Aida Overton Walker: Difference between revisions

Aida Overton Walker
Aida Overton Walker
	Walker in 1907
Born	February 14, 1880; New York City, U.S.
Died	October 11, 1914 (aged 34); New York City, U.S.
Occupation	Vaudeville
Known for	Dancing and choreographing (performing)

Browse history interactively

← Previous edit

Content deleted Content added

VisualWikitext

Inline

Latest revision as of 23:34, 6 December 2024

Aida Overton Walker (February 14, 1880 – October 11, 1914), also billed as Ada Overton Walker and as "The Queen of the Cakewalk", was an American vaudeville performer, actress, singer, dancer, choreographer, and wife of vaudevillian George Walker. She appeared with her husband and his performing partner Bert Williams, and in groups such as Black Patti's Troubadours. She was also a solo dancer and choreographer for vaudeville shows such as Bob Cole, Joe Jordan, and J. Rosamond Johnson's The Red Moon (1908) and S. H. Dudley's His Honor the Barber (1911).^[1]

Biography

Aida Overton was born in New York City on February 14, 1880. She appears as a four-month-old infant in the US Census of 1880 with parents Moses age 24 and Pauline age 21. The census indicates her birth place was distinct from that of her parents, who were both born in North Carolina, and Aida's birth place was noted as New York. Moses' occupation was recorded as a waiter. Her name was spelled Ada, but this kind of misspelling is common in census records.

She later gained an education and considerable musical training. At 15, she joined John Isham's "Octoroons," a Black touring group. In the following years, she became a chorus member in “Black Patti's Troubadours,” where she eventually met her future husband George Walker, a vaudeville comedian. Her early career was defined by her collaborations with him and his partner Bert Williams, and together they became the major black vaudeville and musical comedy powerhouses of the era. She and George Walker married on 22 June 1899 when she was age 19 and George age 26.^[2]

Overton Walker first gained national attention in 1900 with her performance of "Miss Hannah from Savannah" in the show Sons of Ham. For the next 10 years, she was known primarily for her work in musical theater. Her song and dance made her an instant hit with audiences at the time. She, Walker, and Williams worked together on such musicals as In Dahomey (1903), In Abyssinia (1906), and Bandanna Land (1908). In 1904, after two seasons in England touring with In Dahomey, the group returned to New York.^[3]

In 1908, she performed a Salome dance as part of the Bandanna Land musical revue at New York’s Grand Opera House. She reprised the performance in 1912 on Broadway at Hammerstein's Victoria Theatre.^[4] In 1910, Overton Walker joined the Smart Set Company. During this time, she began touring the vaudeville circuit as a solo act. In 1911, she performed in His Honor the Barber with Smart Set Company. Overton Walker performed as a male character in Lovie Dear, as well as in Bandanna Land, in which she took over her husband's role.^[5]

Her husband died in 1911. That same year she began portraying elements of her late husband's act while dressed as a man, including singing Bon Bon Buddy, for which she dressed as a man. She won great acclaim for this routine. Critics called her male impersonation "the hit of the show" which "held the audiences spellbound." Many newspapers printed cartoons of her in male attire, which became an iconic image of theatrical cross-dressing.^[6] ^[7] ^[8]

Walker died suddenly from kidney failure in 1914 and is mourned as the foremost African-American female stage artist.^[9]

In an October 1905 article in The Colored American Magazine, Overton Walker expressed her belief that the performing arts could have an effect on race relations, stating that "I venture to think and dare to state that our profession does more toward the alleviation of color prejudice than any other profession among colored people." ^[10]

