they get a chance, and are a terror to householders of the city. They
haunt the beer saloons and low class bar-rooms, beg for drinks, and
will even drain the few drops left in the empty beer kegs in the
sidewalk. They will solicit passers-by for money, and in this way often
manage to collect enough to buy whisky or beer. Their food they beg
at the doors of residences, keeping a sharp lookout all the while for
an opportunity to steal something of value when the servant’s back is
turned.
The parks are the favorite lodging places with them in warm weather.
Under cover of darkness they creep into the shrubbery and make their
beds on the grass. Sometimes they sleep on the benches scattered
throughout the grounds, but as they are apt to be disturbed by the
police, they prefer the shrubbery.
The more fortunate tramps patronize the cheap lodging houses, which are
very numerous in some portions of the city. In some of these places a
bed may be obtained for five cents.
Some of the more aristocratic places charge ten cents, and each
occupant is furnished with food in the morning. Nightly scores of men
and boys apply for lodging at the police stations.
Many deserving persons are classed among the tramps. They are
friendless, homeless, and without money or work and must adopt
the tramp’s life in order to maintain existence. Such persons
gladly accept any work offered them, and escape from the wretched
companionship as soon as they are able to do so.
It is easy to distinguish them from the genuine tramps, however, for
they are eager to work, while the tramp pure and simple, regards an
offer of labor as an insult.
Theatres
Good and Bad.
In nothing does Chicago show its metropolitan character more
strikingly than in its amusements. At the head of these stand the
theatres, which are very numerous, and some magnificent. Among the
theatres of established reputation, are: McVickers, Powers, Grand
Opera House, Auditorium, Illinois, and others, which enjoy a degree
of substantiality. Besides these there are a number of second-class
variety establishments and several third-rate theatres in different
parts of the city. There are still other houses which are vicious
and should be closed by the police. These places have no rating for
decency and are pitfalls to the unsophisticated visitors in the city.
Burlesque is the principal amusement here, and is of the lowest order.
Absolute indecency reigns supreme. The performers, mostly women of
the underworld, are paid to amuse the audiences by kicking up their
heels—the higher they kick the more they are paid. The “hooche-cooche”
and the “Salome” dances are here given in all their rottenness. Vulgar
sayings and gestures are indulged in to a degree that is amazing
in this enlightened age. The theatres which provide this class of
entertainment are liberally supported by all classes of men and receive
an immense patronage from the great throng of strangers constantly in
Chicago. Old men and boys of tender years are frequenters of these
theatres, and here and there may be found the prostitute seated beside
some young boy. The price of admission is low and the performance
suited to the tastes of the audience. These places have saloons
attached to them which are generally in the basements. The women
performers are required to drink with men, and solicit them boldly to
buy drink for them. It is a common thing to see these girls stupidly
drunk. They are paid a commission on all drinks purchased through their
solicitation.
The galleries of these establishments are filled chiefly with
boot-blacks, newsboys, and the juvenile denizens of the city, ranging
in age from eight to twelve years. The orchestras are made up of
amateurs and old men, and furnish a cheap class of music.
The keepers of houses of ill-fame need no better advertisement than the
cheap burlesque show-houses of Chicago. The baser elements in man are
all enacted here in plain view of the audience and winked at by the
police. Arrests are made, and the managers pay fines, but continue the
same immoral productions.
Perhaps the most remarkable dramatic establishment Chicago ever had,
was launched in the early eighties. It was known as “Grand Duke’s
Theatre,” or, it was better known to its patrons as “The Grand Dooks
Theatre.” It began its career in a vacant store building on South State
street in a very humble way; but with increasing prosperity removed to
more suitable quarters. The prices of admission were as follows: Boxes,
25 cents; orchestra, 15 cents; balcony, 10 cents; gallery, 5 cents. The
establishment was managed and controlled by boys and its audiences were
composed of boys and young men. The company was composed of youths yet
in their teens, and the performances were of the “blood-and-thunder”
order, interspersed with “variety acts” of a startling description.
The house and appointments were primitive, and the stage equally so.
The orchestra was made up of amateur musicians, and was placed out
of sight at the back of the stage. The footlights consisted of six
kerosene lamps with glass shades. Two red-plush lounges, stuffed with
saw-dust, and in a sad state of dilapidation served as boxes; while the
orchestra stalls were represented by half a dozen two-legged benches,
and the balcony and gallery were composed of a bewildering arrangement
of step ladders and dry-goods boxes. The manager acted as his own
policeman, and enforced order by knocking the heads of disorderly
spectators or by summarily ejecting them. The performances were crude,
but they satisfied the audiences, and never failed to draw forth a
storm of applause, mingled with shrill whistles and stamping of feet.
The boys were satisfied. What more could be desired?
┌───────────────────────────────────────────────────────────────────┐
│ Transcriber's Note: │
│ │
│ The original spelling, hyphenation, and punctuation have been │
│ retained, with the exception of apparent typographical errors │
│ which have been corrected. │
│ │
│ Punctuation and spelling were made consistent when a predominant │
│ form was found in this book; otherwise they were not changed. │
│ │
│ Italicized words are surrounded by underline characters, _like │
│ this_. │
└───────────────────────────────────────────────────────────────────┘