Here's the racist behind the popular Christmas carol Jingle Bells.

Jingles Sell, Minstrels Tell.

What happens when you find out that your favorite Christmas carol was written by a racist to be performed in racist style?

Childhood ruined.

James Lord Pierpont (1822-1893), the uncle of billionaire banker J. P. [John Pierpont] Morgan (1837-1913), also happens to be the man that wrote and composed the holiday song Jingle Bells.

A quick internet search for the background to the song will reveal that Pierpont wrote it in 1857 a few years before the outbreak of the U.S. Civil War. One might even find that the song was inspired by an actual American sleigh racing tradition, but was likely intended for Thanksgiving rather than Christmas.

What is not so apparent is the fact that Pierpont was a racist, whose lyrics for even his most popular tune were not meant for children.

Here's what the original tune for Jingle Bells sounded like:

You will notice that Pierpont's arrangement was much more sophisticated that the version that we are familiar with today. Additionally, the song has other verses.

Verse 1 and the chorus are awfully familiar.

Dashing thro’ the snow,

In a one horse open sleigh,

O'er the hills we go,

Laughing all the way;

Bells on bob tail ring,

Making spirits bright,

Oh what sport to ride and sing

A sleighing song tonight!

Jingle bells, jingle bells,

Jingle all the way;

Oh! what joy it is to ride

In a one horse open sleigh.

Jingle bells, jingle bells,

Jingle all the way;

Oh! what joy it is to ride

In a one horse open sleigh.

Here's verses 2, 3, and 4:

A day or two ago

I tho't I'd take a ride

And soon miss Fanny Bright

Was seated by my side,

The horse was lean and lank

Misfortune seem'd his lot

He got into a drifted bank

And we—we got upsot.

A day or two ago,

The story I must tell

I went out on the snow,

And on my back I fell;

A gent was riding by

In a one horse open sleigh,

He laughed as there I sprawling lie,

But quickly drove away. 

 

Now the ground is white

Go it while you're young,

Take the girls tonight

and sing this sleighing song;

Just get a bob tailed bay

Two forty as his speed

Hitch him to an open sleigh

And crack, you'll take the lead.

The original title was One Horse Open Sleigh.

It was written for a man named John P. Ordway, who ran a minstrel show in which performers usually donned blackface for their roles. (Note: Fannie Bright in verse 2 may be a reference to the Fanny character in one of Pierpont's earlier songs Ring The Bell Fanny.)

According to research by Professor Kyna Hamill, who teaches courses on American minstrelsy and pre-modern theatre at Boston University, this very song was one of many performed by Ordway's troupe, the Aeolians, in Boston.

In a 2017 paper for the American Society of Theatre Research titled "“The story I must tell”: “Jingle Bells” in the Minstrel Repertoire," she wrote that One Horse Open Sleigh was a 'satirizing [of] Black participation in northern winter activities.'

The song's first performance was by the actor and singer Johnny Pell on September 15, 1857 on a set billed the "Dandie Darkies." A dandy was supposed to be a Black man who longed for the luxurious lifestyle of upper-class Whites. He dressed extravagantly and spoke in boastful tones. Pell was already used to playing a "dandy" character from his first blackface stage performance with Ordway three years prior. This was easy money.

One Horse Open Sleigh contained all of essential elements for a sleigh song of the time, many of which were created or converted into blackface minstrels. Like earlier sleigh minstrels imitating Blacks on stage, there was a prompt for the audience to join in the mockery by singing along. That prompt was at the part of the song that says "Oh what sport to ride and sing a sleighing song tonight,” which led into the chorus, at which point, one might hear a crack of a whip. The exaggerated expressions of the song's early performers were so fundamental to the overall mood that, even in the modern era, a hearty "ha ha ha" after the line "laughing all the way" is widely considered a very essential part of the song's performance despite the fact that this laugh was not written in the lyrics. Furthermore, the song contained lines from other racialized sleigh songs performed by Ordway's minstrel trope - a strong indication that Pierpont had pulled lines from blackface performances that he had seen at Ordway Hall.

Taking all of this into consideration, Professor Hamill is confident that One Horse Open Sleigh, the earlier iteration of Jingle Bells, was performed in classic blackface fashion. The objective was to poke fun at newly-freed Blacks who wanted to experience the thrills that Whites in the North had enjoyed for several years - sleigh rides in this particular. Blacks were seen as lewd and clumsy creatures that could not help but to overdo themselves and wipeout every time. They were a disgrace to the sport. They had neither the skill nor tact of their White counterparts. It was generally assumed that this experience was new for most Blacks, who had not been allowed to ride a carriage by themselves while enslaved or could not afford one while free. That is despite a number of public sightings which provided clear evidence to the contrary.

But Jingle Bells was not just a hit song dramatized by racists. It was also written by one.

Pierpont, a Northerner, wrote at least 13 minstrel songs for audiences in his hometown of Boston and in New York.

