Dora Parker, the woman Paula Deen called her “soul sister.” Photo credit: New York Times.
I encourage readers of Pop South to read today’s New York Times op-ed by Rebecca Sharpless providing historical perspective on Dora Charles, the woman Paula Deen called her “soul sister.”
Ms. Charles, who helped open Deen’s restaurant Lady & Sons as well as train other cooks who worked there, was recently interviewed by the Times about her relationship with Deen. That interview is, in many ways, even more revealing about who Paula Deen is than the deposition she gave in the lawsuit brought against her by a white woman, Lisa Jackson.
Paula Deen with her brother Bubba Hiers, co-owners of Uncle Bubba’s Oyster House.
The Paula Deen fiasco that has unraveled over the past several days has me thinking about her brother Earl “Bubba” Hiers. Specifically, where the hell is Uncle Bubba? Because if you take a look at the original lawsuit, he is the one who needs his ass kicked all the way to Tybee Island for the hostile work environment created at the restaurant that carries his name.
To be clear, I still believe Paula Deen needs to be held accountable. And for sure, she needs to offer a more sincere apology–one that doesn’t suggest that it’s about someone who wants what she has. (See the the analysis of her Today Showinterview.) That may be true, but it doesn’t let Deen off the hook for her own racial missteps.
What boggles my mind, though, is the extent to which Paula Deen goes to cover for the men in her life, especially her brother.
In the lawsuit, we learn that her companies and her restaurant Lady & Sons is essentially a “Boys Club.” And the boys, it turns out, behave badly. Especially Uncle Bubba.
The lawsuit, moreover, isn’t just about a work environment damaged by racial slurs. It’s very much about the ways that sexual harassment created a hostile work environment for women.
First, it is abundantly clear from the allegations that Uncle Bubba is the primary culprit for making racial slurs. Yet what is also clear is that he regularly engaged in inappropriate workplace behavior and often used foul language when speaking to women or about women.
According to the lawsuit:
–Karl Schumacher, who is in charge of compensation for employees allegedly said that “women are stupid because they think they can work and have babies and get everything done.”
–Bubba Hiers allegedly either brought pornography to the restaurant or openly watched pornography “on the kitchen computer” where it was visible to several employees;
–Bubba Hiers allegedly made several sexual jokes in the workplace, criticized the “fat girls” who worked in the restaurant, told Lisa Jackson she had “nice legs” and to bring in photos of herself from when she was younger; and suggested that the restaurant staff be replaced with “Hooter’s girls.”;
–Lisa Jackson also alleges that Bubba Hiers “[grabbed] her face and [kissed] her and [spit] on her;”
And on, and on.
So, what’s much more clear now from Paula Deen’s deposition is that while she used a racial slur herself, she enabled the men who worked for her to continue their behavior by either ignoring the complaints brought to her attention, being willfully unaware of how her restaurants operated, and now, covering their asses–especially her brother Bubba. This pisses me off, because while Deen is apologetic about the racial slurs, she hasn’t offered one apology for the sexual harassment.
But then, the media has ignored this aspect of the lawsuit as well as “Uncle Bubba’s” behavior.
Fortunately, we have reached a point in our society where many of us can rise up (and have) to say “no” to racism. But we have NOT reached that point when it comes to sexual harassment. In the public trial of Paula Deen, everyone’s been silent on this point. The media, Paula Deen, and her sons. Of course, Uncle Bubba has been silent about everything and is hiding behind his sister’s imaginary hoop skirt.
I, for one, think Earl “Bubba” Hiers needs to be held responsible for his behavior. He should be dragged through the court of public opinion, too. The fact of the matter is that he’s gotten off easy.
If Deen’s use of a racial slur has proven there are consequences for doing so, then why not the same when it comes to sexual harassment? There needs to be consequences for that, too.
There’s not enough butter to cover up or improve the bad taste that Paula Deen has left in people’s mouths since they learned that the South’s most famous cook admitted to using the “N-word” as well as making other racially insensitive remarks. Twitter lit up with fake recipe titles attached to the hashtag #paulasbestdishes, skewering Deen for her racial insensitivity. “We Shall Over-Crumb Cake” and “Massa-roni and Cheese” are just two (and, frankly, kind) of hundreds of examples.
Her comments came under oath as she was being deposed by attorneys for Lisa Jackson, a former employee who is suing Deen and her brother Earl “Bubba” Hiers, along with Deen’s company, for alleged “violent, racist, and sexist behavior.” The full details of the complaint, in fact, are much more alarming and disturbing and go well beyond racial epithets. Yet for now, the focus is on Paula Deen’s racist comments, and for good reason.
Deen has presented herself and has been marketed as the “face of southern cooking.” Her shows on the Food Network, her cookbooks, magazines, and product endorsements have made her a household name and a multimillionaire. She is a very public figure and has to know that what she says and does will be publicly scrutinized. And if she didn’t, she certainly knows it now.
