![]() ![]() Other defense witnesses included Clarence Williams, the "hot licks" man. It later came out that African-American performer Gertrude Saunders had originated the "Boop-Boop-a-Doop" scat singing style in 1921 in the all-black Broadway show Shuffle Along, ending the entire scat chorus in baby-talk. When Kane sued the Fleischers and Paramount, they used early footage of Lil' Esther's performance as defense, along with several other baby-talk and scat singers to prove that Kane's style was not unique. Lou Bolton states that Helen was invited specially to watch Esther. Both Kane and Jones also had the same booking agent in 1928, ( Tony Shayne). Helen Kane saw perform Esther Jones in 1928 at the Everglades Club on Broadway and suddenly started to "Boop" in her performances, indicating that Helen was inspired to do so after watching Esther on stage. ![]() Lil' Esther debuted in the early 1920s, and was performing on the streets in 1924 and on the stage by 1926. Esther was also a trained dancer, who used to scat sing and make funny faces in her acts. Kane claimed to be the originator of the unique ad-libs, and attempted to sue Paramount-Publix and the Fleischer Studios. Kane who had previously worked for Paramount lost her suit because she was not the first baby-talk singer in the business and had adapted her scat singing style from a 7-year-old African-American performer, Baby Esther Lee Jones also known as (Lil' Little Esther and sometimes Little Esther) who was dubbed Harlem's miniature and a child prodigy, who was discovered by talent agent Lou Bolton. ![]() It was first made popular by Helen Kane in the late 1920s. Boop-Oop-a-Doop is a catchphrase often used by the fictional character Betty Boop. ![]()
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