References

^ Office of the Dean, "Bad girls of the 20th century: UCI professor's new book highlights four performance icons who embodied and defied stereotypes", review of Jeanne Scheper, Moving Performances: Divas, Iconicity, and Remembering the Modern Stage (Rutgers University Press, 2016), UCI School of Humanities.
^ Krasner, David (2002). A Beautiful Pageant: African American Theater Drama and Performance in the Harlem Renaissance 1910–1927. NY, NY: Palgrave Macmillan. ISBN 978-0312295905.
^ Krasner, David (2002). A Beautiful Pageant: African American Theater Drama and Performance in the Harlem Renaissance 1910–1927. NY, NY: Palgrave Macmillan. pp. 68–69. ISBN 978-0312295905.
^ LeFurgy, Bill (2022). Sex, Art and Salome: Historical Photographs of a Princess, Dancer, Stripper, and Feminist Inspiration. Takoma Park, MD: Highkicker Books. p. 83. ISBN 9781734567861.
^ Thorne, Wells. "The Later Years of Aida Overton Walker; 1911–1914". Black Acts. Archived from the original on June 19, 2017.
^ Jeanne, Scherper (2016). Moving Performances: Divas, Iconicity, and Remembering the Modern Stage. New Brunswick, NJ: Rutgers University Press. p. 38. ISBN 9780813585451.
^ Thorne, Wells. "The Later Years of Aida Overton Walker; 1911–1914". Black Acts. Archived from the original on June 19, 2017.
^ Taylor, Julius F. "The Broad Ax". Illinois Digital Newspaper Collections. Retrieved June 18, 2015.
^ Ada Overton Walker. Archived from the original on June 19, 2017. {{cite book}}: |website= ignored (help)
^ Overton Walker, Aida (October 1905). ""Colored Men and Women on the Stage." The Colored American". HathiTrust. hdl:2027/uc1.b3793665. Retrieved March 25, 2019.

Sources

Brooks, Daphne (2006). "Divas and Diasporic Consciousness". In Brooks, Daphne (ed.). Bodies in dissent : spectacular performances of race and freedom, 1850-1910. Durham: Duke University Press. pp. 281–342. ISBN 9780822337225.
Galindo, Brian (5 September 2013). "The Vaudeville Actress Who Refused To Be A Stereotype". BuzzFeed. Archived from the original on 8 September 2013. Retrieved 2 February 2022.
Kicha. "Aida Overton Walker (1880 – 1914)". N.p., n.d.
Krasner, David (November 1996). "Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking". Theatre Survey. 37 (2): 67–92. doi:10.1017/S0040557400001629. S2CID 162353178.
Manhattan (New York City) marriage records, 1866-1937; index to all boroughs, 1866-1937, New York City Municipal Archives, New York. Family History Library microfilm 1504065.
Seniors, Paula Marie (2009). Beyond Lift Every Voice and Sing: The Culture of Uplift, Identity, and Politics in Black Musical Theater. Columbus, OH: Ohio State University Press. ISBN 9780814211007.
United States Census of 1880, New York City, New York County, New York State; Enumeration District 174; p37

External links

Aida Overton Walker Broke Stereotypes: Victorian Era Stage Aida Overton Walker at Global Performers Database
"Aida Overton Walker: THE LATER YEARS OF AIDA OVERTON WALKER; 1911–1914", Black Acts, archived March 17, 2015. Accessed December 11, 2017.
"Joe Jordan, with picture of Aida Overton Walker", Jass.com
Obituary in The Freeman, October 17, 1914.
Photograph of Aida Overton Walker as Salome https://digitalcollections.nypl.org/items/8e5e8970-0161-0132-015a-58d385a7bbd0
Medda Larkin, a character in Newsies, who took in newsboys with nowhere to stay, was based on Aida Overton Walker. https://newsboys-of-1899.tumblr.com/post/171559864966/this-is-aida-overton-walker-she-is-the-real-life
Aida Overton Walker Broke Stereotypes: Victorian Era Stage https://racingnelliebly.com/strange_times/aida-overton-walker-broke-stereotypes-of-victorian-era-stage/
How to Cake Walk, by Aida Overton Walker The Tattler, July 1, 1903 (Syncopated Times reprint)

[1] Office of the Dean, "Bad girls of the 20th century: UCI professor's new book highlights four performance icons who embodied and defied stereotypes", review of Jeanne Scheper, Moving Performances: Divas, Iconicity, and Remembering the Modern Stage (Rutgers University Press, 2016), UCI School of Humanities.

