While it's still Black History Month, let's explore the outrageously offensive genre of minstrel show/black stereotype musics known as 'coon songs.' Hugely popular during the early decades of sound recording and then wiped from the culture like they never existed, coon songs nevertheless produced not only the recording industry's first black stars, but some of the first hit singles ever. Minstrel shows in general led to vaudeville, the root of modern American show biz. And yet Al Jolson's blackface performance of "Mammy" in the ground-breaking film "The Jazz Singer" is probably the only experience most people have had with this genre.
I have enough recordings (songs and comedy skits) to fill up 2 or 3 disks, but that would make even a Grand Kleagle of the KKK's head explode. I've whittled it down to this representative selection of the history of the genre - from the pre-master disk era of he late 1800s when, incredibly, a mass of recording cylinders had to be set up to record each performance individually (so the poor singer had to sing the damn song over and over) up to the genre's apparent demise in the 1920s, the era of the "Great Migration." Black Americans started moving from the rural South, transforming the culture of Northern cities like New York (hence, the "Harlem Renaissance") and Chicago. With the Jazz Age in full swing in the Twenties, the old stereotypes of country bumpkins pining for them good ol' plantation days were no longer too convincing (not that they ever were.)
You'll notice a subtle transformation as time progresses, from the mocking humor of "All Coons Look Alike To Me" to sympathetic songs about children, or "pickaninnies." Coon songs were becoming uncool, and believe it or not, these sentimental ballads were considered to be positive coon songs, written to counteract the cruelty of earlier songs. Hey, they meant well....
How popular were these songs? I can't find a single book specifically dedicated to the subject, but "From Edison to Marconi: The First 30 years of Recorded Music" has a whopping 6 page index.
They're not all that awful. Some songs, like "Pullman Porters' Parade" salute America's black railroad workers, and "Nigger Blues" really is an early blues tune. Some certainly have musical value. George W. Johnson's records were fun and funny, and that's apart from their massive historical value - he was the first black singing star, thus paving the way for everyone from Robert Johnson to Nat King Cole to Michael Jackson. (You can't condemn him for these songs. It was the 1800s, what choice did he have?!) And "Bake Dat Chicken Pie" is, once you get past the reprehensible lyrics, a great tune, especially the way the intertwined vocals suggest Dixieland jazz. I felt weird about liking this song 'til I heard that Lenny Bruce was also a fan, and would play and sing along with the record in his act. I am vindicated! Er, maybe...honestly, snickering really is the most appropriate response to the amazing ridiculousness of these songs. Here's a party game: try to listen to "Ma Pickaninny Babe" without laughing.
And let's contemplate this truly bizarre fact: black minstrel performers wore blackface.
A Treasury of Beloved Coon Songs
01 George W Johnson -The Laughing Coon (1898)
02 George W Johnson - The Whistling Coon (1896)
03 Dan W. Quinn - At A Georgia Camp Meeting (1898)
04 Arthur Collins with Vess L Ossman-All Coons Look Alike to Me (1902)
05 Billy Golden - An evening with the minstrels (aka I'm a Nigger That's Living High) (1903)
06 Ada Jones - If the Man in the Moon Were a Coon (1907)
07 Arthur Collins & Byron G. Harlan - Bake Dat Chicken Pie
08 Arthur Collins - dixie dan (1908)
09 Polk Miller the Old South Quartet-Watermelon Party (1909)
10 Ada Jones - You'se just a little nigger, still youse mine, all mine (1910)
11 Golden and Hughes - Darktown Poets (1911)
12 Elsie Baker - Pickaninny's lullaby (1912)
13 Walter Van Brunt - Hear the pickaninny band (1913)
14 Al Jolson - Pullman Porters' Parade (1913)
15 Golden and Hughes - Darktown Eccentricities (1913)
16 Will Oakland - Ma Pickaninny Babe (1914)
17 Olive Kline/ Elsie Baker /Margaret Dunlap - Go to Sleep My Dusky Baby (to the tune of 'Humoresque') (1916)
18 American Quartet - Darktown Strutters Ball (1918) (the one song that survived the coon song era, this became an oft-covered standard, sung by everyone from Ella Fitzgerald on down)
19 Al Bernard - Nigger blues (1919)
20 Crescent Trio - Pickaninny blues (1920)
21 Margaret A. Freer - Pickaninny Rose (1921)
Thanks to the Archeophone label, and the UCSB Cylinder Digitization Project for some of these; there's more HERE and HERE. And then there's THIS album. But I leave all those to the truly dedicated scholars.