This chapter talks about a musical ensemble known as the “Memphis Students”. It tells of how Cook stole the group away from their original organizer, took them on a European tour, and how their performances were praised. It narrates that In Abyssinia represented the most elaborate efforts to date of Jesse A. Shipp, Alex Rogers, Bert Williams, and Will Cook. It also discussed that Cook also composed and conducted stage shows at the Pekin Theater in Chicago. It shows that the theater encouraged many talented performers to become members of its Negro Stock Company and that it was also responsible for the early development of many singers and actors who later acquired national fame. It then tells of the end of the golden age of black musical comedies, brought by the death of Ernest Hogan, George Walker, and Bob Cole.

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This chapter begins by discussing the designation of “Colored American Day” on August 25, 1893. It then explains that this day was designated in order to combat the exclusionary climate during the World’s Columbian Exposition in Chicago, wherein almost all black Americans were excluded in the planning and execution of the fair’s exhibitions. Ida B. Wells and other African-Americans urged blacks to boycott the fair for they feared the event might provide whites with ammunition to mock the race. It discusses that “Colored American Day” was observed in a dignified manner and the appearance and demeanor of the participants brought honor to the race. This chapter adds that the event demonstrated that acculturation was the avenue to greater acceptance into the larger social order. The emergence of ragtime and The Creole Show was a cultural innovation, an important first step toward the development of the black musical comedies.

This chapter discusses how Will Cook satisfied his musical interest by seriously studying the violin from 1883 to 1887 at Oberlin Conservatory. It discusses how Will outgrew Professor Doolittle’s violin instruction and how he studied and enjoyed his stay at Berlin’s Hochschule für Musik under the Austro-Hungarian violinist Joseph Joachim. It then narrates Cook’s return to Washington after a year’s study in Germany as a musical phenomenon performing some of the masterpieces upon his violin with one hand, probably because he had depleted his funds and became ill. It discusses how Will made a dramatic name change by abandoning the middle name Mercer, in favor of Marion, in honor of his mother. It explains that Will changed his name for he heard Langston boasting about how he got his best features from his white ancestors. It shows that Cook’s racial consciousness and pride were dramatically sensitive aspects of his personality.

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