So what did she say? Under oath, she admitted to using the “N-word.” She also said she wanted to plan a “really southern plantation wedding” for her brother Bubba Hiers. Her inspiration came while visiting another southern restaurant where black men wore white jackets and black bow ties. She was impressed, she said, because “that restaurant represented a certain era in America.” And when Jackson was brought in to assist the famed southern cook with preparation for Hiers wedding, she alleges that the following conversation with Deen occurred:
“Well what I would really like is a bunch of little niggers to wear long-sleeve white shirts, black shorts and black bow ties, you know in the Shirley Temple days, they used to tap dance around. . . Now that would be a true southern wedding, wouldn’t it? But we can’t do that because the media would be on me about that.” (courtesy of Talking Points Memo)
The media is on her, alright. And so are a lot of Americans who have taken to social media to let her know just what they think of her comments and her, personally.
Yet what I’m interested in here, as someone who blogs about the South in popular culture, is Deen’s supposed naiveté about the use of the N-word and her misinformed (to say nothing of outdated) view of what she believes represents a “really southern plantation wedding.”
First, there’s her use of the term “nigger.” Deen, who is 66 years-old and grew up in southwest Georgia, knows exactly what the term means and knows full well that historically, it’s been used as a pejorative. In fact, she admits to as much under oath, saying “things have changed since the ’60s in the South. And my children and my brother object to that word being used in any cruel or mean behavior.” Though, apparently, it’s okay to use in a joke. Well, now that she’s been caught using it, she’s being forced to consider that it’s not a laughing matter, y’all.
I have a sneaking suspicion that given the power she wields because of her wealth and celebrity, she didn’t think that using that term around one of her employees would matter, especially when that employee’s job depended on it. Based on her responses to attorneys’ questions, it appears as though Deen felt she only used the n-word to describe, not hurt. She seems to believe that what she said was innocuous, and it didn’t even occur to her that a fellow white southerner might have a problem with it. As it turns out, not only is Lisa Jackson white, she has biracial nieces.
Deen’s idea of a southern plantation is straight out of a Hollywood movie from the 1930s. Pictured: Bill Robinson with Shirley Temple in The Little Colonel (1935)
Deen’s desire to give her brother a “really southern plantation wedding” is also problematic, because she’s out of touch with reality to say nothing of southern history. What she described, according to the complaint, was essentially Hollywood’s version of a southern plantation from movies of the 1930s. Her reference to Shirley Temple films was a dead giveaway. In 1935, Temple starred in two films set in the Old South, The Little Colonel and The Littlest Rebel. In both, her co-star was Bill “BoJangles” Robinson who, like in Paula Deen’s image of the South “of a certain era,” is seen wearing jacket and bow tie.
The “certain era” she recalls, of course, isn’t the plantation South at all. As one of my peers rightly noted: “As a southern historian I’ve seen a great many 19th century slave photos and none included tuxedo clad slave waiters.” Indeed. What Deen described in her testimony is a 1930s pop culture version. In essence, what she hoped to recreate for her brother Bubba was a wedding scene straight out of a Jim Crow era film.
According to her attorney, Paula Deen “does not condone or find the use of racial epithets acceptable.” Such a statement is to be expected now that her own use of racial epithets has been exposed, because her southern cooking empire is very likely in jeopardy as a result.
Deen’s experience is a lesson to us all that we do not live in a post-racial America. At the same time, we should not assume that racism is simply a “southern” problem. Unfortunately, given Deen’s association with the region, the popular perception of a monolithic, racist white South rears its ugly head. Yet, what I hope doesn’t get lost in all of this is that while Deen feigns to represent the South, she is not representative of the entire region. Another southern white woman, after all, is responsible for calling her out and holding her feet to the fire.
My friend’s Southern Style Sweet Tea from AriZona by way of Brooklyn, NY.
Recently, a friend and I were having lunch when I noticed an image on the side of her AriZona “Southern Style” sweet tea. It caught my attention because of the image used to brand this tea as southern–19th century steamboats on what we can probably assume is the Mississippi River.
I find it interesting that in 2013 that a company determined that it would associate “southern” with antebellum paddle-wheelers that were used to not only carry travelers, but tons of cotton cultivated by thousands of slaves. That’s when I did my research and discovered that AriZona had originally used an even more offensive image to suggest “southern style” when the product came out in 2008.
Back then, the tea was branded with the image
The original image of AriZona’s Southern Style Sweet Tea featured an antebellum plantation.
of the “big house” of a southern plantation, with a southern belle in the foreground. It was reminiscent of early advertising that incorporated images of the Old South–advertising tropes that are more than a century old. The original can rightly drew the ire of consumers for promoting an image of the Old South and the slavery that’s associated with plantations. It forced the company to change the image and make a public apology.
