Sheet Music Collection
Files
Download Full Text (2.2 MB)
Alternate Title
Unredacted title: Nigger Blues
Preferred Citation
[Physical ID#]: [Title], Charles H. Templeton, Sr. sheet music collection. Special Collections, Mississippi State University Libraries.
Cover Illustration
Photograph of man in black face on blue background
First Line of Song
Oh! The blues aint nothing,
Lyricist
White, Lasses, 1888-1949
Lithographer/Printer
Dallas: Bush and Gerts
Publication Date
1913
Publisher
Dallas: Bush and Gerts
Performance Medium
Piano; voice
Object Type
text
Format (Original)
1 score; (6 p.); 34.5 cm.
Format (Digital)
Physical ID#
32278009346150
Digital ID#
009346150_1913
Location of Original
Box 4; Folder 2; Piece 4
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.
![[Redacted] Blues](https://scholarsjunction.msstate.edu/cht-sheet-music/13366/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).