The Catchy Past: Separating the Song from the History

“Zip Coon.” In The American Mosaic: The African American Experience, ABC-CLIO, 2018. Image. Accessed March 7, 2018. https://africanamerican2.abc-clio.com/Search/Display/1612306.

Most children grow up learning songs by Stephen Collins Foster, and the melodies are quite catchy. However, if one thinks of the background of such tunes, and how they are mostly minstrel songs, they can seem problematic. Minstrel shows incorporated blackface: when white people would use burnt cork to give themselves the appearance of an African American with exaggerated features.1 While in this getup, they would portray racial stereotypes that are very offensive. This sheet music cover depicts one of the stock characters white men would portray in their minstrel performances.

The songs of minstrel shows inspired Stephen Foster into writing more of these popular tunes.2 He is famous for many memorable melodies, including “Oh, Susanna!” and “Old Folks at Home”. These songs remained popular well passed the 1920s, and we all know them today. If one watches a scene from Riding High (Frank Capra, 1950), one can hear the legendary Bing Crosby singing one of Foster’s hits, “Camptown Races”.

It sure is catchy! However, if one listens closely and reads the original lyrics, one can see where this song becomes problematic. First of all, the actual title is “De Camptown Races”, and the words are written in a way that portrays the dialect of a stereotypically, ill-educated, African American; for example: the use of “de” and “gwine”. This little ditty was originally written with the intention of white performers painting their faces black and singing the song in order to mock African Americans.3 Despite the racist nature of this tune, it lives on as an American folk classic, as many of Foster’s songs have.

I’m not saying it’s horrible to enjoy this song or others like it. Many people do. No matter if people still find the melody catchy today, it is important to remember the history, whether or not they associate the song with the disturbing truth of the past.

1 “Minstrel Songs – The Library of Congress Celebrates the Songs of America.” The Library of Congress. www.loc.gov/collections/songs-of-america/articles-and-essays/musical-styles/popular-songs-of-the-day/minstrel-songs/.

2 “Stephen Collins Foster, 1826-1864.” The Library of Congress. www.loc.gov/item/ihas.200035701/.

3 Ruehl, Kim. “The ‘Doo Dah’ Song: ‘Camptown Races’ by Stephen Foster.” ThoughtCo. October 25, 2017. www.thoughtco.com/camptown-races-stephen-foster-1322494.

Zip Coon…Dance Tune?

Almost all of us know the melody of “Turkey in the Straw,” whether singing it at summer camp when we were kids or singing along with The Wiggles before school. The song “Zip Coon” is also based off of same melody and was most popular in the 1830’s and 40’s when it was sung in minstrel shows to depict the “coon” stereotype. Despite its controversial racist lyrics, the melody is catchy and works well for dancing.

When minstrelsy was becoming popular, so were the tunes that were being performed. What better way for people to enjoy these famous songs but to dance to them as well? One of the popular dance forms during the 1840’s was the quadrille, which is related to square dancing today. It contained six parts and four couples would dance in a square formation. This composition features six popular tunes from minstrel shows, including “Zip Coon” and “Jim Crow,” and uses these tunes as the six parts of the quadrille. The cover features depictions of many famous minstrel show stereotypes.

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By the 1920’s, slavery was abolished with the Thirteenth Amendment to the Constitution in 1865 following the American Civil War. However, segregation remained strongly prevalent throughout the United States. The mindset of white supremacy among non-African American citizens pervaded even into their music. In this arrangement of “Turkey in the Straw” by Otto Bonnell and arranged by Calvin Groom, the cover of the sheet music features an African American man playing a banjo.

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Or so it seems.

Upon closer inspection, the depiction of the man is clearly referencing blackface. When compared with the cover of “The Crow Quadrilles,” the large eyes and clown-like red lips are a means of hearkening back to the “good old days” of minstrelsy. The man is also missing teeth and his hands have an animalistic quality to them, characterizing the African American as less than human.

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The tune of “Turkey in the Straw” is set as an innocuous foxtrot in this arrangement with no racial implications. However, with the cover depicting African Americans in such a condescending fashion, it is clear the intent of the music is to invoke a feeling of nostalgia to a time when white men owned slaves. In that case, this piece is not any less offensive today than “The Crow Quadrilles.” Instead of titling it “Turkey in the Straw,” it may have just as well been labeled as a foxtrot based on “Zip Coon.”


1. Ashley, Robert. “The Crow Quadrilles.” New York City, NY: C.T. Geslain, 1845. http://digital.library.temple.edu/cdm/ref/collection/p15037coll1/id/6875.

2. Bonnell, Otto. “Turkey in the Straw.” Arr. by Calvin Grooms. New York City, NY: Leo Feist Inc., 1921. http://digital.library.msstate.edu/cdm/ref/collection/SheetMusic/id/24823.