FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W27635666> ?p ?o ?g. }

• W27635666 startingPage "31" @default.
• W27635666 abstract "Mama she told me, my jellyroll wasn't right Well I can jelly'n'jelly jelly, jelly makes my life Well upside down, right side up, Give it to me baby till I've had enough jelly'n'jelly'n'jelly'n'jelly, jelly jelly jellyroll --Faith Nolan Jellyroll (1989) FROM THE 1920S, WHEN VAUDEVILLE BLUES women stood in the public limelight en masse for the first time, the blues has been vehicle for African American women to articulate their experiences and express their feelings. Through their powerful voices, engaging delivery, and bold self-presentation, vaudeville blues women empowered themselves and their audiences. Telling it like it is, they challenged the status quo--talking back to stereotypes, commanding sexual respect, and demanding an end to mistreatment--while giving voice to the diversity of their experiences. Drawing upon the aesthetics of black performance style, blues women affirmed their humanity as their ancestors had done, through total involvement (giving 100 percent, engaging their audience), signifying (talking back, repeating with difference), and personalization (remaking the tradition in their own image) (Burnim 1985; Gates 1988; Murray 1976). Blues women today continue to utilize and creatively remake traditional means and materials to resonate their experiences and those of their audiences. Like their blues foremothers, contemporary blues women assert their identity by personalizing traditional material, giving, in Sherley Anne Williams's words, a traditional statement about traditional situation new response (1975, 37). Borrowing from Henry Louis Gates Jr., they signify on or with difference traditional material (1988, xxvii, xxii-xxiii). In using the traditional signifying processes of the blues to repeat and revise the tradition, contemporary African American women musicians create continuity and continuance in the tradition. The work of blues women past and present is critical piece in the dialogue and process of reclaiming and affirming black female sexuality. As vaudeville blues singers before them, contemporary African American women musicians use the blues--its processes, language and structures, along with the image the female blues singer projects--to affirm their identity and reclaim their sexuality. Like the vaudeville blues singers, contemporary African American women musicians reclaim their sexuality both by speaking out about and against history of sexual abuse and stereotyping, and by presenting self-defined images of themselves. This article explores continuities and changes in women's expressions of lesbian sexuality and identity in the blues by examining relationships between performers and performances past and present. While the work of contemporary female hip-hop artists, including Queen Latifah and Salt-N-Pepa, and many other contemporary African American pop artists, such as Erykah Badu and Macy Gray, also demonstrate important continuities with women's blues traditions, the examples here are drawn from the blues repertoire of women who identify themselves as blues artists. By looking at how contemporary blues women are personalizing, talking back to, and remaking traditional materials, I attempt to illuminate one piece of conversation in process, tapestry of call and response, community among women in the blues. I am especially interested how the blues has been and continues to be vehicle for African American women's self-expression and empowerment, and more specifically, how the blues has provided space for articulations of female pleasure and lesbian sexuality. After briefly establishing context for understanding sexuality, identity, and empowerment in vaudeville blues, I will discuss examples of lesbian blues from the 1920s and 1930s, along with contemporary renditions of these tunes. I will then compare new lesbian revisions of Need Little Sugar in My Bowl with classic recordings by Bessie Smith and Nina Simone, and examine three original blues by contemporary black lesbian performer-songwriters. …" @default.
• W27635666 created "2016-06-24" @default.
• W27635666 creator A5042201983 @default.
• W27635666 date "2003-01-01" @default.
• W27635666 modified "2023-09-23" @default.
• W27635666 title "Jelly Jelly Jellyroll: Lesbian Sexuality and Identity in Women's Blues" @default.
• W27635666 hasPublicationYear "2003" @default.
• W27635666 type Work @default.
• W27635666 sameAs 27635666 @default.
• W27635666 citedByCount "0" @default.
• W27635666 crossrefType "journal-article" @default.
• W27635666 hasAuthorship W27635666A5042201983 @default.
• W27635666 hasConcept C107038049 @default.
• W27635666 hasConcept C107993555 @default.
• W27635666 hasConcept C139015958 @default.
• W27635666 hasConcept C142362112 @default.
• W27635666 hasConcept C144024400 @default.
• W27635666 hasConcept C15744967 @default.
• W27635666 hasConcept C2778355321 @default.
• W27635666 hasConcept C2780540011 @default.
• W27635666 hasConcept C29595303 @default.
• W27635666 hasConcept C52119013 @default.
• W27635666 hasConcept C53813258 @default.
• W27635666 hasConceptScore W27635666C107038049 @default.
• W27635666 hasConceptScore W27635666C107993555 @default.
• W27635666 hasConceptScore W27635666C139015958 @default.
• W27635666 hasConceptScore W27635666C142362112 @default.
• W27635666 hasConceptScore W27635666C144024400 @default.
• W27635666 hasConceptScore W27635666C15744967 @default.
• W27635666 hasConceptScore W27635666C2778355321 @default.
• W27635666 hasConceptScore W27635666C2780540011 @default.
• W27635666 hasConceptScore W27635666C29595303 @default.
• W27635666 hasConceptScore W27635666C52119013 @default.
• W27635666 hasConceptScore W27635666C53813258 @default.
• W27635666 hasLocation W276356661 @default.
• W27635666 hasOpenAccess W27635666 @default.
• W27635666 hasPrimaryLocation W276356661 @default.
• W27635666 hasRelatedWork W1482610591 @default.
• W27635666 hasRelatedWork W1546710317 @default.
• W27635666 hasRelatedWork W1826297421 @default.
• W27635666 hasRelatedWork W1861033062 @default.
• W27635666 hasRelatedWork W1976640385 @default.
• W27635666 hasRelatedWork W1987342203 @default.
• W27635666 hasRelatedWork W2031069270 @default.
• W27635666 hasRelatedWork W2083897106 @default.
• W27635666 hasRelatedWork W2093868858 @default.
• W27635666 hasRelatedWork W2136910169 @default.
• W27635666 hasRelatedWork W2230953129 @default.
• W27635666 hasRelatedWork W2306088218 @default.
• W27635666 hasRelatedWork W2322905515 @default.
• W27635666 hasRelatedWork W259004586 @default.
• W27635666 hasRelatedWork W3006575023 @default.
• W27635666 hasRelatedWork W3010946738 @default.
• W27635666 hasRelatedWork W331063162 @default.
• W27635666 hasRelatedWork W568075279 @default.
• W27635666 hasRelatedWork W571989742 @default.
• W27635666 hasRelatedWork W649613410 @default.
• W27635666 hasVolume "7" @default.
• W27635666 isParatext "false" @default.
• W27635666 isRetracted "false" @default.
• W27635666 magId "27635666" @default.
• W27635666 workType "article" @default.