[2] Krasner, David (2002). A Beautiful Pageant: African American Theater Drama and Performance in the Harlem Renaissance 1910–1927. NY, NY: Palgrave Macmillan. ISBN 978-0312295905.

[3] Krasner, David (2002). A Beautiful Pageant: African American Theater Drama and Performance in the Harlem Renaissance 1910–1927. NY, NY: Palgrave Macmillan. pp. 68–69. ISBN 978-0312295905.

[4] LeFurgy, Bill (2022). Sex, Art and Salome: Historical Photographs of a Princess, Dancer, Stripper, and Feminist Inspiration. Takoma Park, MD: Highkicker Books. p. 83. ISBN 9781734567861.

[5] Thorne, Wells. "The Later Years of Aida Overton Walker; 1911–1914". Black Acts. Archived from the original on June 19, 2017.

[6] Jeanne, Scherper (2016). Moving Performances: Divas, Iconicity, and Remembering the Modern Stage. New Brunswick, NJ: Rutgers University Press. p. 38. ISBN 9780813585451.

[7] Thorne, Wells. "The Later Years of Aida Overton Walker; 1911–1914". Black Acts. Archived from the original on June 19, 2017.

[8] Taylor, Julius F. "The Broad Ax". Illinois Digital Newspaper Collections. Retrieved June 18, 2015.

[9] Ada Overton Walker. Archived from the original on June 19, 2017. {{cite book}}: |website= ignored (help)

[10] Overton Walker, Aida (October 1905). ""Colored Men and Women on the Stage." The Colored American". HathiTrust. hdl:2027/uc1.b3793665. Retrieved March 25, 2019.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

