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RE: Songs, such as this one, for which the earliest performances were done in blackface
Blackface minstrelsy portrayed racist, demeaning caricatures of Black people, shown as naive buffoons or uncontrollable children who danced their way through and expressed a fondness for the system of slavery (video montage of blackface caricature).
Please review the Blackface Minstrelsy document for details on this noxious genre, its influence on the perception of Black people, and its presence today.
Given the pervasiveness and popularity of blackface for over 100 years, many songs of that period had their beginnings in blackface performances. In evaluating these songs, we consider:
(a) Are the lyrics and message of the song in any way demeaning? NO
(b) Did the song gain popularity through subsequent non-blackface performances? YES
Therefore, the song is rated ADMISSIBLE.
Songs with this Note
Anytime
First recording found was by Emmett Miller in 1924, a minstrel show performer known for his yodel-like voice and he is shown in some photos and visual recordings in blackface makeup.
This song has been sung in at least two movies in blackface.
Al Jolson in Bombo (1921): Image from Bombo
Al Jolson in A Plantation Act (1926): Full 10-minute film
It is not clear if Al Jolson or others performed this song in blackface, but the song was included in his biopic and Jolson is known as the “king of blackface performers” so it is likely to have been performed in Blackface. It is included in this Al Jolson album, with Al Jolson in blackface on the cover.
Medley with this song: Changes / Baby Face medley
Blue Skies
[Song is from problematic movie White Christmas]
It is not clear if Al Jolson or others performed this song in blackface, but it is featured in The Jazz Singer starring Al Jolson about a jazz singer who performs in blackface. Jolson is known as the “king of blackface performers” and this song was popularized during a period when blackface performances were very common.
Although the song itself does not have problematic lyrics, and we didn't find examples of it being sung in blackface:
It was popular in minstrel and vaudeville.
One of the popular performers was Al Jolson, dubbed "the king of blackface performers."
It was featured in the movie Babes on Broadway which has an extended blackface number (for a different song).
It was featured in the 1965 album, Here Come the Black Face Minstrels.
This song was performed in blackface, popularized by Al Jolson and introduced in a movie featuring blackface minstrelsy. California Here I Come - Al Jolson
Medley with this song: How Ya Gonna Keep 'Em / California medley
This song is admissible, having no problematic lyrics or messaging. It is not clear if Carolina in the Morning was performed in blackface, but:
The song was performed by Jolson, who is known as the “king of blackface performers”
YouTube video of Jolson’s 1947 recording of the song shows a static picture of him in blackface
It was featured in the biopic Jolson Sings Again (1949)
It is included in the Al Jolson album, with Al Jolson in blackface on the cover.
Also, the song was popularized on vaudeville by William Frawley, who often performed in blackface, as evidenced by a clip from the 1935 Stephen Foster biopic Harmony Lane (not this song).
So Carolina in the Morning was likely performed in blackface by both Jolson and Frawley.
I Feel a Song Comin' On
This song was performed by Al Jolson (sheet music cover) and was featured in the 1935 film Every Night at Eight with blackface dancers.
It is not clear whether or not I Used to Call Her Baby was performed in blackface, but it was first recorded by Eddie Cantor (known for blackface performances) during a period when blackface performances were very common, so it is likely to have been performed in blackface.
This song was a hit for Al Jolson in 1926 and was featured in the 1928 musical, The Singing Fool, starring Al Jolson as a blackface minstrel.
Medleys with this song: Lucky Day / I'm Sitting on Top of the World
Top of the World medley
Jingle Bells & Jingle Bell Jazz (reworking of Jingle Bells)
This song, initially known as One Horse Open Sleigh, was first performed in blackface in a minstrel show in Boston in September 1857. (see research in this document here, highlighted in yellow)
Medleys with this song: Nutcracker Jingles / You're A Mean One, Mr. Grinch (unattributed medley)
Ma, He's Making Eyes at Me
It is not clear whether or not Ma, He’s Making Eyes at Me was performed in blackface, but it was performed by Eddie Cantor (sheet music depicts him in blackface) and by Al Jolson (known as the "king of blackface performers), so it is likely to have been performed in blackface.
Medley with this song: Oh Johnny, Oh Johnny, Oh! / Ma, He's Making Eyes at Me medley
My Baby Just Cares for Me
Eddie Cantor performed this song in blackface in the film version of the musical comedy Whoopee! (1930).
Medley with this song: Everybody Loves My Baby Medley
It is not clear if Jack Norworth or others performed this song in blackface, but it was popularized during a period when blackface performances were very common and Norworth “was one of vaudeville’s top acts, having started in show biz as a blackface monologist and singer billed as “the Jailhouse C**n.” (reference) This note, is therefore appropriate for this song.
This song was very likely performed in blackface by the minstrel duo, Cotton and Morpheus. (See Song History section.)
While this song itself is not problematic, the World War II musical from which the song originated--This is the Army, based on Irving Berlin’s World War I musical review, Yip Yip Yaphank--contained minstrel elements. Berlin did insist on including African American performers in This is the Army (which he was not allowed to do in Yip Yip Yaphank). But while Black and White performers lived and worked together, they did not appear onstage together and Berlin lobbied hard to open the show with a minstrel performance of 110 White men in blackface on stage, as he had done in Yip Yip Yaphank. Apparently this was quashed due to logistical issues (see History section). Yet the show’s first act is titled “A Military Minstrel Show” (likely scaled down from that in Yip Yip Yaphank) and the performers of This is the Army, Mr. Jones were billed as “Selectees and Minstrel Men.” Irving Berlin: This Is the Army | National Archives
Toot Toot Tootsie (Goo'bye!)
This song has been sung in at least two movies in blackface and is inextricably tied to Al Jolson (and his history of minstrelsy).
Jolson singing in Black Face in "Rose of Washington Square" 1939 Toot Toot Tootsie
Doris Day in Black Face in "I"ll See You In My Dreams" 1951: Toot Toot Tootsie performed by Doris Day
When the Red Red Robin Comes Bob Bob Bobbin Along
This song was performed in blackface by Al Jolson.
While it was first published in an 1860 hymn book, it was also performed by minstrel groups, as reflected in circa 1900 sheet music stating "Sung by Christy Minstrels" and "Sung at the Popular Concerts of the Original Christy Minstrels." The song was even included in blackface minstrel shows put on by early members of the Church of Jesus Christ of Latter-day Saints. However, it has since become a popular hymn, contained in 125 hymnals.
When You Wore a Tulip was first performed by a “c**n shouter” (a singer of c**n songs). Dolly Connoly – the wife of the song’s composer – was its first performer and is known to have been (among other things) a “c**n shouter.” “C**n shouting,” the last descendent of the nineteenth-century minstrel show, represented popular theater’s transition from blackface minstrelsy to American vaudeville. Please see additional details on c**n shouters and c**n songs here.
Medley with this song: Lookin at the World Through Rose Colored Glasses, I'm / When You Wore a Tulip
You Made Me Love You
This song was sung in blackface by Al Jolson in various Broadway revues and in the film, The Jolson Story.
An early recording of this song (1929) was by Emmett Miller, a minstrel show performer known for his yodel-like voice. This YouTube video of the recording includes a photo montage of his blackface performances. And this recording of Miller performing Anytime clearly displays the minstrel antics in his shows.