Sheet Music Collection
Files
Download Full Text (2.9 MB)
Alternate Title
Unredacted Title: Nigger-Toe Rag
Preferred Citation
[Physical ID#]: [Title], Charles H. Templeton, Sr. sheet music collection. Special Collections, Mississippi State University Libraries.
Cover Illustration
Illustration of African American in hat sitting with nuts in his hands and feet extended in front of house
Illustrator/Artist
Buck, Gene
Subjects
Piano music.; Ragtime Music; Popular music United States.
Publication Date
1910
Publisher
Williamsport, PA : Vandersloot Music Pub. Co.
Performance Medium
Piano
Music Genre
Rags
Object Type
text
Format (Original)
1 score (5p.); 27 x 34.5cm
Format (Digital)
Physical ID#
32278009984802
Digital ID#
009984802-1910
Location of Original
Box 139, Folder 2
Repository
Manuscripts Division, Special Collections Department, Mississippi State University Libraries.
Digital Publisher
Mississippi State University Libraries (electronic version)
Contact Information
For more information about the contents of this collection, e-mail sp_coll@library.msstate.edu.
![[Redacted] Rag](https://scholarsjunction.msstate.edu/cht-sheet-music/3631/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).