Baker in her banana costume
Freda Josephine McDonald
3 June 1906
|Died||12 April 1975 (aged 68)|
|Resting place||Monaco Cemetery|
|Residence||Roquebrune, Provence-Alpes-Côte d'Azur, (French Riviera), France|
|Occupation||Civil rights activist, vedette, singer, Decorated World War II Spy|
|Partner(s)||Robert Brady (1973–75)|
|Children||adopted 12 children; informal Jean-Claude Baker|
|Labels||Columbia, Mercury, RCA Victor|
Josephine Baker (born Freda Josephine McDonald, naturalised French Joséphine Baker; 3 June 1906 – 12 April 1975) was an American-born French entertainer, activist, and French Resistance agent. Her career was centered primarily in Europe, mostly in her adopted France. During her early career she was renowned as a dancer, and was among the most celebrated performers to headline the revues of the Folies Bergère in Paris. Her performance in the revue Un vent de folie in 1927 caused a sensation in Paris. Her costume, consisting of only a girdle of artificial bananas, became her most iconic image and a symbol of the Jazz Age and the 1920s.
Baker was celebrated by artists and intellectuals of the era, who variously dubbed her the “Black Venus”, the "Black Pearl", the "Bronze Venus", and the "Creole Goddess". Born in St. Louis, Missouri, she renounced her U.S. citizenship and became a French national after her marriage to French industrialist Jean Lion in 1937. She raised her children in France. "I have two loves, my country and Paris." the artist once said, and sang: «J'ai deux amours, mon pays et Paris».
Baker refused to perform for segregated audiences in the United States and is noted for her contributions to the Civil Rights Movement. In 1968 she was offered unofficial leadership in the movement in the United States by Coretta Scott King, following Martin Luther King Jr.'s assassination. After thinking it over, Baker declined the offer out of concern for the welfare of her children.
She was also known for aiding the French Resistance during World War II. After the war, she was awarded the Croix de guerre by the French military, and was named a Chevalier of the Légion d'honneur by General Charles de Gaulle.
- 1 Early life
- 2 Career
- 3 Civil rights activism
- 4 Personal life
- 5 Later years and death
- 6 Legacy
- 7 Portrayals
- 8 Film credits
- 9 See also
- 10 References
- 11 Bibliography
- 12 External links
Freda Josephine McDonald was born in St. Louis, Missouri. Her mother, Carrie, was adopted in Little Rock, Arkansas in 1886 by Richard and Elvira McDonald, both of whom were former slaves of African and Native American descent. Josephine Baker's estate identifies vaudeville drummer Eddie Carson as her natural father despite evidence to the contrary. Baker's foster son Jean-Claude Baker wrote a biography, published in 1993, titled Josephine: The Hungry Heart. Jean-Claude Baker did an exhaustive amount of research into the life of Josephine Baker, including the identity of her biological father. In the book, he discusses at length the circumstances surrounding Josephine Baker's birth:
The records of the city of St. Louis tell an almost unbelievable story. They show that (Josephine Baker's mother) Carrie McDonald ... was admitted to the (exclusively white) Female Hospital on May 3, 1906, diagnosed as pregnant. She was discharged on June 17, her baby, Freda J. McDonald having been born two weeks earlier. Why six weeks in the hospital? Especially for a black woman (of that time) who would customarily have had her baby at home with the help of a midwife? Obviously, there had been complications with the pregnancy, but Carrie's chart reveals no details. The father was identified (on the birth certificate) simply as "Edw"... I think Josephine's father was white – so did Josephine, so did her family ... people in St. Louis say that (Baker's mother) had worked for a German family (around the time she became pregnant). He's the one who must have got her into that hospital and paid to keep her there all those weeks. Also, her baby's birth was registered by the head of the hospital at a time when most black births were not. I have unraveled many mysteries associated with Josephine Baker, but the most painful mystery of her life, the mystery of her father's identity, I could not solve. The secret died with Carrie, who refused to the end to talk about it. She let people think Eddie Carson was the father, and Carson played along, (but) Josephine knew better.
Carrie McDonald and Eddie Carson had a song-and-dance act, playing wherever they could get work. When Josephine was about a year old they began to carry her onstage occasionally during their finale. She was further exposed to show business at an early age because her childhood neighborhood was home to many vaudeville theaters that doubled as movie houses. These venues included the Jazzland, Booker T. Washington, and Comet Theatres.
Josephine spent her early life at 212 Targee Street (known by some St. Louis residents as Johnson Street) in the Mill Creek Valley neighborhood of St. Louis, a racially mixed low-income neighborhood near Union Station, consisting mainly of rooming houses, brothels, and apartments without indoor plumbing. Josephine was always poorly dressed and hungry as a child, and developed street smarts playing in the railroad yards of Union Station. She had little formal education, and attended Lincoln Elementary School only through the fifth grade.
Josephine's mother married a kind but perpetually unemployed man, Arthur Martin, with whom she had son Arthur and two more daughters, Marguerite and Willie. She took in laundry to wash to make ends meet, and at eight years old, Josephine began working as a live-in domestic for white families in St. Louis. One woman abused her, burning Josephine's hands when the young girl put too much soap in the laundry. By age 12, she had dropped out of school.[unreliable source?]
At 13 she worked as a waitress at the Old Chauffeur's Club at 3133 Pine Street. She also lived as a street child in the slums of St. Louis, sleeping in cardboard shelters, scavenging for food in garbage cans, making a living with street-corner dancing. It was at the Old Chauffeur's Club where Josephine met Willie Wells and married him the same year. However, the marriage lasted less than a year. Following her divorce from Wells, she found work with a street performance group called the Jones Family Band.
