Sheet Music Collection
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Download Full Text (1.7 MB)
Alternate Title
Unredacted title: Dar's No Coon Warm Enough For Me
Preferred Citation
[Physical ID#]: [Title], Charles H. Templeton, Sr. sheet music collection. Special Collections, Mississippi State University Libraries.
Cover Illustration
Man in suit holding cane and smoking cigarette
First Line of Song
Down at Johnson's Hall the Darktown Club once gave a ball,
First Line of Chorus
Then a little bowleg'd nigger, who they thought would cut no figure,
Lyricist
Marion, Dave
Lithographer/Printer
New York: Orphean Music Publishing Co.
Subjects
Minstrel Music
Publication Date
1897
Publisher
New York: Orphean Music Publishing Co.
Performance Medium
Piano; voice
Music Genre
Minstrel
Object Type
text
Format (Original)
1 score; (6 p.); 6 cm.
Format (Digital)
Physical ID#
32278011764960
Digital ID#
011764960_1897
Location of Original
Box 143; Folder 1; Piece 15
Repository
Manuscripts Division, Special Collections Department, Mississippi State University Libraries.
Digital Publisher
Mississippi State University Libraries (electronic version)
Rights Management
Item Unavailable Due to Copyright Restrictions
Contact Information
For more information about the contents of this collection, e-mail sp_coll@library.msstate.edu.
![Dar's No [Redacted] Warm Enough For Me](https://scholarsjunction.msstate.edu/cht-sheet-music/12696/thumbnail.jpg)
Notes
This song includes one or more elements of “blackface.” With theatrical roots in the West as far back as the 15th century, blackface entertainment “[displays] Blackness for the enjoyment and edification" of non-Black audiences, through racially insensitive means (Strausbaugh, Black Like You, 2006). Common features of blackface songs were racist titles and lyrics. Songs borrowed from and reorganized African American vernacular to depict racial difference through lyrics “authentic” to African American dialect (Mahar, “Black English in Earyl Blackface Minstrelsy,” 1985). These lyrics combined with titles that used common epithets like “coon” and “darky,” to correspond with wider social understandings of African Americans as “ignorant and indolent, but also devoid of honesty or personal honor, given to drunkenness and gambling, utterly without ambition, sensuous, libidinous, even lascivious” (Dormon, “Shaping the Popular Image of Post-Reconstruction American Blacks,” 1988).