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Ham Tree Harrington

The stage name of Ham Tree Harrington, although reeking of ’90s gross-out Ren & Stimpy ultra-meat imagery, actually goes back towards the Roaring Twenties. Harrington was a performer of minstrel tracks in blackface design, a genre with the capacity of provoking fistfights all alone, not forgetting this artist’s personal aggressive character. The mild-mannered Johnny Dunn is among the fellow music artists Harrington can be reported to possess wailed on. The cliché right here is always to blame Harrington’s size for his mean feeling, falling back again on the normal “brief equals pushy” symptoms — not really a stretch, definitely not high, when the average person under dialogue was in fact billed as “The Pint-Sized Bert Williams.” Williams was possibly the biggest celebrity for the minstrel picture: Harrington and his peers such as for example Eddie Hunter and Shelton Brooks are undoubtedly discussed as opposed to this bigger-than-life model. Harrington began in vaudeville, after that did well using a business lead component in Strut Miss Lizzie, a 1922 Broadway creation. He got especially great notices for his scared-to-death regular a couple of years afterwards in Dixie to Broadway. However these stage triumphs stand nearly by itself in his réamounté, Harrington evidently finding more constant function in cabarets as well as the range stages he previously appear on. He do show up alongside Alberta Hunter within a 1930 musical that however flopped. He produced information for both Brunswick and Vocalion from 1924, like the morose “No one Never I WANT TO in on Nothin'” as well as the challenging “C.O.D. — Money on Delivery.” For his afterwards recordings he supported himself over the ukulele. He produced no more recordings after 1925 but was captured on film some 14 years afterwards in two all-black movies, Keep Punching as well as the Devil’s Daughter.

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