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In a variant, swindlers might stake a claim to a tract of barren land and announce they had found silver. When the surveyor decided on which part of the claim to dig to confirm the find a dead snake would be lobbed into view; a rattler was the preferred choice. Before the surveyor had a chance to notice the serpent wasn't moving it would get both barrels of a shotgun. Blackface soon found a home in the taverns of New York's less respectable precincts of Lower Broadway, the Bowery, and Chatham Street. It also appeared on more respectable stages, most often as an entr'acte. Upper class houses at first limited the number of such acts they would show, but beginning in 1841, blackface performers frequently took to the stage at even the classy Park Theatre, much to the dismay of some patrons. Theater was a participatory activity, and the lower classes came to dominate the playhouse. They threw things at actors or orchestras who performed unpopular material, and rowdy audiences eventually prevented the Bowery Theatre from staging high drama at all. Typical blackface acts of the period were short burlesques, often with mock Shakespearean titles like "Hamlet the Dainty", "Bad Breath, the Crane of Chowder", "Julius Sneezer" or "Dars de Money"..
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