Thanks for this piece, I did not know about Blanche Calloway though of course I knew about Cab. I have several of his albums. Thanks for spreading the stories and music of these essential women artists. Looking forward to the next one!
It's interesting that the "rules" for what was acceptable in lyrics became much more conservative in the 40's and 50's, before things broke open in the 60's.
in all the art forms. The Hays code for film. I remember though, purchasing a CD 20-30 years ago called Risque Rhythms and it had a song called “Big Long Slidin’ Thing” by Dinah Washington on it. That was 1954 and arranged by Quincy Jones.
The hilarious thing is how often the censors completely missed the double entendres. There was a real fear that birthrates would fall if women got less interested in traditional roles, so censorship and the repression of women's autonomy were closely intertwined.
Thanks for this piece, I did not know about Blanche Calloway though of course I knew about Cab. I have several of his albums. Thanks for spreading the stories and music of these essential women artists. Looking forward to the next one!
“I ain’t playing Santa Claus to any man...” ❤️
Awesome spotlight! Thanks!
It's interesting that the "rules" for what was acceptable in lyrics became much more conservative in the 40's and 50's, before things broke open in the 60's.
in all the art forms. The Hays code for film. I remember though, purchasing a CD 20-30 years ago called Risque Rhythms and it had a song called “Big Long Slidin’ Thing” by Dinah Washington on it. That was 1954 and arranged by Quincy Jones.
The hilarious thing is how often the censors completely missed the double entendres. There was a real fear that birthrates would fall if women got less interested in traditional roles, so censorship and the repression of women's autonomy were closely intertwined.
Very interesting! The pendulum swings back and forth: