Whose name was Suzy Brown,
She came from old Virginny,
She was de fairest in de town,
Her eyes so bright dey Shine at night
When de moon am gone away,
She used to call dis darkey up,
Just afore de broke of day:[CHORUS]
Wid a who dar? who dar! who dar?
and a who dar a knocking at my door?
Am dat you Sam? Am dat you Sam?
You better stop dat knocking at the door.
Let me in-- Stop dat knocking, Let me in,
Stop dat knocking, Let me in--
Oh! you better stop that knocking at the door.
Let me in-- Stop dat knocking, Let me in,
Stop dat knocking, Let me in--
Oh! you better stop that knocking at the door.
Stop that knocking, stop that knocking,
stop that knocking, stop that knocking,
Oh! you better stop that knocking at my door,
Stop that knocking, stop that knocking,
stop that knocking, stop that knocking,
Oh! you better stop that knocking at my door,She was the prettiest yeller Gal
That eber I did see,
She never would go a walking,
Wid any Colored man but me.
And when I took my Banjo down,
And played three tunes or more,
All at once I heard three raps, pretty hard--
Come bang again my door.
Wid who dar? who dar?
Stop that knocking &cOh de first one dat cum in de room,
Was a darkey dressed to death,
He looked just like de showman,
What dey used to call Mackbeth.
He said he was a Californi man,
An just arrived on shore,
I ax him where fore he cum an rap,
So hard against my door.
Wid who dar? who dar?
Stop that knocking &c

TheNew Christy Minstrels,a folk group from the 1960s, were namedwith reference to this group, but they did not perform in blackface.

Tesla Referralvery\". This suggested that the abuses against northern factory workerswere a graver ill than the treatment of black slaves—or by a lessclass-conscious rhetoric of \"productive\" versus\"unproductive\" elements of society.[26]On the other hand, views on slavery were fairly evenly presented in minstrelsy,[27]and some songs even suggested the creation of a coalition of working blacks andwhites to end the institution.[28]

• Babes on Broadway (1941), a musical starring Mickey Rooney and Judy Garland. The next-to-last musical number is a medley of songs performed in blackface.
• Dixie (1943), a film based on the life of songwriter Daniel Decatur Emmett. It includes Bing Crosby singing the film\'s title song in blackface.
• Holiday Inn (1942), contains a musical number entitled \"Abraham\" with Bing Crosby performing in blackface in the style of a minstrel show. Beginning in the 1980s, this number has been cut from many TV broadcasts.
• Hollywood Varieties (1950), a collection of stage acts with Glen Vernon and Edward Ryan in a blackface skit.
• I Dream of Jeanie (1952) aka I Dream of Jeanie (with the Light Brown Hair), a completely fictional film biography of Stephen Foster. Veteran performer Glen Turnbull makes a guest appearance as a blackface Minstrel performer in Christy\'s Minstrels.
• The Jazz Singer (1927), the first feature-length motion picture with synchronized dialogue sequences. Based on a play by Samson Raphaelson, the story tells of Jakie Rabinowitz (Al Jolson), the son of a devout Jewish family, who runs away from home to become a jazz singer.
• Mammy (1930), another Al Jolson film, this relives Jolson\'s early years as a minstrel man. With songs by Irving Berlin, who is also credited with the original story titled Mr. Bones.
• Minstrel Man (1944), a fictional film about the rise, fall, and revival of a minstrel performer\'s career. It was nominated for two Academy Awards (Best Original Song and Best Original Score).
• My Wild Irish Rose (1947), starring Dennis Morgan, Andrea King, and Arlene Dahl, is set in 1890s New York and features several scenes depicting blackface musical numbers.
• A Plantation Act (1926), a Vitaphone sound-on-disc short film starring Al Jolson. Long thought to have been lost, a copy of the film and sound disc were located and the restored version has been issued as a bonus feature on the DVD release of The Jazz Singer.
• Show Boat (1936), film starring Irene Dunne, Allan Jones, Hattie McDaniel, Paul Robeson. One of the shows on board is a blackface minstrel act.
• Swanee River (1940), another fictionalized biographical film on Stephen Foster. It was nominated for the Academy Award for Best Musical Scoring and was the last on-screen appearance of Al Jolson.
• Torch Song (1953), starring Joan Crawford, Michael Wilding, and Marjorie Rambeau, contains a musical number, done in blackface, entitled \"Two-faced Woman.\"
• Uncle Tom\'s Cabin (1903), an early \"full-length\" movie (between 10 and 14 minutes), was directed by Edwin S. Porter and used white actors in blackface in the major roles. Similar to the earlier \"Tom Shows\" it featured black stereotypes such as having the slaves dance in almost any context, including at a slave sale.[144]
• White Christmas (1954), features a full-scale minstrel show number, but without blackface. The lyrics to the songs remove all suggestion that minstrel shows involved blackface, but retain many standard minstrel show features, including the roles of \"Mr. Bones\" and \"Mr. Interlocutor\". The lyrics include the line \"I\'d pawn my overcoat and vest / To see a minstrel show \", which model the assumed careless and carefree nature of poverty.[citation needed]
• Yes Sir, Mr. Bones (1951), is based around a young child who finds a rest home for retired minstrel performers. In \"flashback\" sequences, a number of actual minstrel veterans, including Scatman Crothers, Freeman Davis (aka \"Brother Bones\"), Ned Haverly, Phil Arnold, \"endmen\" Cotton Watts and Slim Williams, the dancing team of Boyce and Evans, and the comic duo Ches Davis and Emmett Miller, perform in the roles they popularized in Minstrel shows.
• Here Come The Waves (1944), contains a show-within-a-show. It includes a minstrel routine performed by Bing Crosby and Sonny Tufts; their two characters then sing a musical number entitled \"Ac-Cen-Tchu-Ate the Positive\".[145]