@@ Line 7: / Line 7: @@
 | birth_name  =
 | birth_date  = {{Birth date|1880|02|14}}
-| birth_place = [[Richmond, Virginia]], U.S.
+| birth_place = [[New York City]], U.S.
 | death_date  = {{Death date and age|1914|10|11|1880|02|14}}
-| death_place = [[New York City, New York]], U.S.
+| death_place = New York City, U.S.
 | nationality =
 | other_names =
@@ Line 15: / Line 15: @@
 | occupation  = [[Vaudeville]]
 }}
-'''Aida Overton Walker''' (February 14, 1880 &ndash; October 11, 1914), also billed as '''Ada Overton Walker''' and as "The Queen of the [[Cakewalk]]", was an American [[vaudeville]] performer, actress, singer, dancer, choreographer, and wife of vaudevillian [[George Walker (vaudeville)|George Walker]]. She appeared with her husband and his performing partner [[Bert Williams]], and in groups such as [[Matilda Sissieretta Joyner Jones|Black Patti's Troubadours]]. She was also a solo dancer and choreographer for vaudeville shows such as [[Bob Cole (composer)|Bob Cole]], [[Joe Jordan (musician)|Joe Jordan]], and [[J. Rosamond Johnson]]'s ''The Red Moon'' (1908) and S. H. Dudley's ''His Honor the Barber'' (1911). Aida Overton Walker is also well known for her 1912 performance of the "Salome" dance at [[Victoria Theatre (Hammerstein's)|Hammerstein’s Victoria Theatre]].  This was Aida’s response to the national "Salomania" craze of 1907 that spread through the white vaudeville circuit.<ref>Office of the Dean, [https://www.humanities.uci.edu/SOH/about/press_release_det.php?id=593 "Bad girls of the 20th century: UCI professor's new book highlights four performance icons who embodied and defied stereotypes"], review of Jeanne Scheper, ''Moving Performances: Divas, Iconicity, and Remembering the Modern Stage'' (Rutgers University Press, 2016), UCI School of Humanities.</ref>
+'''Aida Overton Walker''' (February 14, 1880 &ndash; October 11, 1914), also billed as '''Ada Overton Walker''' and as "The Queen of the [[Cakewalk]]", was an American [[vaudeville]] performer, actress, singer, dancer, choreographer, and wife of vaudevillian [[George Walker (vaudeville)|George Walker]]. She appeared with her husband and his performing partner [[Bert Williams]], and in groups such as [[Matilda Sissieretta Joyner Jones|Black Patti's Troubadours]]. She was also a solo dancer and choreographer for vaudeville shows such as [[Bob Cole (composer)|Bob Cole]], [[Joe Jordan (musician)|Joe Jordan]], and [[J. Rosamond Johnson]]'s ''The Red Moon'' (1908) and [[Sherman H. Dudley|S. H. Dudley]]'s ''His Honor the Barber'' (1911).<ref>Office of the Dean, [https://www.humanities.uci.edu/SOH/about/press_release_det.php?id=593 "Bad girls of the 20th century: UCI professor's new book highlights four performance icons who embodied and defied stereotypes"], review of Jeanne Scheper, ''Moving Performances: Divas, Iconicity, and Remembering the Modern Stage'' (Rutgers University Press, 2016), UCI School of Humanities.</ref>
 ==Biography==
+Aida Overton was born in New York City on February 14, 1880. She appears as a four-month-old infant in the US Census of 1880 with parents Moses age 24 and Pauline age 21. The census indicates her birth place was distinct from that of her parents, who were both born in North Carolina, and Aida's birth place was noted as New York. Moses' occupation was recorded as a waiter. Her name was spelled Ada, but this kind of misspelling is common in census records.
-Aida Overton was born in Richmond, Virginia on February 14, 1880. Her family moved to New York City when she was young. There, she gained an education and considerable musical training.
-At 15, she joined John Isham’s "Octoroons," a Black touring group. In the following years she became a chorus member in “Black Patti’s Troubadours,” where she met her future husband [[George Walker (vaudeville)|George Walker]], a vaudeville comedian. Her early career was defined by her collaborations with him and his partner [[Bert Williams]], who together soon became the major black vaudeville and musical comedy powerhouses of the era. She and George Walker married within a year of meeting.
+She later gained an education and considerable musical training. At 15, she joined [[John William Isham|John Isham]]'s "Octoroons," a Black touring group. In the following years, she became a chorus member in “Black Patti's Troubadours,” where she eventually met her future husband [[George Walker (vaudeville)|George Walker]], a vaudeville comedian. Her early career was defined by her collaborations with him and his partner [[Bert Williams]], and together they became the major black vaudeville and musical comedy powerhouses of the era. She and George Walker married on 22 June 1899 when she was age 19 and George age 26.<ref>
