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Bob Cole (composer)
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Bob Cole (composer)
Robert Allen Cole Jr. (July 1, 1868 – August 2, 1911) was an American composer, actor, and playwright who produced and directed stage shows. In collaboration with Billy Johnson, he wrote and produced A Trip to Coontown (1898), the first musical entirely created and owned by black showmen. The popular song La Hoola Boola (1898) was a result of their collaboration. Cole later partnered with brothers J. Rosamond Johnson, a pianist and singer, and James Weldon Johnson, a pianist, guitarist and lawyer, creating more than 200 songs.
Their vaudeville act featured classical piano pieces and their musicals featured sophisticated lyrics without the usual stereotypes such as "hot-mamas" and watermelons. Success enabled Cole and Rosamond to tour America and Europe with their act. The trio's most popular songs were "Louisiana Lize" and "Under the Bamboo Tree" (1901?). Their more successful musicals were The Shoo-Fly Regiment (1906) and The Red Moon (1908, written without Weldon).
Cole was the pre‑eminent leader in the world of black musical theater both as a composer and as a performer. His skills in acting, writing, and directing were brought to the public eye through his early works: first, he produced the black musical “A Trip to Coontown”, where he joined alliance with Billy Johnson, followed by the production of popular songs such as “ Under the Bamboo Tree,” where he worked with J. Rosamond Johnson. Cole committed suicide by drowning himself in a creek in the Catskills in 1911 after a nervous breakdown and period of clinical depression that worsened in 1910.
As stated in Thomas L. Riis’ “‘Bob’ Cole: His Life and His Legacy to Black Musical Theater,” few details of Cole's life before the transition into the development of black musicals can be found in research materials, including encyclopedias and historical articles on black theater.
The composer was born in Athens, Georgia, where his father (Robert Allen Cole, Sr.) and mother (Isabella Thomas Weldon) settled after the freedom of blacks through the Emancipation Proclamation. Although Athens, Georgia, was shattered by the war in the South and the racist environment of Southern society at the time, it became a prosperous city with prominent African American families; barbers, blacksmiths, shoemakers, and other sorts of community professionals were black. The people of Athens developed one of the earliest black newspapers, indicating the advancement and progression in education of blacks in the late 19th century. Cole's father took advantage of the opportunities provided in Athens, Georgia, and became well known through his political activism during the Reconstruction era of the South. Robert Cole's political role may have influenced his son's beliefs, especially in regards to the conditions of the African American race. During his involvement in politics, from 1867 to 1873, Robert Cole became a part of the black Athenians and assisted the Georgia State Legislature. In the end, Bob Cole's father, with his political side in the background, became a carpenter, supporting his family and his house on Broad Street.
Bob Cole, born on July 1, 1868, was the first-born of his family, followed by five other siblings, including Dora Cole Norman. His family was musical; both his parents were square dancers (Robert Cole, Sr., also played drums) and all the children of the household were educated in certain musical instruments. Bob played various instruments, such as the banjo, piano and cello, and created his own family band with the support of his sisters. At fifteen years of age, Bob had a violent confrontation with the son of the mayor of Athens, and had to flee the town to live with distant relatives, of his mother's side, in Florida. A short time later, Bob was reunited with his family after they moved to Atlanta, Georgia. In Atlanta, Bob was able to attend elementary school and possibly high school; however, he did not proceed towards higher education. Instead of enrolling in a college, Bob found a job at the Atlanta University, which became his approximation of the student experience – from the interview from his sister, he was able to gain a vast amount of knowledge due to his knowledge-packed environment.
