From a Vision to a Thriving Tradition
A Long-Awaited Resurgence
For several years in the 1970s, Ken Shelton had wondered what could be done to resuscitate Galveston’s Mardi Gras an event of which his mother had been Queen.
Begun in 1867, it was shelved during World War II, and several attempts to revive it in the 1950s had failed. Every Mardi Gras season was a reminder to do something to get it started again.
A Night to Remember: 1982's Street Dance
When 1982 arrived and Mardi Gras season approached, Shelton was determined not to let another year pass without acting. He decided to do a street dance. He raised a little money (mostly from family), convinced the city to close a block of the Strand in front of the Emporium, and got Del Papa Distributing to provide a beer kiosk. A band was hired and doubloons were minted.
Fat Tuesday arrived, and the crowd, though small by today’s standards, was bigger than expected. People danced late into the night as revelers threw doubloons from the Emporium canopy. Bill Fullen, the owner of the Emporium, had come to scope things out. But when he saw the crowd, he opened his doors and did a land office business in beer sales.
When the event was well underway, Shelton left and changed into formal attire to take his future bride to the Artillery Club Mardi Gras Ball, arriving late. After the ball, they returned to the Strand to clean the street, as he had promised the City it would have a clean street on Wednesday morning. Had anyone wandered by at 1:00 a.m., they would have seen a fellow in white tie and tails sweeping the street with a push broom, while a lady in an evening dress, wielded a mean dustpan—a typical Galveston scene.
Building Momentum: 1983's Expansion
Afterward, many who had attended or heard of the event wanted to be involved. The result was that in 1983 we had a lot of volunteer workers. In 1983, a small parade was added with Bing Cherry's Trolley being the main attraction.
Following the 1983 event, there were still more people signed on to help.
A Grander Celebration: 1984's Multifaceted Mardi Gras
By 1984, there were enough volunteers to do three events, a formal ball, a street dance, and a short procession down the Strand. There was even a poster.
Joel Dyer was in charge of the procession and decorations, as he had been the year before. Doug McLeod and John Spencer were full of good ideas, particularly as regarded the Ball. Barbara Railey arranged for a big band, composed mostly of people from NASA, including at least one astronaut, to play at the ball. David of the House of Moore, incarnate as His Royal Majesty King Frivolous LXV½, reigned with aplomb and humor. The beautiful Mary Cooper was his queen. Mike Hughes had gotten a commitment for the street band, but when the date arrived, they could not be found. He was still trying to find a band when the crowd began to gather. Barely in the nick of time, help arrived in the form of Mike’s friend, Dr. Rose, a polymath neurosurgeon and gifted performer, and Donny Howell, who together entertained and wowed the crowd as if they had been a band of sixteen.
The procession then proceeded from 24th and Strand, dispersing beads along the way. Arriving at the stage, King Frivolous and his queen were presented to the admiring crowd to whom they tossed plastic jewels and other tokens of esteem.
Most of those who contributed in the early years were instrumental in forming Krewes which became active later. Doug McLeod, Bill Cherry, Jim Ware, Mike Doherty, V.J. Tramonte, John Spencer, and [Member] formed the first Board of the Knights of Momus. Joel Dyer, Pam Walker and others started the Knights of Regina. Larry Del Papa began the Krewe of Brew, which morphed into the Krewe of Gambrinus.
In 1982 and 1983, very significant contributions were made by Joel Dyer, Robert Lynch, Peter Brink and GHF, David Moore, B. D. Moore, Jr., Arthur Shelton, Andrew Shelton, Kenneth Shelton, Jr. & Sr., Joe Kane, Julie Shelton, Del Papa Distributing, the Strand Merchant's Association, Jack Bushong, Ed Protz, Harris Kempner, Sally Wallace, Virginia Moore, Clelie Moore, Kevin Katz, Jean Mills, Doug McLeod, Nixon Quintrelle, Bing Cherry, Dr. Luis Leon, and the McDaniel brothers. By 1984, the list had grown to include, J.R. McConnell, George Mitchell, Dancie Ware, Barbara Railey, Bill George, Ben Raimer, Bill Cherry, Carla Cotropia, Charles Fougerousse, Mary Cooper, David Oliver, and many others.
A Gift from George Mitchell and the Moody Foundation
Participation in the 1984 event had grown to include a varied cross-section of the community. In late 1984, Dancie Ware telephoned [Member] with a proposal from George Mitchell.
Mr. Mitchell wanted to see Mardi Gras become a major event.
If we would reconstitute the Knights of Momus, Mr. Mitchell would import floats from New Orleans and pay for the first parade to mark the opening of his new hotel, the Tremont House, and then later, he would give us the floats.
This sounded good and Dancie suggested, for the board: Doug McLeod, Mike Doherty, John Spencer, Bill Cherry (all of whom had been involved in the earlier events), V. J Tramonte (who had been involved with Treasure Ball), Jim Ware, and [Member]. All also happened to be friends. Dancie had conducted substantial research and had big ideas, which she presented to the group in person. The newly formed krewe proceeded.
In 1985, Dancie Ware, the brains of Mardi Gras, choreographed the event as she would for some years to come. Mr. Mitchell's contribution allowed Mardi Gras to grow many-fold in a year, telescoping many years of growth into a single season. In 1986, and for several years thereafter, the Moody Foundation also made significant contributions to strengthen the event.
Dancie's Cultural Touch
The next four or five years were particularly good ones for Mardi Gras Galveston. Additional Krewes were formed, each with its own personality so there was a place for everyone in the celebration.
In 1985, Dancie did an outstanding job of publicity, and we had huge crowds and a great parade. It was on a different order of magnitude from past events. Doug McLeod was very effective in working with the City of Galveston to produce an effective combination.
Dancie was able to do some amazing things, adding a cultural dimension to the event.
Of these, the most impressive was the Mardi Gras Arches that were designed by the best-known architects in the world, one of which remains on Mechanic.
Dancie then brought down the Mummers from Philadelphia, and then and for many years after, they appeared in our parade.
Debutantes, Fashion, and New Logos
In 1986, John Spencer insisted that Momus stage its own ball at the Opera House and present debutants from throughout Texas. He arranged for Queen Elizabeth II dressmaker to make the debutante’s ball gowns. From the beginning, Joan McLeod, Doug’s wife, has recruited the debutants.
It was also in about ’86 that Shelton’s wife, Julie, found the old “KOM” monogram that has served as our logo.
Community Engagement and a Growing Tradition
Early on, the Moody Foundation, along with Mr. Mitchell, made significant contributions to the Park Board to support the event. Doug McLeod remained instrumental in dealing with the City.
Following the ’85 event, Momus took over the responsibility for the parade. For years, Rudy Teichman took charge of the floats, keeping them up and running. It was as if Mardi Gras, even when it was in hibernation, has always been part of Galveston’s DNA.
The Resurgence of Mardi Gras
Today, Mardi Gras Galveston, with all its frivolity and glitter, has captured the imagination and moved the spirit of the city. Many Krewes have joined Momus and the event is made possible by the efforts of thousands of volunteers and the substantial sums and efforts contributed by the Krewes.
Young and old, visitor and native, all share in camaraderie and fun, and, for a little while, at least, the cares of the world dissolve into a magical time in a magic city.