Micah Hawkins, the Pied Piper of Catherine Slip [ 165 ] quented the concert halls, but of memorable significance to "the many whom he has enticed into his magic circle until he has charmed into them a musical soul!'51 But the essential Hawkins was most truly portrayed in his own words, written in 1816 for his friend and brother musician, the black fiddler Anthony Hannibal Clapp: Forever faithfully performing in life's drama the eccentrick part assigned him by his Maker—His philosophy agreed with his example to be happy Himself, and to make others so, being selfish but in the coveting from his acquaintance an undivided approbation, which he was so Fortunate as to obtain and keep.62 51 "Sable Minstrels and American Opera!' The tribute quoted in this article was originally written by the music critic Henry C. Watson to praise Louis Antoine Jullien, the eccentric French conductor whose sensational monster concerts in 1852 and 1853 brought music to the American masses. "It is not the few who crowd Metropolitan Hall on the classical nights of Jullien's" wrote Watson, "it is the many whom Jullien has enticed into his magic circle until he has charmed into them a musical soul!' 52 Library, The Museums at Stony Brook. © 1978 Vera Brodsky Lawrence