Tony Pastor

Family 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 New Haven, Connecticut, after he came to New York. They then lived in Manhattan. Their third child, and first son, also named Antonio Pastor, was born in Manhattan in 1837 at his parents' residence at 400 Greenwich Street, in what is now the financial district of lower Manhattan. He had a taste for entertaining when he was young, producing his own plays in the basement of his family's home. Early career In 1846, Pastor embarked on a career in show business. He obtained a job singing at P.T. Barnum's Scudder's American Museum where he brought his riding, tumbling, and mimicry skills to performances. During the next few years he worked in minstrel shows, where he often performed scenes in blackface. 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 Robert Butler'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. , 1897 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 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. In the musical Hello, Dolly!, the song "Put On Your Sunday Clothes" includes the line, "We'll join the Astors at Tony Pastor's". It also references seeing "the shows at Delmonico's", which suggests that the character does not really know about upper-class social life in New York. Death Tony Pastor died in Elmhurst, Queens County, New York, on August 26, 1908, and was interred in the Cemetery of the Evergreens in Brooklyn. 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". == Afterpieces ==

Throughout the 1880s, Pastor's performances often had an afterpiece 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 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. ==Music==

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 Union soldiers, he attends an anti-slavery meeting where the abolitionists try to scrub off his dark pigment. The slave concludes by singing... ...De nigger will be nigger till de day of jubilee For he never was intended for a white man. Den just skedaddle home-leave de colored man alone; For you're only making trouble for de nation; You may fight and you may fuss But you never will make tings right Until you all agree for to let de nigger be For you'll neber, neber, neber wash him white! 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: If an Upper-Ten fellow a swindler should be And with thousands of dollars of others make free Should he get into court, why, without any doubt, The matter's hushed up and they'll let him step out. If a Lower-Ten Thousand chap happens to steal, For to keep him from starving, the price of a meal, Why the law will declare it's a different thing- For they call him a thief, and he's sent to Sing-Sing! ==References==