In 1893 the World's Fair was held at Chicago, and on the "Midway" the visitor saw races from all over the world. Here was a Dahomey village, with strange little huts, representative of the African home life. The Dahomeyans themselves were late in arriving, and American Negroes, sometimes with an added coat of black, were employed to represent them. Among them were Williams and Walker, who played their parts until the real Dahomeyans arriving, they became in turn spectators and studied the true African. This contact with the dancing and singing of the primitive people of their own race had an important effect upon their art. Their lyrics recalled African songs, their dancing took on African movements, especially Walker's. Any one who saw Walker in "Abyssinia," the most African and the most artistic of their plays, must have recognized the savage beauty of his dancing when he was masquerading as an African king. After the Dahomey episode the success of the two men was continuous. "In 1902 and 1903," Walker said, "we had all New York and London doing the cake walk." In February, 1908, they appeared in "Bandanna Land," at the Majestic Theatre, and remained there for six months. Only those colored men who have made a steady, uphill struggle for the chance to play good comedy, know how important such recognition was for the Negro. "Bandanna Land" was probably the most popular light opera in New York that winter next to "The Merry Widow." The singing, especially that of the male chorus, was often beautiful. Mrs. Walker's dancing and charming acting were delightful, the chorus girls were above the average in beauty and musical expression, and the two men who made the piece were spontaneously, irresistibly funny; added to this, unlike its successful rival, "Bandanna Land" was without a vulgar scene or word. This was the last time the two men played together. Walker became seriously ill, and died in January, 1911. After their company disbanded, Williams went back to the one-piece act of vaudeville, but as a star in a white troupe. His position as a permanent actor in the "Follies of 1910" marks a new departure for the colored comedian, a departure won by great talent combined with character and tact.