In Baker's teen years she struggled to have a healthy relationship with her mother, Carrie McDonald, who did not want Josephine to become an entertainer, and scolded her for not tending to her second husband Willie Baker, whom she had married in 1921 at 15. Although she left Willie Baker when her vaudeville troupe was booked into a New York City venue and divorced him in 1925, it was during this time she began to see significant career success, and she continued to use his last name professionally for the rest of her life.
Though Baker traveled, then returned with gifts and money for her mother and younger half-sister, the turmoil with her mother pushed her to make a trip to France.
Baker's consistent badgering of a show manager in her hometown led to her being recruited for the St. Louis Chorus vaudeville show. At the age of 15, she headed to New York City during the Harlem Renaissance, performing at the Plantation Club, Florence Mills’ old stomping ground, and in the chorus lines of the groundbreaking and hugely successful Broadway revues Shuffle Along (1921) with Adelaide Hall and The Chocolate Dandies (1924).
Baker performed as the last dancer on the end of the chorus line, where her act was to perform in a comic manner, as if she were unable to remember the dance, until the encore, at which point she would perform it not only correctly but with additional complexity. A term of the time describes this part of the cast as “The Pony.” Baker was billed at the time as "the highest-paid chorus girl in vaudeville".
Her career began with blackface comedy at local clubs; this was the "entertainment" of which her mother had disapproved; however, these performances landed Baker an opportunity to tour in Paris, which would become the place she called home until her final days.
Paris and rise to fame
In a 1974 interview with The Guardian, Baker explained that she obtained her first big break in the bustling city. "No, I didn't get my first break on Broadway. I was only in the chorus in 'Shuffle Along' and 'Chocolate Dandies'. I became famous first in France in the twenties. I just couldn't stand America and I was one of the first coloured Americans to move to Paris. Oh yes, Bricktop was there as well. Me and her were the only two, and we had a marvellous time. Of course, everyone who was anyone knew Bricky. And they got to know Miss Baker as well."
In Paris, she became an instant success for her erotic dancing, and for appearing practically nude onstage. After a successful tour of Europe, she broke her contract and returned to France to star at the Folies Bergère, setting the standard for her future acts.
Baker performed the "Danse Sauvage" wearing a costume consisting of a skirt made of a string of artificial bananas. Her success coincided (1925) with the Exposition des Arts Décoratifs, which gave birth to the term "Art Deco", and also with a renewal of interest in non-Western forms of art, including African. Baker represented one aspect of this fashion. In later shows in Paris, she was often accompanied on stage by her pet cheetah, "Chiquita", who was adorned with a diamond collar. The cheetah frequently escaped into the orchestra pit, where it terrorized the musicians, adding another element of excitement to the show.
After a while, Baker was the most successful American entertainer working in France. Ernest Hemingway called her "the most sensational woman anyone ever saw." The author spent hours talking with her in Paris bars. Picasso drew paintings depicting her alluring beauty. Jean Cocteau became friendly with her and helped vault her to international stardom.
At this time she scored her most successful song, "J'ai deux amours" (1931). At the start of her career in France, Baker met a Sicilian former stonemason who passed himself off as a count, who persuaded her to let him manage her. Giuseppe Pepito Abatino was not only Baker's management, but her lover as well. The two could not marry because Baker was still married to her second husband, Willie Baker.
Under the management of Abatino, Baker's stage and public persona, as well as her singing voice, were transformed. In 1934, she took the lead in a revival of Jacques Offenbach's opera La créole, which premiered in December of that year for a six-month run at the Théâtre Marigny on the Champs-Élysées of Paris. In preparation for her performances, she went through months of training with a vocal coach. In the words of Shirley Bassey, who has cited Baker as her primary influence, "... she went from a 'petite danseuse sauvage' with a decent voice to 'la grande diva magnifique' ... I swear in all my life I have never seen, and probably never shall see again, such a spectacular singer and performer." Despite her popularity in France, Baker never attained the equivalent reputation in America. Her star turn in a 1936 revival of Ziegfeld Follies on Broadway generated less than impressive box office numbers, and later in the run, she was replaced by Gypsy Rose Lee. Time magazine referred to her as a "Negro wench ... whose dancing and singing might be topped anywhere outside of Paris", while other critics said her voice was "too thin" and "dwarf-like" to fill the Winter Garden Theatre. She returned to Europe heartbroken. This contributed to Baker's becoming a legal citizen of France and giving up her American citizenship.
Baker returned to Paris in 1937, married the French industrialist Jean Lion, and became a French citizen. They were married in the French town of Crèvecœur-le-Grand, in a wedding presided over by the mayor, Jammy Schmidt.
Work during World War II
In September 1939, when France declared war on Germany in response to the invasion of Poland, Baker was recruited by the Deuxième Bureau, French military intelligence, as an "honorable correspondent". Baker collected what information she could about German troop locations from officials she met at parties. She specialized in gatherings at embassies and ministries, charming people as she had always done, while gathering information. Her café-society fame enabled her to rub shoulders with those in the know, from high-ranking Japanese officials to Italian bureaucrats, and to report back what she heard. She attended parties and gathered information at the Italian embassy without raising suspicion.:182–269
When the Germans invaded France, Baker left Paris and went to the Château des Milandes, her home in the Dordogne département in the south of France. She housed people who were eager to help the Free French effort led by Charles de Gaulle and supplied them with visas. As an entertainer, Baker had an excuse for moving around Europe, visiting neutral nations such as Portugal, as well as some in South America. She carried information for transmission to England, about airfields, harbors, and German troop concentrations in the West of France. Notes were written in invisible ink on Baker's sheet music.:232–269
Later in 1941, she and her entourage went to the French colonies in North Africa. The stated reason was Baker's health (since she was recovering from another case of pneumonia) but the real reason was to continue helping the Resistance. From a base in Morocco, she made tours of Spain. She pinned notes with the information she gathered inside her underwear (counting on her celebrity to avoid a strip search). She met the Pasha of Marrakech, whose support helped her through a miscarriage (the last of several). After the miscarriage, she developed an infection so severe it required a hysterectomy. The infection spread and she developed peritonitis and then sepsis. After her recovery (which she continued to fall in and out of), she started touring to entertain British, French, and American soldiers in North Africa. The Free French had no organized entertainment network for their troops, so Baker and her entourage managed for the most part on their own. They allowed no civilians and charged no admission.