+{{cite book
+	| last = Krasner
+	| first = David
+    | date = 2002
+	| title = A Beautiful Pageant: African American Theater Drama and Performance in the Harlem Renaissance 1910–1927
+	| location = NY, NY
+	| publisher = Palgrave Macmillan
+	| isbn = 978-0312295905
+}}
+</ref>
-Overton Walker first gained national attention in 1900, with her performance of "Miss Hannah from Savannah" in the show ''Sons of Ham''. For the next ten years, she was known primarily for her work in musical theater. Her song and dance made her an instant hit with audiences at the time. She, Walker, and Williams worked together on such musicals as ''[[In Dahomey]]'' (1903), ''In Abyssinia'' (1906), and ''Bandanna Land'' (1908). In 1904, after two seasons in England touring with ''In Dahomey'', the group returned to New York. She created a version of the [[Salome]] dance, a popular dance routine of the time.<ref name="Krasner"/>
+Overton Walker first gained national attention in 1900 with her performance of "Miss Hannah from Savannah" in the show ''[[Sons of Ham]]''. For the next 10 years, she was known primarily for her work in musical theater. Her song and dance made her an instant hit with audiences at the time. She, Walker, and Williams worked together on such musicals as ''[[In Dahomey]]'' (1903), ''In Abyssinia'' (1906), and ''[[Bandanna Land]]'' (1908). In 1904, after two seasons in England touring with ''[[In Dahomey]]'', the group returned to New York.<ref>
+{{cite book
+	| last = Krasner
+	| first = David
+    | date = 2002
+	| title = A Beautiful Pageant: African American Theater Drama and Performance in the Harlem Renaissance 1910–1927
+	| location = NY, NY
+	| publisher = Palgrave Macmillan
+	| pages = 68–69
+	| isbn = 978-0312295905
+}}
+</ref>
+In 1908, she performed a [[Salome]] dance as part of the ''[[Bandanna Land]]''
-Working alongside her husband, Walker's career and performances were praised by critics. Her successes were well known. She was both financially successful and respected by the industry.
+musical revue at New York’s [[Grand Opera House (Manhattan)|Grand Opera House]]. She reprised the performance in 1912 on Broadway at [[Victoria Theatre (Hammerstein's)|Hammerstein's Victoria Theatre]].<ref>
+{{cite book
+	| last = LeFurgy
+	| first = Bill	| date = 2022
+	| title = Sex, Art and Salome: Historical Photographs of a Princess, Dancer, Stripper, and Feminist Inspiration
+	| location = Takoma Park, MD
+	| publisher = Highkicker Books
+	| page = 83
+	| isbn = 9781734567861
+}}
+</ref>
+In 1910, Overton Walker joined the [[Smart Set Company]]. During this time, she began touring the vaudeville circuit as a solo act. In 1911, she performed in ''His Honor the Barber'' with Smart Set Company. Overton Walker performed as a male character in ''Lovie Dear'', as well as in ''[[Bandanna Land]]'', in which she took over her husband's role.<ref>
+{{cite web
+|last1=Thorne
+|first1=Wells
+|title=The Later Years of Aida Overton Walker; 1911–1914
+|url=http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker
+|website=Black Acts
+|archive-url=https://web.archive.org/web/20170619130535/http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker|archive-date= June 19, 2017}}
+</ref>
+Her husband died in 1911. That same year she began portraying elements of her late husband's act while dressed as a man, including singing ''[[Bon Bon Buddy]]'', for which she dressed as a man. She won great acclaim for this routine. Critics called her male impersonation "the hit of the show" which "held the audiences spellbound." Many newspapers printed cartoons of her in male attire, which became an iconic image of theatrical cross-dressing.<ref>
-In late 1908, Walker's husband fell ill and the partners closed ''In Dahomey'' in 1909. She left the stage for a time to care for her husband.
+{{cite book
+	| last = Jeanne
-In 1910, Overton Walker joined the [[Smart Set Company]]. During this time she also began touring the vaudeville circuit as a solo act. In 1911, she performed in ''His Honor the Barber'' with Smart Set Company. Overton Walker performed as a male character in ''Lovie Dear'', as well as in ''Bandanna Land'', in which she took over her husband’s role.<ref name="Thorne">{{cite web|last1=Thorne|first1=Wells|title=The Later Years of Aida Overton Walker; 1911–1914|url=http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker|website=Black Acts|archiveurl=https://web.archive.org/web/20170619130535/http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker|archivedate= June 19, 2017}}</ref>
