I'm Every (Black) Woman: Negotiating Intersectionality in the Music Industry
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I'M EVERY (BLACK) WOMAN: NEGOTIATING INTERSECTIONALITY IN THE MUSIC INDUSTRY Jacqueline P. Hudson A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2021 Committee: Katherine Meizel, Advisor Lee Nickoson Graduate Faculty Representative Radhika Gajjala Angela Nelson © 2021 Jacqueline P. Hudson All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor Black women singers have often been lauded and emulated for their musical talents, but also have been regulated to the lower level of societal hierarchy in the music industry. They had to endure racialized and gendered power structures in the field that positioned white men at the top where they had the authority to make music-industry related decisions, white women who achieved success often on the backs of black women’s labor, and black men who took credit in the music-creating process. While this is standard in the music industry for quite some time, there has been long history of this hierarchy in social phenomena such as the institution of slavery, the women’s suffrage movement, the Civil Rights Movement, and the second/third/ fourth-wave feminist movement. In both the music industry and social history, black women had to create and maintain agency against these power structures. This dissertation explores how the concept of intersectionality, coined by critical race theorist Kimberlé Crenshaw in 1989, informs the way black women singers navigated their identity through the music industry. Incorporating historical context of the social phenomena that was mentioned above, this dissertation also takes a cross section of black women singers from both different eras and genres of music (Willie Mae “Big Mama” Thornton, Nina Simone, Janet Jackson, Janelle Monáe, and Lizzo) in illustrating the narrative on how that they used their personal intersectional experiences in the music industry to fight against racism and sexism in the music industry. iv This is dedicated to all black women who continue to be in the fight to be respected. Protect black women. v ACKNOWLEDGMENTS First, I would like to thank my dissertation committee (Dr. Angela Nelson, Dr. Radhika Gajjala, and Dr. Lee Nickoson under the leadership of my incredible chair, Dr. Katherine Meizel.) for their guidance and encouragement throughout the doctoral process. Thanks to my parents Edward Hudson and Consuelo Hudson for exposing me to good music as a child. My sister, Jephreda L. Hudson – thanks for being a listening ear, a strong supporter and my pop culture comrade (I also appreciate you for bringing out the welcome mat while I complete the two rounds of internship in Nashville). I also couldn’t have made it without my BFF, Tony Brown who was available to give me those pep talks when I needed it and kept reminding me that I can do this. Phyllis Johnson, my academic mentor, who saw something in me that I did not see in myself. I also want to thank a few people from my days at Interscope/Geffen/A&M Records: Caryn Lee, Tommy Marshall, and Doug Daniel. I appreciate you three for your unwavering support and helped me find a way to use the music business in academia. Thanks to my Sorors at the Toledo Alumnae chapter of Delta Sigma Theta Sorority, Inc. for their sisterly comfort. Lastly, I would like to posthumously thank my grandparents, Eddie L. and Dorothy M. Fraction for all their support since I was born. (I know that you are both looking down smiling.) vi TABLE OF CONTENTS Page INTRODUCTION .................................................................................................................... 1 Literature Review.......................................................................................................... 2 Intersectionality................................................................................................. 2 Intersectionality in the Music Industry ............................................................. 7 Chapter Outline ............................................................................................................. 11 CHAPTER ONE. WILLIE MAE “BIG MAMA” THORNTON ............................................. 14 Black Women, Blues Queens, and Entertainment ........................................................ 14 Ma Rainey, Mamie Smith, and Bessie Smith: Early Age of the Phonograph Recording Industry........................................................................................................ 18 Willie Mae “Big Mama” Thornton: Early Life ............................................................. 25 Thornton’s Music Recording Career ............................................................................ 28 Big Mama Thornton and Elvis Presley: “Hound Dog” ............................................... 30 The Show Must Go On ................................................................................................. 34 Black Women’s Contributions to Rock’n’Roll............................................................. 37 Black Women and White Men: The Relationship ........................................................ 39 The Exploitation of Black Women’s Bodies ................................................................ 41 Big Mama Thornton and Janis Joplin: “Ball and Chain” ............................................. 43 Black Women and White Women: The Relationship ................................................... 46 Willie Mae “Big Mama” Thornton: The Later Years ................................................... 49 Conclusion .................................................................................................................... 52 CHAPTER TWO. NINA SIMONE .......................................................................................... 53 Introduction ................................................................................................................... 53 vii Nina Simone: Her Life in the South ............................................................................. 54 Simone’s Journey to the Northeast and Her Self Discovery ......................................... 60 She’s Black and She’s Proud ........................................................................................ 71 “Mississippi Goddamn” and Nina Simone in Concert ................................................. 74 Nina Simone and Black Women in the Civil Rights Movement .................................. 77 “Four Women” and Beauty Standards in Black Women .............................................. 85 Taking a Stance and Creating Her Own ....................................................................... 89 Conclusion .................................................................................................................... 93 CHAPTER THREE. JANET JACKSON ................................................................................. 95 Introduction ................................................................................................................... 95 Goin' Back to Indiana (and California) ......................................................................... 97 Janet Jackson and Joe Jackson - Their Relationship in the Entertainment Business .... 99 Janet’s in Control .......................................................................................................... 103 Janet, Black Women, and Second-Wave Feminism ..................................................... 109 janet.: “Let’s Talk About Sex, Baby!”.......................................................................... 114 Intersectionality at Super Bowl XXXVIII .................................................................... 118 Her Career Post-Super Bowl ......................................................................................... 121 Conclusion .................................................................................................................... 122 CHAPTER FOUR. JANELLE MONÁE AND LIZZO ............................................................ 125 Introduction ................................................................................................................... 125 Janelle Monáe: Her Musical Beginnings ...................................................................... 127 From Kansas City to New York City to Atlanta ........................................................... 128 viii Metropolis: The Chase Suite, The ArchAndroid, and The Electric Lady and the Fourth-Wave Feminist Movement ................................................................................ 130 Dirty Computer: Redefining Identity and Sexuality in the Music Industry .................. 135 Wondaland Arts Society: Janelle Monáe Creates an Arts Collective ........................... 137 Lizzo’s That 100% Bad Bitch ....................................................................................... 140 #blackgirlmagic............................................................................................................. 141 Lizzo: Blame It on Her “Juice” and She’s Feeling “Good as Hell” ............................. 143 Conclusion .................................................................................................................... 148 CONCLUSION ......................................................................................................................... 150 WORKS CITED ......................................................................................................................