The social entertainments announced in the Brooklyn Daily Eagle in that period reveal dozens of buck-and-wing performances by semi-professional male and mostly Irish dancers. There are also a surprising number of notices in the Brooklyn Eagle announcing buck-and-wing performances by female dancers: Miss Florence Brockway, "singer and buck and wing dancer" at the Knights of Columbus Hall near Douglas Street in Brooklyn (4/23/1902); Agnes Falkner, "buck and wing dancing in an elaborately-produced show in Asbury Park, New Jersey (4/17/1902); Mame Gerue, "a very graceful dancer, both in imitation of the Spanish fandango and on the sand as a buck and wing stepper" at the Orpheum Theatre in Brooklyn (12/3/1901); Miss Belle Lewis in "her famous buck and wing specialty" at a "merry party assembled on the premises of Mr. and Mrs. William E. Houtain at 282 Putnam Avenue, Brooklyn (11/30/1901); Belle Gold, who "showed considerable cleverness in buck and wing dances" in a vaudeville bill at the Floating Roof Garden at the Manhattan Beach Theater (7/16/1901); the Newell sisters, "buck and wing dancers" at the Unique vaudeville house (2/25/1902); and the Esher sisters, "buck and wing dancers" appearing at the Orpheum in Brooklyn in a show headlining the opera singer Pauline Hall (5/21/1901). Nellie De Veau received several announcements, one at Paula's Musee, formerly known as Haverly's Musee as a "buck and wing dancer" (11/12/1901); another as a "buck and wing and skirt dancer" at the Jefferson Club of the Sixteenth Assembly District in Brooklyn, headquarters of the Democrats under the leadership of James S. Regan. (2/14/1900).
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In the teens of the twentieth century, Americans went "dance mad" with the foxtrot, a syncopated ragtime dance that bounced couples along the floor with hops, kicks, and capers. Dozens of black- based "animal" dances, such as the Turkey Trot, Monkey Glide, Chicken Scratch, Bunny Hug, and Bull Frog Hop, were danced to ragtime rhythms. While dance bands in downtown New York Clubs were "jassing up" (adding speed and syncopation) such dances as the Grisly Bear and Kangaroo Dip for their white clientele, uptown Harlem audiences were rocking to Darktown Follies. J. Leubrie Hill's all-black musical revue of 1913 expressed an inexorable rhythm by its dancers who "stepped about, and clapped their hands, and grew mad with their bodies" (Van Vechten 1974). The show introduced the "Texas Tommy," prototype of the Lindy Hop, as well as new styles of tap dancing. One was Eddie Rector's smooth style of "stage dancing, in which every move made a beautiful picture. Another was the acrobatic and high-flying style of Toots Davis, whose "Over the Top" and "Through the Trenches" were named for wartime combat maneuvers. The dance finale, "At the Ball," was a spiraling, stomping circle dance whose rhythms, wrote Carl Van Vechten, "dominated me so completely that for days afterwards, I subconsciously adapted whatever I was doing to its demands." Florenz Ziegfeld bought the entire show for his Follies of 1914, thus helping to transplant black vernacular dance and jazz rhythms onto the Broadway stage. 2ff7e9595c
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