In Cairo, Egypt's King Farouk asked her to sing; she refused because Egypt had not recognized Free France and remained neutral. However, she offered to sing in Cairo at a celebration of honor for the ties between Free France and Egypt, and asked Farouk to preside, a subtle indication of which side his officially neutral country leaned toward.
Baker's last marriage, to French composer and conductor Jo Bouillon, ended around the time Baker opted to adopt her 11th child. After the separation, Baker's chateau in France was foreclosed and she had to be physically removed from the property.
In 1949, a reinvented Baker returned in triumph to the Folies Bergere. Bolstered by recognition of her wartime heroics, Baker the performer assumed a new gravitas, unafraid to take on serious music or subject matter. The engagement was a rousing success, and reestablished Baker as one of Paris' preeminent entertainers. In 1951 Baker was invited back to the United States for a nightclub engagement in Miami. After winning a public battle over desegregating the club's audience, Baker followed up her sold-out run at the club with a national tour. Rave reviews and enthusiastic audiences accompanied her everywhere, climaxed by a parade in front of 100,000 people in Harlem in honor of her new title: NAACP's "Woman of the Year". Her future looked bright, with six months of bookings and promises of many more to come.
In 1952 Baker was hired to crown the Queen of the Cavalcade of Jazz for the famed eighth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on June 1. Also featured to perform that day were Roy Brown and His Mighty Men, Anna Mae Winburn and Her Sweethearts, Toni Harper, Louis Jordan, Jimmy Witherspoon and Jerry Wallace.
An incident at the Stork Club interrupted and overturned her plans. Baker criticized the club's unwritten policy of discouraging black patrons, then scolded columnist Walter Winchell, an old ally, for not rising to her defense. Winchell responded swiftly with a series of harsh public rebukes, including accusations of Communist sympathies (a serious charge at the time). The ensuing publicity resulted in the termination of Baker's work visa, forcing her to cancel all her engagements and return to France. It was almost a decade before U.S. officials allowed her back into the country.
In January 1966, Fidel Castro invited Baker to perform at the Teatro Musical de La Habana in Havana, Cuba, at the 7th anniversary celebrations of his revolution. Her spectacular show in April broke attendance records. In 1968, Baker visited Yugoslavia and made appearances in Belgrade and in Skopje. In her later career, Baker faced financial troubles. She commented, "Nobody wants me, they've forgotten me"; but family members encouraged her to continue performing. In 1973 she performed at Carnegie Hall to a standing ovation.
The following year, she appeared in a Royal Variety Performance at the London Palladium, and then at the Monacan Red Cross Gala, celebrating her 50 years in French show business. Advancing years and exhaustion began to take their toll; she sometimes had trouble remembering lyrics, and her speeches between songs tended to ramble. She still continued to captivate audiences of all ages.
Civil rights activism
Although based in France, Baker supported the Civil Rights Movement during the 1950s. When she arrived in New York with her husband Jo, they were refused reservations at 36 hotels because of racial discrimination. She was so upset by this treatment that she wrote articles about the segregation in the United States. She also began traveling into the South. She gave a talk at Fisk University, a historically black college in Nashville, Tennessee, on "France, North Africa And The Equality Of The Races In France".
She refused to perform for segregated audiences in the United States, although she was offered $10,000 by a Miami club. (The club eventually met her demands). Her insistence on mixed audiences helped to integrate live entertainment shows in Las Vegas, Nevada. After this incident, she began receiving threatening phone calls from people claiming to be from the Ku Klux Klan but said publicly that she was not afraid of them.
In 1951, Baker made charges of racism against Sherman Billingsley's Stork Club in Manhattan, where she had been refused service. Actress Grace Kelly, who was at the club at the time, rushed over to Baker, took her by the arm and stormed out with her entire party, vowing never to return (although she returned on 3 January 1956 with Prince Rainier of Monaco). The two women became close friends after the incident.
When Baker was near bankruptcy, Kelly offered her a villa and financial assistance (Kelly by then was princess consort of Rainier III of Monaco). (However, during his work on the Stork Club book, author and New York Times reporter Ralph Blumenthal was contacted by Jean-Claude Baker, one of Baker's sons. Having read a Blumenthal-written story about Leonard Bernstein's FBI file, he indicated that he had read his mother's FBI file and, using comparison of the file to the tapes, said he thought the Stork Club incident was overblown.))
Baker worked with the NAACP. Her reputation as a crusader grew to such an extent that the NAACP had Sunday, 20 May 1951 declared "Josephine Baker Day". She was presented with life membership with the NAACP by Nobel Peace Prize winner Dr. Ralph Bunche. The honor she was paid spurred her to further her crusading efforts with the "Save Willie McGee" rally after he was convicted of the 1948 beating death of a furniture shop owner in Trenton, New Jersey. As the decorated war hero who was bolstered by the racial equality she experienced in Europe, Baker became increasingly regarded as controversial; some black people even began to shun her, fearing that her outspokenness and racy reputation from her earlier years would hurt the cause.