+	| first = Scherper
+    | date = 2016
-Her husband died in 1911. In 1912, Overton Walker went on tour with her show for 16 weeks, then returned to New York, where she performed as Salome at the [[Paradise Roof Garden]] on Broadway.<ref name="Krasner">Krasner, David. ''A Beautiful Pageant: African American Theater Drama and Performance in the Harlem Renaissance 1910–1927.'' New York: Palgrave Macmillan, 2002, pp. 68–69.</ref> Her success at Hamerstein’s theatre led to an invitation to return the following year in ''Bon Bon Buddy'', a musical developed from a song which her husband had popularized in ''Bandanna Land'' years before. An ode to her late husband, Overton Walker's performance was so successful she was asked to perform two extra weeks.
+	| title = Moving Performances: Divas, Iconicity, and Remembering the Modern Stage
+	| location = New Brunswick, NJ
+	| publisher = Rutgers University Press
+	| page = 38
+	| isbn = 9780813585451
+}}
+</ref>
+<ref>
+{{cite web
+|last1=Thorne
+|first1=Wells
+|title=The Later Years of Aida Overton Walker; 1911–1914
+|url=http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker
+|website=Black Acts
+|archive-url=https://web.archive.org/web/20170619130535/http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker|archive-date= June 19, 2017}}
+</ref>
+<ref>
+{{cite web
+|last1=Taylor
+|first1=Julius F.
+|title=The Broad Ax
+|url=http://idnc.library.illinois.edu/cgi-bin/illinois?a=d&d=TBA19131101&e=-------en-20--1--txt-txIN-------#
+|website=Illinois Digital Newspaper Collections
+|access-date= June 18, 2015}}</ref>
+Walker died suddenly from kidney failure in 1914 and is mourned as the foremost African-American female stage artist.<ref>
-Walker died suddenly from kidney failure in 1914.<ref>[https://www.buzzfeed.com/briangalindo/the-vaudeville-actress-who-refused-to-be-a-stereotype Brian Galindo, "The vaudeville actress who refused to be a stereotype"], ''Buzz Feed''</ref> She had continued performing until only two months before her death.<ref name="Thorne"/>
+{{cite book
+|title=Ada Overton Walker
+|url=https://memory.loc.gov/diglib/ihas/loc.music.tdabio.182/
+|website=Library of Congress
+|archive-url=https://web.archive.org/web/20170619130535/http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker|archive-date= June 19, 2017}}
+</ref>
+In an October 1905 article in ''[[The Colored American Magazine]]'', Overton Walker expressed her belief that the performing arts could have an effect on race relations, stating that "I venture to think and dare to state that our profession does more toward the alleviation of color prejudice than any other profession among colored people."
-[[File:AidaOWalker.PNG|thumb|left|200px|Aida Overton Walker, 1913<ref>{{cite web|last1=Taylor|first1=Julius F.|title=The Broad Ax|url=http://idnc.library.illinois.edu/cgi-bin/illinois?a=d&d=TBA19131101&e=-------en-20--1--txt-txIN-------#|website=Illinois Digital Newspaper Collections|accessdate= June 18, 2015}}</ref>]]
+<ref>
+{{cite web
-In an October 1905 article in ''[[The Colored American Magazine]]'', Overton Walker expressed her belief that the performing arts could have an effect on race relations, stating that, "I venture to think and dare to state that our profession does more toward the alleviation of color prejudice than any other profession among colored people."<ref name="Krasner"/><ref>{{cite web|last1=Overton Walker|first1=Aida|title="Colored Men and Women on the Stage." ''The Colored American''|date=October 1905|website=HathiTrust| url=https://hdl.handle.net/2027/uc1.b3793665?urlappend=%3Bseq=613|accessdate= March 25, 2019}}</ref>
+|last1=Overton Walker|first1=Aida|title="Colored Men and Women on the Stage." ''The Colored American''
+|date=October 1905|website=HathiTrust|hdl=2027/uc1.b3793665?urlappend=%3Bseq=613
+|url=https://hdl.handle.net/2027/uc1.b3793665?urlappend=%3Bseq=613|access-date= March 25, 2019}}
+</ref>
 ==See also==
@@ Line 45: / Line 120: @@
 ==Sources==
+* {{cite book |last1=Brooks |first1=Daphne |author1-link=Daphne Brooks |editor1-last=Brooks |editor1-first=Daphne |title=Bodies in dissent : spectacular performances of race and freedom, 1850-1910 |date=2006 |publisher=Duke University Press |location=Durham |isbn=9780822337225 |pages=281–342 |chapter=Divas and Diasporic Consciousness}}
