The “Only One Boss Bully”

Chapter four continues the examination of the coon song begun in chapter three, narrowing the focus to Irwin’s two most popular songs, “The Frog Song” and “The Bully.” The author analyzes the differing responses of black and white audiences to the coon song and the accompanying cakewalk. She discusses the case of black female coon shouters, such as Belle Davis, who parody May Irwin’s style of singing. The author looks at Irwin as a white mammy figure and delves into the layers of meaning inherent in her performance of the Bully, layers that reveal the intersection of racism and misogyny; the ideology of Victorian womanhood and the rape myth; and the significance of late nineteenth century vitalism and naturalist racism.