The Origin of Betty Boop
Esther Lee "Baby Esther" Jones, a Black Chicago woman and well-known singer of the 1920s, is the initial inspiration for the cartoon character, Betty Boop, who first appeared in the 1930s.
Jones' musical compositions fell under the growing Jazz community. Yet, her child-sounding voice and popular "Boop-oop-a-doo" performance at Harlem's Cotton Club landed her a recognizable role in the musical community.
Jones used scat, a singing technique used in jazz composed of dynamic and nonsensical syllables instead of words, which can, at times, sound similar by comparison to create the "Boop-oop-a-doo" performance.
This signature "Boop-oop-a-doo" expression landed Betty Boop in a court trial in the 1930s-- the plaintiff being Helen Kane. Kane was an American singer and actress in the 1920s, famously known for her song "I Wanna Be Loved By You," which features a similar rendition of Jones' "Boop-oop-a-doo."
Kane filed a New York Supreme Court lawsuit in May of 1932 against Max Fleischer, the Fleischer Studios, Inc., and the Paramount Publix Corporation.
As the lawsuit's popularity grew and Helen Kane's fame drew attention, Esther Jones was cast aside alongside her influential work. Lou Walton, Jones' manager, testified in the case claiming that Kane had seen Jones' performance and developed her rendition of "Boop-oop-a-doo."
Walton had coached Jones on how to scat, allowing her to develop her own vocal signature.
The trial consisted of other witnesses, including those who produced the recorded voices of Betty Boop, testifying inspiration did not stem from Kane but rather from other figures. During which Fleischer and Fleischer Studios Inc. also brought out the first recordings of Jones' vocal performance, now evidence that had been deemed as lost, which lost the case for Kane
Shortly after, Fleischer and Fleischer Studios Inc. did not publicly acknowledge Jones' influence on Betty Boop outside of the trial. Fleischer Studios Inc. admitted that Kane served as a visual model reference for the animated character known as Betty Boop, but verbal inspiration stemmed from Esther Jones. As for Jones herself, there is no evidence suggesting she testified at the trial since her manager at the time could not pinpoint her location.
Although she may not have personally been active in the case, Jones' influence within the jazz community can be found through the development of scatting. Betty Boop herself plays a part in also increasing the interest in Jazz music at the time.
In "The History of Animation," author Charles Solomon, argues "Fleisher won the case by proving that a black entertainer named Baby Esther had previously used the phrase before either Kane or Questel."
Throughout history, there is a trend, now often brought to light as social and equity justice movements increase, of minorities, especially Black minorities, not being credited for their work in multiple fields.