Uncle Guy.
On looking over the list of Wilmingtons' personages who have been
instrumental in moulding its character and making it one of the most
desirable places on earth, and the memory of whose face and name revive
the sweetest recollections of early youth in the dear old town, the name
and face of Uncle Guy comes most vividly before me.
In ante-bellum days in the South, one week in all the year was given by
the master to the slave--a week of absolute freedom, in which the Negro,
unrestrained, danced and frolicked and otherwise amused himself to his
heart's content. This season of freedom commenced with the dawn of
Christmas, and lasted until the beginning of the New Year. The slave
heard not the story of the Christ, of the wise men, or the shepherds of
Bethlehem; he saw no Christmas tree brilliant with tapers even in the
home of his master. For, unlike Christmas observances in the North, full
of solemnity and historic significance, the Southern Christmas was and
is still a kind of Mardi Gras festival, ending with the dawn of the New
Year. Early on each Christmas morning the slaves, old and young, little
and big, gathered at the door of the "Big House" to greet their master,
who gave each in turn his Christmas "dram," and then, like a kennel is
opened and pent-up hounds are bidden to scamper away, the slaves were
let go to enjoy themselves to their heart's content, and were summoned
no more to the field before the dawn of the New Year. While in the rural
districts the frolics and kindred pleasures were the chief pastimes, in
the cities and towns the celebrations were more elaborate. In gaudy
regalia the "Hog Eye" danced for the general amusement, and the Cooner
in his rags "showed his motions." For many years before the war Uncle
Guy was the star performer at these functions in Wilmington. With whip
in hand, he danced and pranced, and in sport flogged children who had
been naughty during the year. But to us, who were youngsters in the
seventies, Uncle Guy is most vividly remembered as a musician--a
clarionet soloist--a member of the Shoo Fly Band, whose martial music
will ever ring in the ear of memory.
The fall of Fort Fisher added many a new face and character to
Wilmington life. Negroes who had in the conflict just closed learned of
the art of war, added impetus to and stimulated the old city's martial
spirit and love of gaudy display. And those who through the same agency
had learned in the military bands and drum corps the art of music were
indispensable adjuvants in elevating her lowly inhabitants. But he who
came with the knowledge of music had a much wider field for usefulness
before him; for the Negroes' love for music is stronger than love for
war. Frank Johnson, who had the credit of organizing the Shoo Fly Band,
had not tasted of war, but he and Uncle Guy had been "orchestra"
musicians before the war. And now, as the increase of talent in
Wilmington opened a wider field, the band was organized. It was called
Frank Johnson's Band at first, but in after years more familiarly known
as the "Shoo Fly." The name is a small matter, however; music was the
chief thing. And how that band could play it! There was a ring in that
music that electrified the soul and filled the limbs with renewed vigor.
There was Dick Stove with his trombone,
Henry Anderson with his bass,
Making music swift as raindrops in a race.
There was Guy Wright with his clarionet,
Henry Adams with his B,
And the music made the youngsters dance with glee.
There was Johnson, he play'd second,
Who, when horn-blowing was dull,
Could play a fiddle tempting to the soul.
At Hilton, Paddy's Hollow, at the Oaks, on Kidder's Hill,
Where good and bad alike could dance their fill.
Then there was Jim, the drummer,
Who could beat a drum like Jim?
Oh! we little ones were awful proud of him.
How nicely he could keep the time.
"Shoo Fly, don't bother me!"
For I'm a member of old Comp'ny D.
It was down old Seventh to Market,
And through Market down to Third.
Playin' Molly Darlin', sweetes' ever heard;
From thence up Third to Castle, while "Up in a Balloon"
Made us wish to pay a visit to the moon.
Then we had no Gen'l Jacksons
Dressed in gol' lace all for show,
Then such hifullutin notions didn't go.
It was music! Sweetes' music!
"Darlin', I am growin' old,"
Will live, forever live within the soul.
