#john bubbles

• • • • Swing Time (1936) • • • •

Imdb Trivia

February 19, 1902

John William Sublett (known by his stage name John W. Bubbles) was a tap dancer, vaudevillian, and actor. He was born in Louisville, Kentucky but soon moved to Indianapolis. There he formed a partnership with Ford L. "Buck" Washington and they became known as "Buck and Bubbles." Buck played piano and sang while Bubbles tapped along. They were so popular that they moved to New York City. 

On Broadway he was the original Sportin’ Life in Porgy and Bess (1935). Since he did not read music, George Gershwin himself had to teach him the songs note by note. It was his third Broadway musical, opening at the Alvin Theatre, the same venue that hosted Lucille Ball in Wildcat nearly 30 years later. 

From 1929 to 1935 he appeared in a series of musical short films with his partner, Buck Washington. Their feature film debut was in 1937′s Varsity Show. He is known as the father of "rhythm tap."

His first TV appearance (and final screen appearance) was in “The Lucy Show” two-parter “Main Street U.S.A.” (TLS S5;E17) and “Lucy Puts Main Street on the Map” (TLS S5;18) aired in late January 1967. 

Using his own name, he sang and danced with Lucille Ball, Paul Winchell, and Mel Torme. 

Bubbles retired from show business in 1967 after a stroke that left him partially paralyzed. He was married to Wanda Michael, Ruth R. Campbell, Mabel Cordelia (Atwell) Roane, and Viola Jones. 

He died at age 84 on May 18, 1986 in Los Angeles, California.

Duke Ellington & John Bubbles: from Cabin in the Sky

A clip from Cabin In The Sky, a favorite MGM musical of mine, that featured an all-star cast of Rochester, Lena Horne, Ethel Waters, Duke Ellington and even a bit part from Louis Armstrong. This clip here has the forgotten entertainer John Bubbles (the father of “Rhythm Tap” who coached a young unknown named Fred Astaire) along with his musical partner Buck Washington at the piano.

-Scott Wenzel

I was asked to address a number in the current film we are reviewing as a group and throw in a bit of a trigger warning. Let me start with

SLIGHT SPOILERS FOR SWING TIME (1936)!!!!

There is a tap dance number in our current film in which Fred Astaire puts on black face. It does not ruin the movie for me personally, but I realize it is a bit awkward and might upset some people. I watch the movies from the AFI list as a bit of a history lesson and I find it fascinating that this would be an acceptable choice to include in a major motion picture. I have no right to decree whether it is or is not offensive so instead I did some research on why it is in the movie and what the intent was:

1) Fred Astaire says he created the steps to credit the style of his former tap instructor, Jon Bubbles. The clothes mimic the character of Sportin’ Life from the Gershwin production of  Porgy and Bess, played by Jon Bubbles. Astaire says the black face was a throwback to the Vaudevillian practice of face painting when attempting to portray a black character. He specifically did not include an overemphasis of the lips to avoid harkening back to the infamous Sambo character, which is a stereotyped depiction of Black Africans. 

2) The number is entitled “Bojangles in Harlem” as a tribute to Bill “Bojangles” Robinson who Astaire credits as an influence on his career. Robinson was the first black man to hold the hand of a white actress on screen in American cinema when he danced with little Shirley Temple. He was the highest paid and most recognized black actor in Hollywood for the first half of the 20th century. Robinson also was famous for his time in and his progression from the minstrel shows from the turn of the century that were known for incorporating black face.

3) John Bubbles had a routine called “Me and My Shadow” in which he was lit from many angles. Astaire immitated this with a twist of having basically a dance off with his shadows that were projected up behind him. 

In hindsight, the black face was probably not necessary and it would definitely not fly today. I see the logic behind the choice and the intentions seem to be good, but that does not mean it does not come across offensive to some people. It is an amazing number as far as cinematography and technical skill. The routine was well choreographed and earned Hermes Pan an Academy Award nomination for Best Dance Direction,  but I am not going to say that this makes it okay. I do not believe that results justify the means. As with most media, it is best left up to viewer discretion. 

John Bubbles (The Father of Rhythm Tap)