James Hurst Stead ( 1826 – 24 January 1886) was an English music hall comedian, popular for several decades from the 1850s. Biography He was born in Kingston upon Hull, Yorkshire, and by the 1850s was performing in music halls around the country. In 1856 he was billed as "the greatest Buffo Comic Singer in England". His songs included "Pop Goes the Weasel", "I’ve Joined the Teetotal Society", "That Blessed Baby", and "The Great Sensation Song", but his reputation rests on "The Perfect Cure". The song was written by Frederick C. Perry, to a tune by Jonathan Blewitt which had previously been used for another song, "The Monkey and the Nuts". The phrase "perfect cure" was a slang term at the time for a "curiosity", or eccentric person. The song's opening verse (out of ten) and chorus went: Young Love he plays some funny tricks with us unlucky elves, So gentlemen, I pray look out, and take care of yourselves, For once I met a nice young maid, looking so demure, All at once to me she said, 'You’re a perfect cure …' A cure, a cure, a cure, a cure, Now isn’t I a cure, For here I go, My high gee wo [i.e. horse], For I’m a perfect cure.... In his early performances of the song, Stead wore "a long black coat, large white neckcloth, gaiters, and large rimmed low black hat; in fact the costume of a French curé – the chorus being sung after the Quaker fashion, with the raising and lowering of the body. It was very funny, and he used to meet with great applause…". Later, he dressed in a striped suit and dunce's cap like a French circus clown. Alfred Rosling Bennett wrote that, when Stead performed the song, "he sprang a couple of feet in the air at every bar, and never paused for some ten minutes. The words were the merest drivel, the attraction consisting solely in the eccentric appearance of the singer, his antics, agility and endurance." In each chorus, he would jump several times into the air, stiff-legged like a marionette, his arms held closely to his side. He is said to have jumped up and down 400 times in each performance, and sometimes performed it in four different venues in the course of one night. Bennett wrote that, around 1860, Stead's performances "raged through the land like influenza".