John Pierpont, Sr.
19th Century
Photographer: Matthew Brady
(Source: Heritage Auctions via Wikipedia)

His father, John Sr., and brother, John Jr., were abolitionist preachers who railed against the enslavement of African people. James was the music director at his family's church when they moved to Savannah, Georgia from Medford, Massachusetts in 1853. 

Due to the political climate, his father and brother found it increasingly difficult to earn a living with their critical, but crucial messages. When the church was forced to close, they decided to return to the North. 

However, James Pierpont was quite comfortable staying in Savannah and marrying into the mayor's family. (He had a child with this woman in 1854 while he was still married to his first wife. This woman became his second wife in 1857 - the year after his first wife's death according to Census records.)

During the Civil War, Pierpont wrote two anthems for the Confederate Army, which had been organized to defend the institution of slavery in the Southern states and to maintain a racial caste system that ensured the majority of Blacks in the South stayed as close to the bottom of society as possible. The anthems he wrote were titled We Conquer or Die! (1861), Strike for the South! (1863), and Our Battle Flag (date unknown). These were penned in passionate tones, calling White Southerners to 'prepare for the fight' against the 'stern bigot Northman' and to honor the South 'for the glorious deeds she has done.' At least we can say that James Pierpont was certainly a man of his word. He joined a Confederate cavalry while his father served as a Union chaplain. 

Pierpont was raised in the Unitarian Christian church, but his songs bore no proof of a moral conscience. They were surprisingly secular. Hamill found that Pierpont's new career was driven by 'financial necessity.' He had tried his luck at photography, capturing the excitement of the California Gold Rush in the late 1840s and early 1850s. When that failed, he decided to go into songwriting full time. Music became his passion. After the war, he continued to teach music in Valdosta, Georgia.

Here is a copy of a composition by Pierpont in the Milton S. Eisenhower Library of Johns Hopkins University called Kitty Crow Ballad. It was one of Pierpont's early minstrels which was published in 1853 while he was still a 'Northman' (and evidently a bigot).

Here's the lyrics:

Verse 1

O! niggers now I'll tell to you 

of lubly Kitty Crow,

She was de pride ob dis ole heart 

'bout thirty years ago,

She libed upon the Famfam farm 

in Alabama state,

sweetest gal by far around 

was dat same darkie Kate.

She's work, work, work, and sing, sing, sing,

from early morn 'til night,

My old ears now wid rapture ring 

my heart trills wid delight.

First Chorus

She's work, work, work, and sing, sing, sing,

from early morn 'til night, My

She's work, work, work, and sing, sing, sing,

from early morn 'til night, My

She's work, work, work, and sing, sing, sing,

from early morn 'til night, My

My old ears now wid rapture ring 

my heart trills wid delight.

My old ears now wid rapture ring 

my heart trills wid delight.

My old ears now wid rapture ring 

my heart trills wid delight.

Verse 2

My massa told me I could wed

wid lubly Kitty Crow,

She blushed and colored like de rose

her tears begin to flow.

We had been married ten short years 

it seemed just like a dream,

Kitty drowned by bathing in the Fam-fam sluggish stream

She'd work, & etc. 

[First Chorus]

Verse 3

Alas! for me no joys I knew, 

I ne'er could happy be,

I begg'd my massa many days

to set this nigga free,

At last he told me I could go

away up North and try;

But now I'm old and back must go,

on Kitty's grave to die.

Second Chorus

Oh! Kitty Crow, sweet Kitty Crow,

I've loved you long and well,

And when to meet you I can go,

in Heaven I hope to dwell.

Verse 4

When you hear of Kitty Crow,

you niggers must not weep

For she is much more happy now

in her sweet peaceful sleep,

And when my old bones are laid,

in the ground by Kitty's side

In Heaven above I'll see de form,

ob my dear lubly bride.

O! Kitty Crow, & etc.

[Second Chorus]

Here is a copy of another song in the library called The Little White Cottage, or, Gentle Nettie Moore. It seems that someone else wrote this song, but Pierpont helped to put it to music along with another composer. It was published in 1857 - the same year as Jingle Bells.

Here's the lyrics:

Verse 1

In a little white cottage,

where the trees are ever green,

And the climbing roses

blossom by the door;

I've often sat and listen'd 

to the music of the birds,

And the gentle voice

of charming Nettie Moore

Chorus

O! I miss you Nettie Moore,

And my happiness is o'er

While a spirit 

sad around my heart has come;

And the busy days are long

And the nights are lonely now 

for you're gone

from our little cottage home

Verse 2

Below us in the valley

on the Santee's dancing tide,

of a summer's eve 

I'd launch my open boat;

And when the moon was rising, 

and the stars begin to shine,

Down the river 

we so merrily would float.

[Chorus]

Verse 3

One...sunny morning autumn,

Ere the dew had left the lawn,

came a trader 

up Louisiana bay:

Who gave to Master, money,

and then shackel'd her with chains

then he took her off

to work her life away

[Chorus]

Verse 4

Since that time, 

the world is dreary

and I long from Earth to rise,

And join the happy angels gone before;

I can never be merry

For my heart is full of woe,

And I'm pining

for my pretty Nettie Moore.

