Her effortless charm and consistent big smile entertained audiences who could treat her like a delightful novelty that presented no threat to the white supremacist society they benefitted from. And she was a massive hit with white audiences. This was the deeply racist society that a young Black performer like Esther Jones had to work with. Mob lynchings continued to terrorize people of color and the justice system sought to serve whites at the expense of Black lives. The KKK experienced a resurgence in national membership and an outpouring of support from elected officials.
In the years that Esther Jones was active in show business, Jim Crow laws infiltrated all parts of American society. In most venues that Jones attended, Black people were not allowed to enter the buildings unless they were there to entertain. She danced and sang songs, occasionally performing in racist minstrel shows alongside white men in blackface to the delight of crowds. Jones became a big hit with white audiences, who were enraptured by her childlike charm and impressive singing ability. Esther Jones began performing in mostly whites-only clubs throughout Chicago, New York, and other major cities in the Northeast. ( Source)Īfter the win, Bolton offered to represent Jones as her talent agent, and her parents agreed. Esther won first prize and attracted the attention of a white talent manager named Lou Bolton.Įsther Jones appears in a minstrel show with a white performer in blackface in 1929. When she was around 5 years old, she competed in a Charleston dance competition in Chicago. Her parents encouraged and involved Esther in singing and dancing competitions as a small child. From an early age, Esther showed a natural talent for performing. Esther Jones’ Early CareerĮsther Lee Jones was born in Chicago somewhere between 19 to Gertrude and William Jones. This is the story of Betty Boop’s original influence, and star in her own right, the incredible Esther Jones. But as a Black child in Jim Crow-era America, Jones’ legacy was quickly forced into obscurity, lost to a white singer who copied her performing style, claimed it as her own, and sued over the creation of a famous cartoon character that followed soon after. “Baby Esther” Jones was an international star from Chicago known for captivating audiences with her signature “boop-oop-a-doop” singing style. Updated NovemEsther Jones, Original Boop-Oop-A-Doop Scatting Icon from the 1920s
All in all, cute but bland.A 1931 poster highlighting Esther Jones and her upcoming performances at the El Dorado theater in Brazil. Story-wise, 'The Swing School' is as paper thin and formulaic as one can get and Betty could have had more to do, she is also pretty subdued here. There is a lack of laughs, which makes the lack of surreal, risqué or creative edge far less easier to ignore and forgive. This is further accentuated by this is practically the only emotion in the entire cartoon. However, while pleasantly cute in places, parts of 'The Swing School' is so cutesy it gets on the wrong side of sweetly saccharine, enough to bring things down. The voice acting is solid, the new voice actress for Betty is no match for Mae Questel but still fares quite well. 'The Swing School' is pleasantly cute, especially the ending, Pudgy (one of Betty's better regular supporting characters in the later cartoons, after Grampy) is adorable and carries the cartoon decently, sharing charming chemistry with Betty. The music is infectious, lush and dynamic. Unexpectedly, the animation, as always, in 'The Swing School' is extremely good, being beautifully drawn, crisply shaded and meticulous in detail.
The character of Betty Boop, one of their most famous and prolific characters, may not be for all tastes and sadly not as popular now, but her sex appeal was quite daring for the time and to me there is an adorable sensual charm about her. Their visual style was often stunning and some of the most imaginative and ahead of its time in animation. Fleischer were responsible for some brilliant cartoons, some of them still among my favourites.
Betty boop original music code#
While the later Betty Boop cartoons made after the Code was enforced are still watchable and exceptionally well-made, they are so toned down that they feel bland. A good deal of the pre-Production Code Betty Boop cartoons are daring and creative, with content that makes one amazed at what's gotten away with.
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