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There’s one legend surrounding the song that tracks its journey from the Parkway Theater in Brooklyn on uptown to Harlem. H. Arlo Nimlo’s biography of the Andrews Sisters, recounts how Cahn adapted the song for swing music after hearing it performed at the Apollo by Black musicians Johnnie and George. (Johnnie and George are said to have learned it at Grossinger’s.) Another version credits bandleader Vic Schoen for discovering it in the more typical Yiddish environment of Second Avenue.
In any case, the swing sound and the Andrews Sisters vocals made the song a huge hit. Not just in venues like the Savoy.
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Renee Ghert-Zand is a reporter and feature writer for The Times of Israel.
The Moorish Zionist Temple, Harlem, NY, 1929 (James Van Der Zee/The Folklore Research Center, Hebrew University of Jerusalem via the National Library of Israel Digital Collection)
Early 1920s newspaper ads for the blockbuster New York Yiddish stage shows
Yente Telebende (Loquacious Battle‐Ax), featured a Black artist among the spotlighted performers. This was Thomas LaRue, a Yiddish-speaking singer widely known in the interwar period as
der schvartzer khazan (The Black Cantor).
Although long-forgotten now, LaRue (who sometimes used the surname Jones) was among the favorites of Yiddish theater and cantorial music. Reportedly raised in Newark, New Jersey, by a single mother who was drawn to Judaism, he even drew interest from beyond the US.
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