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.