[4] Upon seeing the famous Bojangles dance, Briggs knew immediately what he wanted to do, commenting that "[Robinson] was so calm.
While other black performers at the time wore bell hop costumes, Robinson always dressed his best in a suit.
They performed for 5 or 6 years as Porkchops, Navy, Rice, and Beans, entertaining audiences in dance halls between halves of each show.
[6] Briggs' charm, skills, iconically big eyes and baby face won him the hearts of high society.
On one occasion at an Astor Pageant, Fanny Brice sat Briggs on her lap and asked him if he wanted anything he didn't have.
[6] As a teenager, Briggs became an apprentice of the Whitman Sisters and danced at the Ubangi Club where he met Louise Crane.
Crane arranged for him to perform at Kelly's Stables, and it's during this time that he earned his title as the Prince Charming of Tap.
[5] He also appeared in the Universal 1950 short with the Benny Carter Orchestra, performing his trademarked paddle and roll,[5] and in the Cavalcade of Bands.
"[4] Duke was fond of Briggs as a performer and wrote him into My People, a pageant for the Century of Negro Progress Exhibition in 1963.
"[5] In the 1970s, Bunny Briggs made appearances on the Johnny Carson Show, and in TV specials like Apollo Uptown and Monk's Time.
[4] Many tap dancers faded from the spotlight during this decade as Rock n' Roll gained popularity.
A select few tap dancers, including Briggs, remained successful with the help of performers in other kinds of show business like television and music.
[1] He was fast with his feet, but knew how to utilize silence as much as noise, best seen in his tap solo to "In a Sentimental Mood" by Duke Ellington in the 1989 Broadway musical revue Black and Blue.
Briggs began to develop his distinct fashion of tap performance from an early age.
[5] Not much is known about Brigg's personal life, but he was a devout Catholic who attended St. Mark's the Evangelist RC Church at 65 West 138 St, NYC 10037.
[7] He considered becoming a priest, but Briggs' own pastor told him God wanted him to dance (NYT).
He received an Honorary Doctorate of Performing Arts in American Dance from Oklahoma City University.
He also redefined standards in the community, turning a step that was seen as cheating (the paddle and roll) into a trademarked move that he is remembered for.
[4] Briggs' performance at the Grace Cathedral challenged the American perspective, which associated jazz and tap with bootlegging liquor and poor morals.
Briggs and Ellington set out to prove that tap and jazz could be spiritual too, redefining key aspects of American culture.