Popularity
The first published edition of "Miss Lucy Long" is uncredited in a 1842 songster called Old American Songs. Billy Whitlock of the Virginia Minstrels later claimed the song in his autobiography: "I composed . . . 'Miss Lucy Long' (the words by T. G. Booth) in 1838."
Despite predating the minstrel show, "Miss Lucy Long" gained its fame there. The song was the first wench role in minstrelsy. The Virginia Minstrels performed it as their closing number from their earliest performances. Dan Gardner introduced what would become the standard Lucy Long costume, skirts and pantalettes. George Christy's interpretation for the Christy Minstrels became the standard for other troupes to follow. The New York Clipper ignored Gardner completely and wrote "George was the first to do the wench business; he was the original Lucy Long."
By 1845, the song had become the standard minstrel show closing number, and it remained so through the antebellum period. Programs regularly ended with the note that "The concert will conclude with the Boston Favorite Extravaganza of LUCY LONG." The name Lucy came to signify a woman who was "sexy, somewhat grotesque, and of suspect virtue" in minstrelsy. Similar songs appeared, including "Lucy Neal". In the late 1920s, a dance called the Sally Long became popular; the name may derive from the minstrel song.
Musicologist Robert B. Winans found versions of "Miss Lucy Long" in 34% of minstrel show programs he examined from the 1843–52 period and in 55% from 1843–47, more than any other song. Mahar's research found that "Miss Lucy Long" is the second most frequent song in popular songsters from this period, behind only "Mary Blane". The song enjoyed a resurgence in popularity from 1855–60, when minstrelsy entered a nostalgic phase under some companies.
There is also reference to "Miss Lucy Long" in Bobby Darin's version of the song "Mack the Knife" by Berthold Brecht and Kurt Weill, from their play "The Threepenny Opera".
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