Sexuality and Black Feminism in Jazz
While sexual innuendos and sexual themes have been existent in jazz music since post-slavery blues, when female singers came into the picture of urban blues (1920's-1930's), they put a new, subversive light on sexuality and the image of the women in song. Most of the blues sung by women (and were usually autobiographical) were about the topics of no-good, two-timing men, alcohol, empowering advice to other women, abandonment, failed love, infidelity, not giving in to men, not supporting a poor man, homosexuality, and promiscuity, which women hadn't really sang openly about in popular music before. These blues singers include Ma Rainey, Bessie Smith, Gladys Bentley. Many of these women were lesbian, bisexual, or pansexual, but also, most of them were married to men. However, this aspect of their private lives sometimes slipped into their music, lyrics, and reputations (many of them being called "bulldaggers", or "dykes"), but still they received much popularity and appreciation from male, female, straight, gay, black, and white listeners. It was perfect timing for these issues to be sung about, right as the image of the "modern woman" was changing in the early 20th century and many women were seeking liberation from Victorian gender roles.

These singers approached the topic individually, but what they all had in common was immense strength,  talent, wit, and fearlessness, as well as very tragic lives, which is reflected in their music. Ma Rainey was one of the first women to be recognized in jazz and was a lesbian who used sexual/ homosexual imagery in her songs, with her her raspy contralto voice. She also is said to have been a major influence on Bessie Smith, the "Empress of the Blues", who was married to a man, but was known for having sexual relationships with many of the women she worked with. She stood up for herself against her abusive husband, while being open about her love affairs in her music. Many of her songs revolve around the theme of the hardships of being a black woman.
 Gladys Bentley was also a very interesting figure in this era because she was a lesbian, male-impersonating performer who was very popular and well-received playing piano and singing in speakeasies in New York, until the McCarthy era, when she came back into the closet and left the New York scene. Gladys was the most outspoken about her sexuality and changing gender roles. She dressed as a man, had a deep voice when singing, would openly flirt with female audiences, and sang about love affairs with women. She was the most prominent "bulldagger" of them all.

For the show, I would like to have a room that plays selected recordings of the music of these women, with the lyrics projected onto a screen. The songs will be selected based on relevancy to the topic of speaking out about sexuality and oppression of women. There will also be photos, videos (if any), and biographies of these women and explanation of their contribution to the jazz world and the empowerment of women, specifically black women in America.

You've had your chance and proved unfaithful
So now I'm gonna be real mean and hateful
I used to be your sweet mama, sweet papa
But now I'm just as sour as can be.

--"I Used to Be Your Sweet Mama,"

I know women that don't like men The way they do is a crying sin. It's dirty but good, oh, yes, it's dirty but good There ain't much difference, it's just dirty but good. 

--"It's Dirty But Good" 

https://www.youtube.com/watch?v=WSOYDm8ftIY&feature=kp