Still focused on the music world and following his musical inclinations, Cole moved to Florida, where he was able to be involved in a small string quartet for a short period of time. Later, he worked at a resort in Asbury Park, New Jersey, as a “singing bellboy”. He later moved to Chicago where he became a comedian of a sort – he told jokes, sung, and played the guitar in various clubs throughout the city. His interest towards vaudeville plays and the later black musical genre (including “coon songs”) originated from his work with his peer Lew Henry, who was also an amateur showman. These two young actors attempted to create a vaudeville act together; however, the act was not a success and soon ended. After his failed attempt in the field of vaudeville acting, Cole traveled to New York, preeminent area for novice actors in pursuit of theater or anything related to the theatrical genres, and formed an alliance with Pete Staples, who was well known in his performance as a mandolinist. Cole became Staples’ comedic counterpart in their act together, but their collaboration ended shortly after it began. Due to the lack of information on the details of Bob Cole's experience in acting and music, including his early training, there were no solid facts of how Cole came to be the leading black composer and entrepreneur in black musicals. Although Cole seemed to be focused on the comedic and buffoonish aspect of African-American theater and acting, he did not submit to the norm of being involved in so-called “medicine shows” or the circus, unlike his predecessors. Rather than being confined to the traditional use of blackface makeup of early black minstrel shows, he denied the degrading use of such material and deviated from the conventional African American entertainment; thus, he began producing his own entertainment through either a partnership or just being solo.
Coming from a small black family and gradually gaining popularity in the public eye, Cole began rising in the field of black musicals. A few years after, around the early 1890s, with the support of the Chicago firm of Will Rossitier, Bob Cole presented his two legally published songs: “Parthenia Took a Likin’ to a Coon” and “In Shin Bone Alley.” The titles give the general idea and tone of the songs – Cole incorporated his comedic nature and produced a minstrel-like tone to his songs. His rising soon allowed further opportunities to flow in; for instance, he was soon hired as a comedian by the white entrepreneur, Sam T. Jack, who created the Creole Show. The Creole Show, in short, focused on black women performers, which was extremely rare during the time; furthermore, in its movement towards breaking the norm, the show shattered the use of black stereotypes in typical minstrel shows, which included denying the usual plot setting at a slave plantation. By moving away from traditional minstrel shows, Sam T. Jack's production was predominantly influenced by the styles of vaudeville (with more focus on the beauty and exotic aspects of showgirls), reviving the cakewalk and adding fancy steps. Cole's role in the Creole Show soon gained popularity and he went from an ordinary comedian act to the headliner of the show. His success in the Creole Show, indicated by his popularity amongst his audience that resulted in a promotion, led him to create his own stage character, which he would carry on for another seven years: Willy Wayside, the red-whiskered hobo.
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Bob Cole (composer)
Robert Allen Cole Jr. (July 1, 1868 – August 2, 1911) was an American composer, actor, and playwright who produced and directed stage shows. In collaboration with Billy Johnson, he wrote and produced A Trip to Coontown (1898), the first musical entirely created and owned by black showmen. The popular song La Hoola Boola (1898) was a result of their collaboration. Cole later partnered with brothers J. Rosamond Johnson, a pianist and singer, and James Weldon Johnson, a pianist, guitarist and lawyer, creating more than 200 songs.
Their vaudeville act featured classical piano pieces and their musicals featured sophisticated lyrics without the usual stereotypes such as "hot-mamas" and watermelons. Success enabled Cole and Rosamond to tour America and Europe with their act. The trio's most popular songs were "Louisiana Lize" and "Under the Bamboo Tree" (1901?). Their more successful musicals were The Shoo-Fly Regiment (1906) and The Red Moon (1908, written without Weldon).
Cole was the pre‑eminent leader in the world of black musical theater both as a composer and as a performer. His skills in acting, writing, and directing were brought to the public eye through his early works: first, he produced the black musical “A Trip to Coontown”, where he joined alliance with Billy Johnson, followed by the production of popular songs such as “ Under the Bamboo Tree,” where he worked with J. Rosamond Johnson. Cole committed suicide by drowning himself in a creek in the Catskills in 1911 after a nervous breakdown and period of clinical depression that worsened in 1910.
As stated in Thomas L. Riis’ “‘Bob’ Cole: His Life and His Legacy to Black Musical Theater,” few details of Cole's life before the transition into the development of black musicals can be found in research materials, including encyclopedias and historical articles on black theater.