Baker was the only official female speaker. While wearing her Free French uniform emblazoned with her medal of the Légion d'honneur, she introduced the "Negro Women for Civil Rights." Rosa Parks and Daisy Bates were among those she acknowledged, and both gave brief speeches. Not everyone involved wanted Baker present at the March; some thought her time overseas had made her a woman of France, one who was disconnected from the Civil Rights issues going on in America. In her powerful speech, one of the things Baker notably said was:
I have walked into the palaces of kings and queens and into the houses of presidents. And much more. But I could not walk into a hotel in America and get a cup of coffee, and that made me mad. And when I get mad, you know that I open my big mouth. And then look out, 'cause when Josephine opens her mouth, they hear it all over the world ...
After King's assassination, his widow Coretta Scott King approached Baker in the Netherlands to ask if she would take her husband's place as leader of the Civil Rights Movement. After many days of thinking it over, Baker declined, saying her children were "too young to lose their mother".
Josephine Baker was bisexual. Her first marriage was to American Pullman porter Willie Wells when she was only 13 years old. The marriage was reportedly very unhappy and the couple divorced a short time later. Another short-lived marriage followed to Willie Baker in 1921; she retained Baker's last name because her career began taking off during that time, and it was the name by which she became best known. While she had four marriages to men, Jean-Claude Baker writes that Josephine also had several relationships with women.
During her time in the Harlem Renaissance arts community, one of her relationships was with Blues singer Clara Smith. In 1925 she began an extramarital relationship with the Belgian novelist Georges Simenon. In 1937, Baker married Frenchman Jean Lion. She and Lion separated in 1940. Lion died in 1957 of Spanish influenza. She married French composer and conductor Jo Bouillon in 1947, and their union also ended in divorce but lasted 14 years. She was later involved for a time with the artist Robert Brady, but they never married.
During Baker's work with the Civil Rights Movement, she began adopting children, forming a family she often referred to as "The Rainbow Tribe". Baker wanted to prove that "children of different ethnicities and religions could still be brothers." She often took the children with her cross-country, and when they were at Château des Milandes, she arranged tours so visitors could walk the grounds and see how natural and happy the children in "The Rainbow Tribe" were. Her estate featured hotels, a farm, rides, and the children singing and dancing for the audience. She'd charge admission for visitors to enter and partake in the activities, which included watching the children play. Baker used her children as metaphors: living examples of what humanity should look like, and her diverse children were used in a sort of attack against racism. She created dramatic backstories for them, picking with clear intent in mind: at one point she wanted and planned to get a Jewish baby, but settled for a French one instead. She also raised them as different religions to further her model for the world, taking two children from Algeria and raising one Muslim and the other Catholic. One member of the Tribe, Jean-Claude Baker, said:
She wanted a doll.
Another, Akio who was adopted from Japan, said
She was a great artist, and she was our mother. Mothers make mistakes. Nobody's perfect.
Baker raised two daughters, French-born Marianne and Moroccan-born Stellina, and 10 sons, Korean-born Jeannot (or Janot), Japanese-born Akio, Colombian-born Luis, Finnish-born Jari (now Jarry), French-born Jean-Claude and Noël, Israeli-born Moïse, Algerian-born Brahim, Ivorian-born Koffi, and Venezuelan-born Mara. For some time, Baker lived with her children and an enormous staff in the château in Dordogne, France, with her fourth husband, Jo Bouillon.
Later years and death
Baker was back on stage at the Olympia in Paris in 1968, in Belgrade in 1973, at Carnegie Hall in 1973, at the Royal Variety Performance at the London Palladium in 1974, and at the Gala du Cirque in Paris in 1974. On 8 April 1975, Baker starred in a retrospective revue at the Bobino in Paris, Joséphine à Bobino 1975, celebrating her 50 years in show business. The revue, financed notably by Prince Rainier, Princess Grace, and Jacqueline Kennedy Onassis, opened to rave reviews. Demand for seating was such that fold-out chairs had to be added to accommodate spectators. The opening night audience included Sophia Loren, Mick Jagger, Shirley Bassey, Diana Ross, and Liza Minnelli.
Four days later, Baker was found lying peacefully in her bed surrounded by newspapers with glowing reviews of her performance. She was in a coma after suffering a cerebral hemorrhage. She was taken to Pitié-Salpêtrière Hospital, where she died, aged 68, on 12 April 1975.
She received a full Roman Catholic funeral that was held at L'Église de la Madeleine. The only American-born woman to receive full French military honors at her funeral, Baker's funeral was the occasion of a huge procession. After a family service at Saint-Charles Church in Monte Carlo, Baker was interred at Monaco's Cimetière de Monaco.
Place Joséphine Baker (Montparnasse Quarter of Paris was named in her honor. She has also been inducted into the St. Louis Walk of Fame, and on 29 March 1995, into the Hall of Famous Missourians.) in the
Writing in the on-line BBC magazine in late 2014, Darren Royston, historical dance teacher at RADA credited Baker with being the Beyoncé of her day, and bringing the Charleston to Britain. Two of Baker's sons, Jean-Claude and Jarry (Jari), grew up to go into business together, running the restaurant Chez Josephine on Theatre Row, 42nd Street, New York City. It celebrates Baker's life and works.
Château des Milandes, a castle near Sarlat in the Dordogne, was Baker's home where she raised her twelve children. It is open to the public and displays her stage outfits including her banana skirt (of which there are apparently several). It also displays many family photographs and documents as well as her Legion of Honour medal. Most rooms are open for the public to walk through including bedrooms with the cots where her children slept, a huge kitchen, and a dining room where she often entertained large groups. The bathrooms were designed in art deco style but most rooms retained the French chateau style.
Baker continued to influence celebrities more than a century after her birth. In a 2003 interview with USA Today, Angelina Jolie cited Baker as "a model for the multiracial, mulitnational family she was beginning to create through adoption". Beyoncé performed Baker's banana dance at the Fashion Rocks concert at Radio City Music Hall in September 2006.
