Vaudeville
796:Unknown (Possibly John F. Poole)
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1135:. Free Press Printing. p.
1050:Historical Vital Records of NYC
840:The Tenth Ward by Day and Night
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1259:Tony Pastor Collection at NYPL
1129:Horton, William Ellis (1902).
890:You may fight and you may fuss
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1287:Blackface minstrel performers
1208:American Vaudeville as Ritual
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1089:. McFarland. pp. 4–6.
961:. Oxford University Press.
910:fellow a swindler should be
199:the claims made and adding
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1008:Archives & Manuscripts
953:Snyder, Robert W. (1989).
847:Tony Pastor's Opera House
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605:List of Known Afterpeices
582:Cemetery of the Evergreens
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1177:, Johns Hopkins UP, 2007.
1010:. New York Public Library
745:The Pie-Rats of Penn Yann
449:Tony Pastor's Opera House
410:Scudder's American Museum
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1110:Zellers, Parker (1971).
1033:Cornell University Press
1004:"Tony Pastor collection"
21:Tony Pastor (bandleader)
1083:Fields, Armond (2007).
578:Elmhurst, Queens County
478:Michael Bennett Leavitt
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1297:American impresarios
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1164:. Greenwood P, 1998.
1035:, 2016, pp. 171–205.
802:Joe Kidd in Fistiana
576:Tony Pastor died in
472:Tammany Hall in 1914
91:improve this article
1160:Kattwinkle, Susan.
853:Charles F. Seabert
774:September 10, 1866
764:Mysteries of Gotham
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364:University of Texas
1206:McLean, Albert F.
1193:. August 16, 1908.
1190:The New York Times
850:February 24, 1873
783:New York Mechanics
755:February 14, 1881
613:Type of Pantomime
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1132:About Stage Folks
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89:Please help
84:verification
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1312:1908 deaths
1307:1837 births
1245:Tony Pastor
1055:10 February
592:Afterpieces
566:Delmonico's
537:Eva Tanguay
533:Gus Edwards
406:P.T. Barnum
253:Tony Pastor
1271:Categories
1227:2014-12-23
1014:2014-12-23
989:2014-12-23
940:References
844:Melodrama
825:Melodrama
806:Melodrama
787:Melodrama
768:Melodrama
720:T.R. Hann
598:afterpiece
501:Ben Harney
494:vaudeville
348:jingoistic
344:vaudeville
337:impresario
315:Occupation
276:1837-05-28
193:improve it
117:newspapers
46:improve it
930:Sing-Sing
908:Upper-Ten
549:May Irwin
490:operettas
421:blackface
390:Manhattan
350:brand of
326:1846–1905
197:verifying
52:talk page
815:Unknown
790:Unknown
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