-* Brooks, Daphne. "Divas and Diasporic Consciousness" in ''Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910'': 281–342.
+* {{cite web |last1=Galindo |first1=Brian |title=The Vaudeville Actress Who Refused To Be A Stereotype |url=https://www.buzzfeed.com/briangalindo/the-vaudeville-actress-who-refused-to-be-a-stereotype |website=BuzzFeed |date=5 September 2013 |access-date=2 February 2022 |archive-url=https://web.archive.org/web/20130908044411/https://www.buzzfeed.com/briangalindo/the-vaudeville-actress-who-refused-to-be-a-stereotype |archive-date=8 September 2013 |language=en}}
-* Galindo, Brian. "The Vaudeville Actress Who Refused to Be a Stereotype." Buzzfeed. N.p., September 15, 2013.<!--no URL Web. November 2, 2014.-->
-* Krasner, David. "Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking." ''Theatre Survey'', vol. 37, no. 2 (November 1996): 66–92.
 * Kicha. "Aida Overton Walker (1880 – 1914)". N.p., n.d. <!--Web. December 6, 2014.-->
+* {{cite journal |last1=Krasner |first1=David |title=Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking |journal=Theatre Survey |date=November 1996 |volume=37 |issue=2 |pages=67–92 |doi=10.1017/S0040557400001629|s2cid=162353178 }}
-* Paula Marie Seniors, "Beyond Lift Every Voice and Sing: The Culture Of Uplift, Identity, and Culture in Black Musical Theater, 2009
+* [https://www.worldcat.org/oclc/866063417 Manhattan (New York City) marriage records, 1866-1937; index to all boroughs, 1866-1937], New York City Municipal Archives, New York. Family History Library microfilm 1504065.
+* {{cite book |last1=Seniors |first1=Paula Marie |title=Beyond Lift Every Voice and Sing: The Culture of Uplift, Identity, and Politics in Black Musical Theater |date=2009 |publisher=Ohio State University Press |location=Columbus, OH |isbn=9780814211007}}
+* [https://www.worldcat.org/oclc/8083778 United States Census of 1880], New York City, New York County, New York State; Enumeration District 174; p37
 ==External links==
 {{Commons category|Aida Overton Walker}}
-*Aida Overton Walker Broke Stereotypes: Victorian Era Stage[http://www.glopad.org/pi/en/record/person/1001126 Aida Overton Walker] at Global Performers Database
+*Aida Overton Walker Broke Stereotypes: Victorian Era Stage [http://www.glopad.org/pi/en/record/person/1001126 Aida Overton Walker] at Global Performers Database
 *"[https://web.archive.org/web/20150402065608/http://blackacts.commons.yale.edu/exhibits/show/blackacts/walker Aida Overton Walker: THE LATER YEARS OF AIDA OVERTON WALKER; 1911–1914"], ''Black Acts'', archived March 17, 2015. Accessed December 11, 2017.
 *[https://web.archive.org/web/20071210071539/http://www.jass.com/jordan.html "Joe Jordan, with picture of Aida Overton Walker"], Jass.com
 *[https://news.google.com/newspapers?id=daknAAAAIBAJ&sjid=lAQGAAAAIBAJ&pg=4112,2872959&dq=aida-overton-walker&hl=en Obituary] in ''The Freeman'', October 17, 1914.
-*[https://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=115047819 "Aida Overton Walker"], Find a Grave database.
 *Photograph of Aida Overton Walker as Salome  https://digitalcollections.nypl.org/items/8e5e8970-0161-0132-015a-58d385a7bbd0
+*Medda Larkin, a character in Newsies, who took in newsboys with nowhere to stay, was based on Aida Overton Walker. https://newsboys-of-1899.tumblr.com/post/171559864966/this-is-aida-overton-walker-she-is-the-real-life
 *Aida Overton Walker Broke Stereotypes: Victorian Era Stage https://racingnelliebly.com/strange_times/aida-overton-walker-broke-stereotypes-of-victorian-era-stage/
+* [https://syncopatedtimes.com/how-to-cake-walk-by-aida-overton-walker-1903/ How to Cake Walk, by Aida Overton Walker] ''The Tattler'', July 1, 1903 (''Syncopated Times'' reprint)
 {{Authority control}}
@@ Line 66: / Line 144: @@
 [[Category:1880 births]]
 [[Category:1914 deaths]]
-[[Category:Vaudeville performers]]
+[[Category:American vaudeville performers]]
 [[Category:19th-century American actresses]]
-[[Category:African-American actresses]]
+[[Category:20th-century African-American actresses]]
 [[Category:20th-century American actresses]]
 [[Category:American stage actresses]]
 [[Category:Actresses from Richmond, Virginia]]
+[[Category:20th-century African-American people]]

Authority control databases
International	ISNI VIAF FAST WorldCat
National	United States
Other	SNAC