Writing on the 110 anniversary of her birth, Vogue described how her 1926 "danse sauvage" in her famous banana skirt "brilliantly manipulated the white male imagination" and "radically redefined notions of race and gender through style and performance in a way that continues to echo throughout fashion and music today, from Prada to Beyoncé."
- Baker appears in her role as a member of the French Resistance in Johannes Mario Simmel's 1960 novel, Es muss nicht immer Kaviar sein (C'est pas toujours du caviar).
- A character loosely based on Baker is featured in an episode of Hogan's Heroes titled "Is General Hammerschlag Burning?", which originally aired on 18 November 1967. The character Kumasa (played by Barbara McNair) is a chanteuse based in Paris. She later reveals herself to be Carol Dukes, a high-school classmate of Sergeant James Kinchloe (Ivan Dixon), on whom she had a secret crush.
- The Italian-Belgian francophone singer composer Salvatore Adamo pays tribute to Baker with the song "Noël Sur Les Milandes" (album Petit Bonheur – EMI 1970).
- Diana Ross portrayed Baker in both her Tony Award-winning Broadway and television show An Evening with Diana Ross. When the show was made into an NBC television special entitled The Big Event: An Evening with Diana Ross, Ross again portrayed Baker.
- A German submariner mimics Baker's Danse banane in the 1981 film Das Boot.
- In 1986, Helen Gelzer portrayed Baker on the London stage for a limited run in the musical Josephine – "a musical version of the life and times of Josephine Baker" with book, lyrics and music by Michael Wild. The show was produced by Baker's longtime friend Jack Hocket in conjunction with Premier Box-Office, and the musical director was Paul Maguire. Gelzer also recorded a studio cast album titled Josephine.
- In 1991, Baker's life story, The Josephine Baker Story, was broadcast on HBO. Lynn Whitfield portrayed Baker, and won an Emmy Award for Outstanding Lead Actress in a Miniseries or a Special – becoming the first Black actress to win the award in this category.
- Artist Hassan Musa depicted Baker in a 1994 series of paintings called Who needs Bananas?
- In the 1997 animated musical film Anastasia, Baker appears with her cheetah during the musical number "Paris Holds the Key (to Your Heart)".
- In 2002, played by Karine Plantadit in Frida.
- A character based on Baker (topless, wearing the famous "banana skirt") appears in the opening sequence of the 2003 animated film The Triplets of Belleville (Les Triplettes de Belleville).
- The 2004 erotic novel Scandalous by British author Angela Campion uses Baker as its heroine and is inspired by Baker's sexual exploits and later adventures in the French Resistance. In the novel, Baker, working with a fictional black Canadian lover named Drummer Thompson, foils a plot by French fascists in 1936 Paris.
- Her influence upon and assistance with the careers of husband and wife dancers Carmen De Lavallade and Geoffrey Holder are discussed and illustrated in rare footage in the 2005 Linda Atkinson/Nick Doob documentary, Carmen and Geoffrey.
- Beyoncé has portrayed Baker on various occasions. During the 2006 Fashion Rocks show, Knowles performed "Dejá Vu" in a revised version of the Danse banane costume. In Knowles's video for "Naughty Girl", she is seen dancing in a huge champagne glass à La Baker. In I Am ... Yours: An Intimate Performance at Wynn Las Vegas, Beyonce lists Baker as an influence of a section of her live show.
- In 2006, Jérôme Savary produced a musical, A La Recherche de Josephine – New Orleans for Ever (Looking for Josephine), starring Nicolle Rochelle. The story revolved around the history of jazz and Baker's career.
- In 2010, Keri Hilson portrayed Baker in her single "Pretty Girl Rock".
- In 2011, Sonia Rolland portrayed Baker in the film Midnight in Paris.
- Baker was heavily featured in the 2012 book Josephine's Incredible Shoe & The Blackpearls by Peggi Eve Anderson-Randolph.
- In July 2012, Cheryl Howard opened in The Sensational Josephine Baker, written and performed by Howard and directed by Ian Streicher at the Beckett Theatre of Theatre Row on 42nd Street in New York City, just a few doors away from Chez Josephine.
- In July 2013, Cush Jumbo's debut play Josephine and I premiered at the Bush Theatre, London. It was re-produced in New York City at The Public Theater's Joe's Pub from 27 February to 5 April 2015.
- In June 2016, Josephine, a burlesque cabaret dream play starring Tymisha Harris as Josephine Baker premiered at the 2016 San Diego Fringe Festival. The show has since played across North America and had a limited off-Broadway run in January–February 2018 at SoHo Playhouse in New York City.
- In February 2017, Tiffany Daniels portrayed Baker in the Timeless television episode "The Lost Generation".
- In late February 2017, a new play about Baker's later years, The Last Night of Josephine Baker by playwright Vincent Victoria, opened in Houston, Texas, starring Erica Young.
- Siren of the Tropics (1927)
- The Woman from the Folies Bergères (1927) short subject
- Zouzou (1934)
- Princesse Tam Tam (1935)
- Fausse alerte (The French Way) (1945)
- Moulin Rouge (1941)
- An jedem Finger zehn (1954)
- Carosello del varietà (1955)
- Baker, Jean-Claude (1993). Josephine: The Hungry Heart (First ed.). New York: Random House. ISBN 978-0679409151.
- Kelleher, Katy (26 March 2010). "She'll Always Have Paris". Jezebel. Retrieved 13 October 2016.
- "Josephine Baker: The life of an artist and activist". www.aljazeera.com. Retrieved 3 June 2017.
- Atwood, Kathryn (2011). Women Heroes of World War II. Chicago: Chicago Review Press. p. 77. ISBN 9781556529610.
