T'ain't nobody's bizness : queer blues divas of the 1920s.
(eVideo)
Contributors
Published
[San Francisco, California, USA] : Kanopy Streaming, 2016.
Format
eVideo
Status
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Language
English
Notes
General Note
Title from title frames.
Date/Time and Place of Event
Originally produced by Shoga Films in 2011.
Description
T'Ain't Nobody's Bizness excavates the hidden sexualities of Black female entertainers who reigned over the nascent blues recording industry of the 1920s. Unlike the male-dominated jazz scene, early blues provided a space for women to take the lead and model an autonomy that was remarkable for women of any color or sexual orientation. The fact that some of these women, still famous 90 years later, successfully conducted same-sex relations with friends and working partners is a tribute to their independent spirit and a marker of the relaxed mores that shaped the world of Black entertainment. Ma Rainey, "Mother of the Blues" recruited a devoted following touring the vaudeville circuit in the deep South and along the Mississippi River. Jazz historian Chris Albertson reveals the result of her partying with her chorines in Chicago, where she also recorded almost 100 sides. A true original, Ma Rainey wrote and recorded several songs about sissy men and mannish women - not all of them derogatory. The most famous blues artist of her day, Bessie Smith, was a sexual predator to both men and women. Her affair with Lillian Simpson, a dancer in her show, triggered one of the greatest fights in Smith's violence-soaked marriage to Jack Gee. Renowned Bay Area vocalist, Linda Tillery, talks about the inspiration Bessie provided for her life and music. Chris Albertson confirms the lesbianism of Alberta Hunter and Ethel Waters, an early blues singer who later earned stardom as a headliner on Broadway and as a Hollywood actor. And, finally, T'Ain't Nobody's Bizness, resurrects the reputation of Gladys Bentley, a Harlem nightclub singer famous in her day for wearing a tuxedo and boasting of her affairs with other women. Cultural historian Brian Keizer puts the early blues scene in its social context, pointing out that these women, alienated from mainstream society by race and cultural practice (the blues being regarded as the devil's music), created a space for themselves that presaged the freedom later claimed by the civil rights movement and, by example, gay liberation. Taking its title from a popular song of the day (written by gay musician Porter Grainger), T'Ain't Nobody's Bizness introduces contemporary audiences to the transgressive practices of the distaff side of the early blues. It wasn't all about cheating men and low times. To quote from the song, "If I go to church on Sunday/Then shimmy down on Monday/T'ain't nobody's bizness if I do."
System Details
Mode of access: World Wide Web.
Citations
APA Citation, 7th Edition (style guide)
Gomez, J., & Philipson, R. (2016). T'ain't nobody's bizness: queer blues divas of the 1920s . Kanopy Streaming.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)Gomez, Jewelle and Robert, Philipson. 2016. T'ain't Nobody's Bizness: Queer Blues Divas of the 1920s. Kanopy Streaming.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)Gomez, Jewelle and Robert, Philipson. T'ain't Nobody's Bizness: Queer Blues Divas of the 1920s Kanopy Streaming, 2016.
MLA Citation, 9th Edition (style guide)Gomez, Jewelle,, and Robert Philipson. T'ain't Nobody's Bizness: Queer Blues Divas of the 1920s Kanopy Streaming, 2016.
Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.
Staff View
Grouped Work ID
ed3e86e8-0939-b2fa-5c47-29392a75a485-eng
Grouping Information
Grouped Work ID | ed3e86e8-0939-b2fa-5c47-29392a75a485-eng |
---|---|
Full title | t ain t nobodys bizness queer blues divas of the 1920s |
Author | kanopy |
Grouping Category | movie |
Last Update | 2022-06-16 00:36:02AM |
Last Indexed | 2024-05-04 06:58:44AM |
Book Cover Information
Image Source | sideload |
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First Loaded | Jun 3, 2022 |
Last Used | May 3, 2024 |
Marc Record
First Detected | May 30, 2021 12:38:38 PM |
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Last File Modification Time | Feb 03, 2022 11:54:02 AM |
MARC Record
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500 | |a Title from title frames. | ||
518 | |a Originally produced by Shoga Films in 2011. | ||
520 | |a T'Ain't Nobody's Bizness excavates the hidden sexualities of Black female entertainers who reigned over the nascent blues recording industry of the 1920s. Unlike the male-dominated jazz scene, early blues provided a space for women to take the lead and model an autonomy that was remarkable for women of any color or sexual orientation. The fact that some of these women, still famous 90 years later, successfully conducted same-sex relations with friends and working partners is a tribute to their independent spirit and a marker of the relaxed mores that shaped the world of Black entertainment. Ma Rainey, "Mother of the Blues" recruited a devoted following touring the vaudeville circuit in the deep South and along the Mississippi River. Jazz historian Chris Albertson reveals the result of her partying with her chorines in Chicago, where she also recorded almost 100 sides. A true original, Ma Rainey wrote and recorded several songs about sissy men and mannish women - not all of them derogatory. The most famous blues artist of her day, Bessie Smith, was a sexual predator to both men and women. Her affair with Lillian Simpson, a dancer in her show, triggered one of the greatest fights in Smith's violence-soaked marriage to Jack Gee. Renowned Bay Area vocalist, Linda Tillery, talks about the inspiration Bessie provided for her life and music. Chris Albertson confirms the lesbianism of Alberta Hunter and Ethel Waters, an early blues singer who later earned stardom as a headliner on Broadway and as a Hollywood actor. And, finally, T'Ain't Nobody's Bizness, resurrects the reputation of Gladys Bentley, a Harlem nightclub singer famous in her day for wearing a tuxedo and boasting of her affairs with other women. Cultural historian Brian Keizer puts the early blues scene in its social context, pointing out that these women, alienated from mainstream society by race and cultural practice (the blues being regarded as the devil's music), created a space for themselves that presaged the freedom later claimed by the civil rights movement and, by example, gay liberation. Taking its title from a popular song of the day (written by gay musician Porter Grainger), T'Ain't Nobody's Bizness introduces contemporary audiences to the transgressive practices of the distaff side of the early blues. It wasn't all about cheating men and low times. To quote from the song, "If I go to church on Sunday/Then shimmy down on Monday/T'ain't nobody's bizness if I do." | ||
538 | |a Mode of access: World Wide Web. | ||
600 | 1 | 0 | |a Hunter, Alberta. |
600 | 1 | 0 | |a Smith, Bessie|d 1894-1937. |
600 | 1 | 0 | |a Rainey, Ma|d 1886-1939. |
600 | 1 | 0 | |a Waters, Ethel|d 1896-1977. |
600 | 1 | 0 | |a Bentley, Gladys. |
650 | 0 | |a Blues (Music)--To 1931. | |
650 | 0 | |a Blues musicians|v Biography. | |
650 | 0 | |a African American lesbians|x History. | |
650 | 0 | |a African American bisexuals|x History. | |
655 | 7 | |a Documentary films.|2 lcgft | |
700 | 1 | |a Gomez, Jewelle,|e narrator. | |
700 | 1 | |a Philipson, Robert,|e film director. | |
710 | 2 | |a Kanopy (Firm) | |
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