The old Shoo Fly Band is a thing of the past; no more shall we listen to
its inspiring music, for the majority of its members have crossed the
melancholy flood. The last time that they appeared on the streets of
Wilmington only a sextet remained. Dick Stove's trombone horn had been
curtailed in order to hide the marks of decay upon its bell. They
gallantly marched up Market street, and with a dismal, yet not
discordant blast, turned into Fourth, en route to Hilton. I think that
Uncle Guy is the only remaining one of that gallant few living in
Wilmington to-day, and the friends of those who departed this life in
later years followed their bodies to the grave keeping step to the sad
wail of his lone clarionet. Jim Richardson, Dick Stove, Johnson, Adams,
Anderson--I wonder, does he think of them now, tenderly, emotionally and
with a longing to join them on the other side. I wonder if they all
cluster about him when in his lonely hours he consoles himself with his
clarionet. For many years Uncle Guy has been Wilmington's chief
musician. Bands magnificent in equipment and rich in talent have been
organized, to flourish for a few years only. But Uncle Guy's trio of
clarionet and drums has withstood the test of time; yea, they were
indispensable for base ball advertisement and kindred amusements,
heading both civic and military processions, white and black, in their
outings and celebrations, or with bowed head and thoughtful countenance
he has led the march to the grave. As I recollect Uncle Guy, he was the
embodiment of neatness, feminine in build--it seemed that nature
intended to form a woman instead of a man. Like a woman, he plaited his
hair and drew it down behind his ears. His hands and feet were small,
his fingers tapering; his face was black, his eyes small, his lips and
nose thin, his voice fine, but harsh, and he slightly stooped or bent
forward as he walked. There is poetry in every move of his bent figure
as he slowly walks down the street on this autumn morning. As we gaze
upon him strolling feebly along, we involuntarily sigh for the days when
the heart was young. May Day, with its buds and blossoms, Christmastide,
full of bright anticipations, come trooping up the misty way. We are
following the old band; listen to the music! How enchanting!
"Up in a balloon, boys, up in a balloon,
Where the little stars are sailing round the moon;
Up in a balloon, to pay a visit to the moon,
All among the little stars sailing round the moon."
We are making water-mills in the brooks; we are swinging our
sweethearts; we feel again the heart throbs of early youth when we dared
the first caress.
"Shoo fly, don't bother me!
For I belong to Company D."
* * * * *
It is Monday morning--the washwoman's day of preparation; when the
clothes are brought in, the shopping attended to; when the women
congregate on the street corners, sit upon their baskets and bundles or
lean against the fences to discuss the doings of the Sunday just
past--what the preacher said and what the neighbors wore, etc. Three
women stood upon the corner toward which Uncle Guy was tending. But they
were not talking about texts and fashions. Uncle Guy heard the following
as he drew nigh: "Bu'n um! Bu'n um! Good fer nuthin' broke down
ristercrats an' po' white trash. Ef de men kayn't git gun we kin git
karsene an' match an' we'll hab um wahkin' de street in dere nite gown."
Judge Morse passed by, turned his head to catch as much as possible of
what was being spoken. "Negro like," he said, as he went on his way.
"They are all talk. I was raised among them, heard them talk before, but
it amounted to nothing. I'm against any scheme to do them harm, for
there's no harm in them. This Negro domination talk is all bosh."
Uncle Guy stepped to one side and humbly saluted Judge Morse as he
passed, then bore down upon the women who were vigorously discussing the
all-absorbing topic. The old man walked out to the edge of the sidewalk,
squinted his eyes and came slowly up to where the women stood, comically
pointing his index finger at them: "Look yer," said he, "yuna ta'k too
much!" raising his voice. "Yuna mouts g'wine ter git yuna inter trouble;
hear me? Did yuna see Jedge Morse when he go by? Did yuna see 'im stop
ter listen at you? Le' me tell yuna sumthin' right good." The old man
shook his finger several seconds before proceeding. "Dese white fo'kes
is onter you, dey got de road all map out. Dey no ebry move yuna Nigger
makin'. How dey no it? How dey no it, I say?" Another long finger shake.
"Yuna Nigger uman tell um, yuna runnin' yuna tongue in de kitchen, yuna
runnin' yer tongue in de street. Now, instid ov de bocra bein' in de
street in dey nite gown, yuna gwine ter be thar wid nuttin' on. Don't
you no dat we ain't bin able ter by er gun er ounce powder in munts, an'
de bocra got cannon an ebry ting. See how he'pliss yer is? Now yuna go
home, an' quit so much ta'k. Keep cool fer dese bocra pisen." Uncle Guy
walked slowly on and the women dispersed. Those who read the newspaper
accounts of that terrible massacre know full well just how true was the
prophecy of this old citizen. Doubtless he looks back over it now as a
catastrophe beyond his expectations or dreams.