- Baker, Jean-Claude (1993). Josephine: The Hungry Heart (First ed.). New York: Random House. ISBN 978-0679409151.
- Bouillon, Joe (1977). Josephine (First ed.). New York: Harper & Row. ISBN 978-0-06-010212-8.
- Bostock, William W. (2002). "Collective Mental State and Individual Agency: Qualitative Factors in Social Science Explanation". Forum Qualitative Sozialforschung. 3 (3). ISSN 1438-5627. Retrieved 20 September 2009.
- Roberts, Kimberly (8 April 2011). "Remembering Josephine Baker". Philadelphia Tribune.
- "Josephine Baker (Freda McDonald) Native of St. Louis, Missouri". Black Missouri. 10 February 2008. Retrieved 6 March 2009.
- "About Art Deco – Josephine Baker". Victoria and Albert Museum. 29 July 2015. Retrieved 6 March 2009.
- "About Josephine Baker: Biography". Official site of Josephine Baker. The Josephine Baker Estate. 2008. Retrieved 12 January 2009.
- Baker, Jean-Claude (1993). Josephine: The Hungry Heart (First ed.). New York: Random House. ISBN 978-0679409151.
- Wood, Ian (2000). The Josephine Baker Story. United Kingdom: MPG Books. pp. 241–318. ISBN 978-1-86074-286-6.
- 1920 United States Federal Census
- Whitaker, Matthew C. (2011). Icons of Black America: Breaking Barriers and Crossing Boundaries. p. 64.
- "The Rise and Fall of Josephine Baker". Dollars & Sense. 13. 1987.
- Nicole, Corinna (6 July 2016). "When Frida Kahlo Set Her Eyes on Josephine Baker". Owlcation. Retrieved 12 June 2017.
- Appel, Jacob M. (2 May 2009). St. James Encyclopedia of Popular Culture.
- Webb, Shawncey (2016). Josephine Baker. Salem Press Biographical Encyclopedia – via Research Starters, EBSCOhost.
- Jules-Rosette, Bennetta (2007). Josephine Baker in Art and Life. Chicago: Urbana: University of Illinois Press. ISBN 9780252074127.
- Ralling, Christopher (1987). Chasing a Rainbow: The Life of Josephine Baker.
- Kirchner, Bill, ed. (2000). The Oxford Companion to Jazz. Oxford University Press. p. 700. ISBN 978-0195125108.
- Williams, Iain Cameron. Underneath a Harlem Moon ... The Harlem to Paris Years of Adelaide Hall, Continuum Int. Publishing (2003); ISBN 0-8264-5893-9:
- Broughton, Sarah (2009). Josephine Baker: The First Black Superstar.
- "About Josephine Baker: Biography". Official Josephine Baker website. The Josephine Baker Estate. 2008. Retrieved 12 January 2009.
- "Le Jazz-Hot: The Roaring Twenties", in William Alfred Shack's Harlem in Montmartre: A Paris Jazz Story Between the Great Wars, University of California Press, 2001, pg. 35.
- "From the archive, 26 August 1974: An interview with Josephine Baker". The Guardian. 26 August 2015.
- ""Quotes": the official Josephine Baker website". Cmgww.com. Retrieved 5 December 2013.
- Lahs-Gonzales, Olivia.Josephine Baker: Image & Icon (excerpt in Jazz Book Review, 2006). Archived 25 October 2009 at the Wayback Machine
- "From the archive, 26 August 1974: An interview with Josephine Baker". The Guardian. 26 August 2015.
- McCann, Bob (2009). Encyclopedia of African American Actresses in Film and Television. p. 31. ISBN 9780786458042.
- "Josephine Baker: The First Black Super Star". Allblackwoman.com. 4 June 2012. Retrieved 18 June 2012.
- Schroeder, Alan and Heather Lehr Wagner (2006). Josephine Baker: Entertainer. Chelsea House Publications. pp. 51–52. ISBN 978-0-7910-9212-5.
- Cullen, Frank (2006). Vaudeville, Old and New: An Encyclopedia of Variety Performers in America, 2 volumes. Routledge. p. 235. ISBN 978-0-415-93853-2.
- Susan Robinson (3 June 1906). "Josephine Baker". Gibbs Magazine. Retrieved 5 December 2013.
- Rose, Phyllis (1989). Jazz Cleopatra: Josephine Baker in her time. United States of America: Doubleday. ISBN 978-0-385-24891-4.
- "Female Spies in World War I and World War II". About.com. Retrieved 3 June 2017.
- Ann Shaffer (4 October 2006). "Review of Josephine Baker: A Centenary Tribute". blackgrooves. Retrieved 8 January 2009.
- Reed, Tom. (1992). The Black music history of Los Angeles, its roots : 50 years in Black music : a classical pictorial history of Los Angeles Black music of the 20's, 30's, 40's, 50's and 60's : photographic essays that define the people, the artistry and their contributions to the wonderful world of entertainment (1st, limited ed.). Los Angeles: Black Accent on L.A. Press. ISBN 096329086X. OCLC 28801394.
- “Josephine Baker to Crown Queen” Headliner Los Angeles Sentinel May 22, 1952.
- Hinckley, David (9 November 2004). "Firestorm Incident At The Stork Club, 1951". New York Daily News. Retrieved 29 February 2016.
- "Stork Club Refused to Serve Her, Josephine Baker Claims". Milwaukee Journal. 19 October 1951. Retrieved 29 August 2010.
- Skibinsky, Anna (20 November 2005). "Another Look at Grace, Princess of Monaco". Epoch Times. Retrieved 11 October 2009.
- Kissel, Howard (3 May 2000). "Stork Club Special Delivery Exhibit at the New York Historical Society recalls a glamour gone with the wind". Daily News. Retrieved 23 April 2018.