[Chorus]

Verse 5

You are gone lovely Nettie

and my heart must surely break,

When the tears come no more

into my eyes;

But when weary life is past,

I shall meet you once again,

In Heaven - darling,

up above the skies.

There is a more serious and sympathetic tone here, but we must acknowledge that Pierpont was not the only person involved in the composition and may not have contributed very much at all to its writing. His role is listed as "chorus and piano accompaniment" while there are two other persons in the roles of creating the "poetry" (Marshall S. Pike) and the "melody" (someone with the initials G. S. P.). For the aforementioned arrangements, Pierpont was identified as the sole writer and composer. He seemed to love telling stories about Blacks who were down on their luck, but he would prefer to bring his own shoes that to try theirs on. 

Here is a copy of a composition by Pierpont in the Library of Congress called The Universal Medley. It was published a little over two decades after Jingle Bells in 1881.

As the title suggests, this is actually a compilation of popular songs of the day which were arranged to be played one after the other with a short transition between them. It seems that there are seven or eight parts. Some of the titles which have been identified are Hail Columbia, Yankee Doodle, Old Aunt Sally, Nid Nid Noddin, and The Last Rose of Summer. It is likely that none of these were authored by Pierpont himself.

Here's the lyrics:

Part 1

I've just dropt in to see you and sing a little song.

Its all about Dandy Jim from de Caroline, 

for my old massa told me O, 

Ise de best looking nigger in de County O,

I looked in de glass and I found my Old Aunt Sally

Ra Re Ri Ro round the corner 

Part 2

Young Rory O Moore courted Kathleen Bawn

He was bold as the Lyon

she as soft as the fawn,

He sought in his heart pretty Kathleen to 

Walk Jaw Bone Jenny come along

In come Sally with the bootees on

Walk Jaw Bone Sally come along

Part 3

Last rose of summer left blooming alone

all its lovely companions are 

All noddin nid nid noddin nid 

they're all noddin at our house at home,

All noddin nid nid noddin nid 

they're all noddin at our house at home!

Home sweet sweet home there is no place like home

Part 4

Hail Columbia happy land

Hail ye heroes heavn born band

Part 5

who Came to town de oder night

to see de show and spite of all my griefs revealing

that I dearly love

Part 6

The Star-spangled banner 

O long may it wave ...

O'er the land of the free 

and the home of [the brave]

Part 7

Yankee Doodle come to town

upon a little pony

stuck a feather in his hat 

and call'd it macaroni

It is interesting to find two of the most iconic songs in American history - Yankee Doodle and the Star-Spangled Banner - embedded in the same composition as a minstrel song insulting Black Americans. That is, perhaps, until you realize that the Star-Spangled Banner by Francis Scott Key, which is included here, also has a line about how the United States of America is "no refuge" for Blacks running from a life of cruel enslavement (and towards freedom behind British lines when it was written during the War of 1812). Francis viewed these poor souls as cowards and believed it was better for them to die as American slaves than to live as free British men and women.

And where is that band who so vauntingly swore,

That the havoc of war and the battle’s confusion

A home and a Country should leave us no more?

Their blood has wash’d out their foul footstep’s pollution.

No refuge could save the hireling and slave

From the terror of flight or the gloom of the grave,

And the star-spangled banner in triumph doth wave

O’er the land of the free and the home of the brave.

That song is still the national anthem for the United States of America and Jingle Bells remains the international anthem of Christmas.

A few months ago, I formed a virtual study group as part of a project I have been developing to bring people together who have a passion for studying history and sharing their research just like I do. One of the subjects we have been discussing is the need to establish and to maintain rites of passage for Black youth.

The implications of these lyrics call for a closer examination of common holiday traditions in which I, too, have partaken. I believe it is important that we understand the values that are contained within the music and the magic of each ritual that we practice. How are these values affecting us in the present? How will they impact future generations?  

Recently, I have been reading about the holiday of Kwanzaa and the principles associated with it. As someone who grew up on Christmas alone, I was quite impressed. In fact, I am now committed to incorporating the spirit of Kwanzaa into my daily grind. Why should I dream of another Snow White Christmas? Why wait another month or year before I think about what is necessary for my personal development and for the development of my community? Cultivating the principles of unity, self-determination, cooperative economics, creativity, collective work and responsibility, purpose, and faith are all vital to the progress of a people who have been subjected to the will of racist swindlers like James Pierpont for so many years. It is a welcoming departure from the greed and gluttony that is already rampant in Western society and which finds its renewal in other holidays as well (namely Easter and Thanksgiving). It certainly beats any old jingle about playing a fool and living (or failing at living) the fast life. Doesn't it?

And the best part is that we have the freedom to make that choice to sing to the jingle of our own bells.

We may not be laughing all the way, but guess who has the last laugh!

- Omri C.

There's a short biography on James Lord Pierpont in the book Rebels, Saints, and Sinners: Savannah’s Rich History and Colorful Personalities (2002) by Timothy Daiss. It is available for checkout through the Internet Archive here.