Reviewed by: Black Diamond Queens: African American Women and Rock and Roll by Maureen Mahon Kamilla Arku Black Diamond Queens: African American Women and Rock and Roll. By Maureen Mahon. Durham, NC: Duke University Press, 2020. 408 pp. Black Diamond Queens: African American Women in Rock and Roll is a "project of recovery and inclusion … and a consideration and critique of the workings of power and genre in the recording industry" (27). In this authoritative 2020 monograph, cultural anthropologist Maureen Mahon seeks to complicate rock and roll history by emphasizing the presence and influence of African American women on the genre. Arguing against prevailing narratives that center young white men as rock's protagonists, she posits that not only did her subjects exist, but that their voices mattered. Mahon insists that Black women shaped the history of rock and roll in ways that historians, institutions, musical gatekeepers, and the public have systematically erased, rendering her subjects' voices inaudible. Mahon utilizes a wealth of historical and ethnographic sources to bring her subjects to life. Drawing from not only fellow ethnomusicologists but also feminist scholars, historians, poets, musicologists, music journalists, and musicians, Mahon's interdisciplinary research allows her to represent her subjects and their eras in all of their complexities and contradictions. Her interviews with living subjects (including musicians Merry Clayton, the Shirelles' Beverly Lee, and the late Betty Davis) are especially compelling, as they not only present the artists as authors of their own narratives but also offer a glimpse into the research process of the contemporary scholar (Mahon's equally comical and compelling interview with a reticent Betty Davis is a standout). Black Diamond Queens is particularly indebted to other women scholars working at the intersection of race, gender, and popular music, especially Susan Fast, Jacqueline Warwick, and Daphne Brooks. Mahon's text seems to commune with Brooks's research in particular, notably Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound and "The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism" (for this journal)1; like Mahon, Brooks interrogates the simultaneous centrality and marginalization of Black women in popular music. The influence of Black feminist scholars and writers working outside of music also permeates the text. Mahon invokes Audre Lorde, bell hooks, Kimberlé [End Page 180] Crenshaw, and the Combahee River Collective to illuminate and fete her subjects. From Big Mama Thornton to Tina Turner, Mahon's "Black Diamond Queens" express their feminine power through their artistry and creativity, channeling the "open and fearless underlining of [the] capacity for joy" Lorde describes in "Uses of the Erotic: The Erotic as Power."2 In her frequent comparisons of the experiences of African American women with those of white women and Black men in the music industry, Mahon also invokes the intersectional work of bell hooks, whose Ain't I a Woman: Black Women and Feminism3 she describes as a "watershed" (27). Throughout, Mahon firmly reminds us that Black women were oppressed both by the racism of white people and the sexism of patriarchal forces across the racial divide. Each of Mahon's chapters focuses on a woman or group of women whose labor shaped the history of rock and roll, tracing their personal and professional trajectories with both admiration and a keen critical eye. Mahon positions each of her subjects in their artistic, economic, and social milieus, and she reveals how they internalized, capitalized on, or challenged the music industry and the public's conceptions of Black women and Black femininity. Chapter 1 discusses Willa Mae "Big Mama" Thornton, whose "rags to rags" career "encapsulates the blend of presence and obscurity that is emblematic of black women in rock and roll" (29). As a performer Thornton challenged conceptions of gender through her assertive vocals and disruptive lyrics, influencing artists like Elvis Presley and Janis Joplin. Mahon paints a vivid portrait of a musical powerhouse, focusing on Thornton's technical and expressive artistry and her skills as an improviser and composer. She also gives space to Thornton's critical consciousness, citing interviews from the 1960s, 1970s, and 1980s in which Thornton asserts her ownership over her work and accomplishments, and reveals...