- Rustin, Bayard (28 February 2006). "Profiles in Courage for Black History Month". National Black Justice Coalition. Archived from the original on 20 July 2011. Retrieved 8 January 2009.
- "Civil Rights March on Washington". Infoplease.com. 28 August 1963. Retrieved 5 December 2013.
- Baker, Josephine; Bouillon, Joe (1977). Josephine (First ed.). New York: Harper & Row. ISBN 978-0-06-010212-8.
- "March on Washington had one female speaker: Josephine Baker". Washington Post. Retrieved 19 September 2018.
- "(1963) Josephine Baker, "Speech at the March on Washington" | The Black Past: Remembered and Reclaimed". www.blackpast.org. Retrieved 19 September 2018.
- Garber, Marjorie. Bisexuality and the Eroticism of Everyday Life. Routledge, 2013, p. 122. ISBN 978-0415926614
- Assouline, P. Simenon, A Biography. Knopf (1997), pp. 74–75; ISBN 0679402853.
- "Josephine Baker". cmgww.com. Retrieved 23 August 2012.
- "Josephine Baker". answers.com. Retrieved 23 August 2012.
- "Biography". Josephine Baker Estate. Retrieved 16 October 2013.
- Onion, Rebecca (18 April 2014). "Josephine Baker's Rainbow Tribe". Slate. ISSN 1091-2339. Retrieved 19 September 2018.
- Guterl, Matthew Pratt (19 April 2014). "Would the perfect family contain a child from every race?". ISSN 0307-1235. Retrieved 19 September 2018.
- Stephen Papich, Remembering Josephine. pg. 149
- "Josephine Baker Biography". Women in History. 2008. Archived from the original on 18 January 2009. Retrieved 12 January 2009.
- "Josephine Baker", Notable Black American Women, Gale, 1992.
- Josephine Baker and the Rainbow Tribe, Matthew Guterl, Belknap Press, 2014, p. 154.
- "African American Celebrity Josephine Baker, Dancer and Singer". AfricanAmericans.com. 2008. Archived from the original on 2 January 2009. Retrieved 12 January 2009.
- Staff writers (13 April 1975). "Josephine Baker Is Dead in Paris at 68". The New York Times. p. 60. Retrieved 12 January 2009.
- "Josephine Baker Biography - life, name, school, mother, old, information, born, husband, house, time, year". Notablebiographies.com. Retrieved 27 June 2014.
- Ara, Konomi (30 March 2010). "Josephine Baker: A Chanteuse and a Fighter". Journal of Transnational American Studies. 2 (1). Retrieved 27 June 2014.
- Johnson Publishing Company (15 May 1975). Jet. Johnson Publishing Company. pp. 28–. ISSN 0021-5996.
- Verany, Cedric (1 November 2008). "Monaco Cimetière: des bornes interactives pour retrouver les tombes". Monaco Matin. Retrieved 26 December 2015.
- "Visite funéraire de Monaco". Amis et Passionés du Père-Lachaise. 30 August 2005. Retrieved 26 December 2015.
- St. Louis Walk of Fame. "St. Louis Walk of Fame Inductees". stlouiswalkoffame.org. Retrieved 25 April 2013.
- "Hall of Famous Missourians, Missouri House of Representatives". House.mo.gov. 29 March 1995. Retrieved 5 December 2013.
- "Legacy Walk unveils five new bronze memorial plaques - 2342 - Gay Lesbian Bi Trans News". Windy City Times. Retrieved 3 June 2017.
- Piscine Joséphine Baker, paris.fr; accessed 3 June 2017.‹See Tfd›(in French)
- "What do twerking and the Charleston have in common?". BBC Magazine Monitor. 17 November 2014. Retrieved 18 November 2014.
- "Chez Josephine". Jean-Claude Baker. 2009. Archived from the original on 1 April 2009. Retrieved 13 January 2009.
- Kraut, Anthea (Summer 2008). "Review: Josephine Baker in Art and Life: The Icon and the Image by Bennetta Jules-Rosette". Dance Research Journal. 40 (1): 83–86. JSTOR 20527595.
- Morgan Jerkins (3 June 2016). "90 Years Later, the Radical Power of Josephine Baker's Banana Skirt". Vogue. Retrieved 30 January 2017.
- Madeleine Buxton (3 June 2017). "Google Doodle Honors Jazz Age Icon & Civil Rights Activist Josephine Baker". Refinery 29. Retrieved 3 June 2017.
- "Es muss nicht immer Kaviar sein". The New York Times Book Review. 70: 150. 1965.
- "An Evening With Diana Ross (1977)". dianarossproject. Retrieved 22 August 2012.
- "Joséphine Baker baila en ... Das boot". YouTube. Retrieved 22 August 2012.
- "Biography – Helen Gelzer". danforthmusic.net. Retrieved 5 June 2016.
- "Helen Gelzer as 'Josephine': the concept musical". worldcat.org. 1986. Retrieved 13 October 2016.
- ‹See Tfd›(in French) Africultures.com
- "Anastasia-Paris Hold the Key (to Your Heart) Original". YouTube. Retrieved 22 August 2012.
- "FRIDA". Retrieved 22 August 2012.
- Ebert, Roger (1 November 2002). "Frida". roger ebert. Retrieved 22 August 2012.
- "The Triplets of Belleville (Les Triplettes de Belleville)". www.bonjourparis.com. August 2009. Retrieved 22 August 2012.
- Campion, Angela (2004). Scandalous. Brown Skin Books. ISBN 978-0-9544866-2-4.
- Scheib, Ronnie (13 March 2009). "Review: 'Carmen and Geoffrey'". Variety. Retrieved 5 December 2013.