But why did the company approve the image of a plantation in the first place? Why did they follow it up with another image from the same era? I’d argue that it’s because the company, founded by two guys from Brooklyn, have no sense of American history nor do those in charge of its marketing understand modern southern culture. Rather, they rely on the same tired tropes of the South. Clearly, there’s some sense that the South not only hasn’t made it into the 21st century; it never made it into the 20th!
So, to marketing firms above the Mason-Dixon I say this: Come visit and quit relying on tired stereotypes. You’ll thank yourself and you won’t make stupid mistakes like AriZona.
As I sang and danced to the 1983 Culture Club hit “Karma Chameleon,” I was completely unaware of the Pop South associations that I would totally get today if the song were new. Recently, I watched the YouTube clip of the music video “Karma Chameleon” and was astounded when I saw “Mississippi–1870″ claimed as the video’s setting. Clearly, I hadn’t paid attention when it was shown on MTV. That is, when MTV really meant “music television.”
Filmed in Weybridge, England, the video features blacks and whites dancing together (not possible in 1870s Mississippi) dressed in all manner of costumes that are not necessarily of the period. The Chameleon, in this case, was a Mississippi gambling boat souped up to look like a nineteenth-century steamboat. Of course, Boy George looks like he always did, like Boy George–in makeup, colorful clothes, braids,and his signature hat. About the only thing reminiscent of the South might be the harmonica riffs, yet even those are far from bluesy.
It’s just a small reminder that what passes as “southern” has long been a favorite trope for the producers of popular culture. It was also fun to watch again.
I’m pleased to announce that my book Dreaming of Dixie: How the South Was Created in American Popular Culture is coming out in paperback. You can pre-order now through UNC Press for the book’s release in August. Fun reading and great for classes!
News recently broke that George Jones, whose distinctive voice and behavior made him a legend in country music, died today at the age of 81. I have fond memories of listening to his music with my Maw Maw Crum back in West Virginia. His nicknames “the possum” and “No Show Jones” hinted at his looks and the impact his alcoholism had on his performances. Yet no one can dismiss his unique voice or his impact on country music. Rest in Peace, George Jones.
Celebrity culture is an interesting phenomenon. We come to know a celebrity’s public persona and many people assume they “know” the person. And in some cases, the celebrity assumes that “the people” know him or her.
Enter Reese Witherspoon, or better yet a drunk Reese Witherspoon, whose celebrity persona is “America’s sweetheart.” Except that this past week the nation learned something about her true personality when, while driving in Atlanta, her husband James Toth was pulled over and arrested for drunk driving. She was in the passenger seat and instead of keeping calm and letting the officers do their job she got out of the car to announce to the officer “Do you know my name?” This was followed by “You’re about to find out. . .” Blah, blah, I’m an entitled Hollywood actress who should get special treatment and I have lawyers. Um, Reese, this is being videotaped.
Since this is a blog about the South, I wonder why it is that southern women often get the title of “America’s sweetheart?” We’ve had Mary Lou Retton (West Virginia), Julia Roberts (Georgia), Taylor Swift (from rural Pennsylvania–also known as North Alabama–and in country music she might as well be from the South), Britney Spears (Louisiana) and Reese Witherspoon (Tennessee). There have also been a number of beauty queens from the South who’ve won Miss America.
After shaving her head, Britney Spears had this “umbrella incident.”
I have a theory that white southern women who supposedly exhibit a certain feminine innocence and charm, not unlike the southern belles of old, are still held up as models of femininity for the nation. Even if their private behavior isn’t innocent, very often their public personas suggest that they are well-behaved, models of traditional womanhood. So, when they show their human frailties (Britney Spears) or that they aren’t sweet at all (Reese Witherspoon) it seems like they’ve taken a big tumble from their pedestals. Except they shouldn’t have been placed there to begin with. It’s a precarious perch and they were bound to fall.
It is inherently problematic to assign southern women the title of “America’s sweetheart.” Southern women are not the mythic creatures of traditional femininity, nor do they embody the behavior that Americans and the media continue to portray them as having. They are, like other American women, fallible human beings who can sometimes behave poorly.
I’m pleased to be able to participate in the annual Historic Natchez Conference this week from Wednesday, April 17 through Saturday, April 20th. The focus of the meeting is “Civil War to Civil Rights.” I’ll be speaking about my new project about a murder case that made national headlines in 1932. It’s known locally in Natchez as the “Goat Castle Murder.”
The conference will be headquartered at the historic Eola Hotel. As with many small towns with nary an airport in sight, folks there know how to show people a good time.
Longwood Plantation, Natchez
If you ever get to visit Natchez, you should. As they say there, “Natchez is in this world, but not of it.” Seeing is believing.