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He stood there in his red shirt, with his fire coat thrown over his arm, the stovepipe hat — better known as a "plug" — drawn down over one eye, his trousers tucked into his boots, a stump of a cigar pointing up from his lips to his eye, the soap locks plastered flat on his temples, and his jaw
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a high beaver hat, with the nap divided and brushed in opposite directions, the hair on the back of his head clipped close, while in front the temple locks were curled and greased (hence, the well-known term of 'soap-locks' to the wearer of them), a smooth face, a gaudy silk neckcloth, black
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frockcoat, full pantaloons, turned up at the bottom over heavy boots designed for service in slaughter houses and at fires; and when thus equipped, with his girl hanging on his arm, it would have been very injudicious to offer him any obstruction or to utter an offensive remark.
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the boxes no longer shone with the elite of the city; the character of the audience was entirely changed, and Mose, instead of appearing on the stage, was in the pit, the boxes, and the gallery. It was all Mose, and the respectability of the house mosed
133:. Mose plays became an enormous hit in New York and other large cities, and theaters were filled with b'hoys and g'hals clamoring to see Chanfrau and other actors perform Bowery b'hoy characters. William Northall even complained that at the
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Details varied with each production; some b'hoys were named Sykesy or Syksey, others were butcher's apprentices. Haswell gives a slightly different description of the archetype:
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Strong on Music: The New York Music Scene in the Days of George
Templeton Strong. Volume I: Resonances, 1838-1849.
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348:
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Foster, George G. (1850). "New York by Gas-Light", No. 12, "Mose & Lize". University of
Chicago Press, 1990.
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His girlfriend Lize was the prototypical g'hal, dressed in cheap finery and singing songs from her favorite
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for "spirited lad" and "young spark". The word originates from the Irish pronunciation of boy.
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72:. They spoke a slang, with phrases such as "hi-hi", "lam him", and "cheese it".
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The
Shakespeare Riots: Revenge, Drama, and Death in Nineteenth-Century America.
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protruded into a half-beastly, half-human expression of contemptuous ferocity.
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A History of the New York Stage: From the First
Performance in 1732 to 1901
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The prototypical artistic representation of a b'hoy came in 1848, when
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words used to describe the young men and women of the rough-and-tumble
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The word b'hoy was first used in 1846. In the United States it was a
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Love and Theft: Blackface
Minstrelsy and the American Working Class
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The
Cambridge History of American Theatre: Beginnings to 1870
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played the character Mose the
Fireboy in Benjamin A. Baker's
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Horrible
Prettiness: Burlesque and American Culture
236:. New York: Harper. Quoted in Brodsky 527, note 8.
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323:Wilmeth, Don B., and Bigsby, C. W. E. (1998).
68:in the late 1840s and into the period of the
318:Low Life: Lures and Snares of Old New York
48:(meant to evoke an Irish pronunciation of
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354:Irish-American culture in New York City
327:. New York: Cambridge University Press.
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305:. New York: Oxford University Press.
274:. University of North Carolina Press.
56:, respectively) were the prevailing
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16:19th century Manhattan slang terms
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344:Cultural history of New York City
320:. Farrar, Straus, & Giroux.
258:, p. 91–92. Quoted in Allen 66.
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256:Before and Behind the Curtain
206:. Online Etymology Dictionary
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232:Haswell, Charles H. (1896).
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277:Brown, T. Allston (1903).
270:Allen, Robert C. (1991).
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100:. Mose is a pugilistic
359:History of subcultures
349:Irish-American culture
292:Brodsky Lawrence, Vera
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284:Cliff, Nigel (2007).
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62:working class culture
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193:Brodsky 527, note 8.
98:A Glance at New York
30:A Glance at New York
316:Sante, Luc (2003).
301:Lott, Eric (1993).
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88:Theatrical examples
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210:2020-07-05
76:Etymology
294:(1988).
182:Low Life
147:See also
204:"b'hoy"
180:Sante,
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169:Notes
102:Irish
58:slang
45:g'hal
39:B'hoy
307:ISBN
142:too.
52:and
42:and
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54:gal
50:boy
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