- "Langston Hughes African American Film Festival 2009: Carmen and Geoffrey". bside.com. Archived from the original on 21 October 2012. Retrieved 5 June 2016.
- "Legend Josephine Baker passes away and Vince Gill is born". citybeat.com. Retrieved 22 August 2012.
- "À la recherche de Joséphine»". www.paris-tourist.com. 25 November 2006. Retrieved 22 August 2012.
- "Joséphine Baker". Retrieved 22 August 2012.
- "Keri Hilson Pays Tribute To Janet, TLC, Supremes In 'Pretty Girl Rock' Video". yahoo music. 17 November 2010. Retrieved 22 August 2012.
- "The characters referenced in Woody Allen's Midnight in Paris (Part 16, Josephine Baker)". thedailyhatch.org. 24 June 2011. Retrieved 22 August 2012.
- Hammond, Margo (29 July 2011). "A 'Midnight in Paris' tour takes you back to the Paris of the '20s". Washington Post. Retrieved 22 August 2012.
- Anderson-Randolph, Peggi Eve (25 June 2012). Josephine's Incredible Shoe and the Blackpearls (Volume 1). Amazon.com. ISBN 978-1477570159.
- "Latest News". The Sensational Josephine Baker. Retrieved 22 August 2012.
- "The Sensational Josephine Baker". The New York Times. Retrieved 22 August 2012.
- "Bush Theatre". Archived from the original on 16 June 2013. Retrieved 9 May 2013.
- "Josephine and I", publictheater.org; accessed 13 October 2016.
- "Home". Josephine the play. Retrieved 1 October 2018.
- "La Sirene Des Tropiques". yahoo movies. Retrieved 22 August 2012.
- JACQUES DE BARONCELLI, THE FRENCH WAY-JOSEPHINE BAKER (1945), retrieved 18 January 2019
- The Josephine Baker collection, 1926–2001 at Stanford University Libraries
- Atwood, Kathryn J., & Sarah Olson. Women Heroes of World War II: 26 Stories of Espionage, Sabotage, Resistance, and Rescue. Chicago, Illinois: Chicago Review Press, 2011. ISBN 9781556529610
- Baker, J.C., & Chris Chase (1993). Josephine: The Hungry Heart. New York: Random House. ISBN 0679409157
- Baker, Jean-Claude, & Chris Chase (1995). Josephine: The Josephine Baker Story. Adams Media Corp. ISBN 1-55850-472-9
- Baker, Josephine, & Jo Bouillon (1995). Josephine. Marlowe & Co. ISBN 1-56924-978-4
- Bonini, Emmanuel (2000). La veritable Josephine Baker. Paris: Pigmalean Gerard Watelet. ISBN 2-85704-616-2
- Guterl, Matthew, Josephine Baker and the Rainbow Tribe Cambridge, MA: Belknap Press, 2014. ISBN 9780674047556
- Hammond O'Connor, Patrick (1988). Josephine Baker. Jonathan Cape. ISBN 0-224-02441-8
- Haney, Lynn (1996). Naked at the Feast: A Biography of Josephine Baker. Robson Book Ltd. ISBN 0-86051-965-1
- Jules-Rosette, Bennetta (2007). Josephine Baker in Art and Life: The Icon and the Image. Urbana: University of Illinois Press. ISBN 0-252-07412-2
- Jules-Rosette, Bennetta (2006). Josephine Baker: Image and Icon. Reedy Press. ISBN 1-933370-02-5
- Kraut, Anthea, "Between Primitivism and Diaspora: The Dance Performances of Josephine Baker, Zora Neale Hurston, and Katherine Dunham", Theatre Journal 55 (2003): 433–50.
- Mackrell, Judith. Flappers: Six Women of a Dangerous Generation. 2013. ISBN 978-0-330-52952-5
- Mahon, Elizabeth Kerri (2011). Scandalous Women: The Lives and Loves of History's Most Notorious Women. Perigee Trade. ISBN 0-399-53645-0
- Rose, Phyllis (1991). Jazz Cleopatra: Josephine Baker in Her Time. Vintage. ISBN 0-679-73133-4
- Schroeder, Alan (1989). Ragtime Tumpie. Little, Brown; an award-winning children's picture book about Baker's childhood in St. Louis and her dream of becoming a dancer.
- Schroeder, Alan (1990). Josephine Baker. Chelsea House. ISBN 0-7910-1116-X, a young-adult biography.
- Theile, Merlind. "Adopting the World: Josephine Baker's Rainbow Tribe" Spiegel Online International, 2 October 2009.
- Williams, Iain Cameron. Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. Bloomsbury Publishers, ISBN 0-8264-5893-9 The book contains documentation of the rivalry between Adelaide Hall and Josephine Baker.
- Wood, Ean (2002). The Josephine Baker Story. Sanctuary Publishing; ISBN 1-86074-394-3
|Wikiquote has quotations related to: Josephine Baker|
|Wikimedia Commons has media related to Josephine Baker.|
- Josephine Baker at the Casino de Paris, 1931 at YouTube
- Official website
- Les Milandes – Josephine Baker's castle in France
- Josephine Baker at AllMusic
- Josephine Baker at the Internet Broadway Database
- Josephine Baker on IMDb (self)
- Josephine Baker at Find a Grave
- A Josephine Baker photo gallery
- "Discography at Sony BMG Masterworks". Archived from the original on 27 September 2007.
- Photographs of Josephine Baker
- The electric body: Nancy Cunard sees Josephine Baker (2003) – review essay of dance style and contemporary critics
- Guide to Josephine Baker papers at Houghton Library, Harvard University
- "Josephine Baker photographs". University of Missouri–St. Louis.
- Norwood, Arlisha. "Josephine Baker". National Women's History Museum. 2017.