10/23/2026
Before Betty Boop became one of animation’s most recognizable characters, a young Black performer in Harlem was entertaining audiences with a distinctive singing style that helped shape the story behind the famous cartoon.
Her name was Esther Jones, known professionally as 'Baby Esther'.
During the 1920s, Baby Esther performed with a high-pitched, childlike voice and a playful scat-singing style filled with rhythmic nonsense syllables. Her performances reportedly included expressions such as “boop oop a doop,” a phrase that would later become closely associated with Betty Boop.
In 1934, singer Helen Kane sued Fleischer Studios and Paramount Pictures, arguing that the creators of Betty Boop had copied elements of her performance style and appearance.
During the trial, Baby Esther’s manager, Lou Walton, testified that he had trained Esther in the distinctive singing style and that Kane had seen her perform before developing her own famous “boop” delivery.
The defense also presented a film of Baby Esther performing, using it to argue that this style of singing existed before Kane popularized it. The court ultimately ruled against Kane.
The case became an important part of the historical discussion surrounding Betty Boop’s origins and the influence of Black performers on American popular entertainment.
Yet Baby Esther’s own story remains difficult to trace. Although her performances featured prominently in the legal dispute, her later life and career are not well documented, and the extent of her direct influence on Betty Boop remains debated.
Her story nevertheless raises an important question about recognition in the entertainment industry: whose contributions become famous, and whose are left in the background?
Baby Esther’s name deserves to be remembered as part of this history not simply for the character she may have helped inspire, but for the Black performers whose creativity shaped popular culture long before they received equal recognition.