The composer was born in Athens, Georgia, where his father (Robert Allen Cole, Sr.) and mother (Isabella Thomas Weldon) settled after the freedom of blacks through the Emancipation Proclamation. Although Athens, Georgia, was shattered by the war in the South and the racist environment of Southern society at the time, it became a prosperous city with prominent African American families; barbers, blacksmiths, shoemakers, and other sorts of community professionals were black. The people of Athens developed one of the earliest black newspapers, indicating the advancement and progression in education of blacks in the late 19th century. Cole's father took advantage of the opportunities provided in Athens, Georgia, and became well known through his political activism during the Reconstruction era of the South. Robert Cole's political role may have influenced his son's beliefs, especially in regards to the conditions of the African American race. During his involvement in politics, from 1867 to 1873, Robert Cole became a part of the black Athenians and assisted the Georgia State Legislature. In the end, Bob Cole's father, with his political side in the background, became a carpenter, supporting his family and his house on Broad Street.
Bob Cole, born on July 1, 1868, was the first-born of his family, followed by five other siblings, including Dora Cole Norman. His family was musical; both his parents were square dancers (Robert Cole, Sr., also played drums) and all the children of the household were educated in certain musical instruments. Bob played various instruments, such as the banjo, piano and cello, and created his own family band with the support of his sisters. At fifteen years of age, Bob had a violent confrontation with the son of the mayor of Athens, and had to flee the town to live with distant relatives, of his mother's side, in Florida. A short time later, Bob was reunited with his family after they moved to Atlanta, Georgia. In Atlanta, Bob was able to attend elementary school and possibly high school; however, he did not proceed towards higher education. Instead of enrolling in a college, Bob found a job at the Atlanta University, which became his approximation of the student experience – from the interview from his sister, he was able to gain a vast amount of knowledge due to his knowledge-packed environment.
Still focused on the music world and following his musical inclinations, Cole moved to Florida, where he was able to be involved in a small string quartet for a short period of time. Later, he worked at a resort in Asbury Park, New Jersey, as a “singing bellboy”. He later moved to Chicago where he became a comedian of a sort – he told jokes, sung, and played the guitar in various clubs throughout the city. His interest towards vaudeville plays and the later black musical genre (including “coon songs”) originated from his work with his peer Lew Henry, who was also an amateur showman. These two young actors attempted to create a vaudeville act together; however, the act was not a success and soon ended. After his failed attempt in the field of vaudeville acting, Cole traveled to New York, preeminent area for novice actors in pursuit of theater or anything related to the theatrical genres, and formed an alliance with Pete Staples, who was well known in his performance as a mandolinist. Cole became Staples’ comedic counterpart in their act together, but their collaboration ended shortly after it began. Due to the lack of information on the details of Bob Cole's experience in acting and music, including his early training, there were no solid facts of how Cole came to be the leading black composer and entrepreneur in black musicals. Although Cole seemed to be focused on the comedic and buffoonish aspect of African-American theater and acting, he did not submit to the norm of being involved in so-called “medicine shows” or the circus, unlike his predecessors. Rather than being confined to the traditional use of blackface makeup of early black minstrel shows, he denied the degrading use of such material and deviated from the conventional African American entertainment; thus, he began producing his own entertainment through either a partnership or just being solo.
Coming from a small black family and gradually gaining popularity in the public eye, Cole began rising in the field of black musicals. A few years after, around the early 1890s, with the support of the Chicago firm of Will Rossitier, Bob Cole presented his two legally published songs: “Parthenia Took a Likin’ to a Coon” and “In Shin Bone Alley.” The titles give the general idea and tone of the songs – Cole incorporated his comedic nature and produced a minstrel-like tone to his songs. His rising soon allowed further opportunities to flow in; for instance, he was soon hired as a comedian by the white entrepreneur, Sam T. Jack, who created the Creole Show. The Creole Show, in short, focused on black women performers, which was extremely rare during the time; furthermore, in its movement towards breaking the norm, the show shattered the use of black stereotypes in typical minstrel shows, which included denying the usual plot setting at a slave plantation. By moving away from traditional minstrel shows, Sam T. Jack's production was predominantly influenced by the styles of vaudeville (with more focus on the beauty and exotic aspects of showgirls), reviving the cakewalk and adding fancy steps. Cole's role in the Creole Show soon gained popularity and he went from an ordinary comedian act to the headliner of the show. His success in the Creole Show, indicated by his popularity amongst his audience that resulted in a promotion, led him to create his own stage character, which he would carry on for another seven years: Willy Wayside, the red-whiskered hobo.
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