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2. Woman Don't Need No Man

Lucille Bogan

[Verse 1] All the women singing blues, telling me they feel so badAll the women singing blues, telling me they feel so badThe blues is something I ain't ever have [Verse 2]I met a woman as blue, you know that somewhere's got a manI met a woman as blue, you can know that somewhere's got a manShe's got some four or five good news, woman and user, best you can [Verse 3]I'll remind this woman that around here go downNeed to remind this woman that around her can go downAnd with caring send, around her can be found [Bridge]I love my man, he's got me down todayBut believe me, he's more than a brand new way [Verse 4]I may not try, women ain't gon' need to know menI may not try, women ain't gon' need to know menJust like the water, money will come rollin' in [Verse 5]Me and that street talk running everydayMe and that street talk running everydayLeave all now, get enough of right away

  • Verse 1

    This verse plays on the dual meaning of "blues," referring both to the musical genre and the emotional state of sadness or despair often associated with it. The speaker’s declaration that "the blues is something I ain't ever have" distances her from the conventional narratives of sorrow and heartbreak that dominated the songs of many major female blues artists. Icons like Bessie Smith and Ma Rainey often sang about feeling "blue" over men, exploring themes of loss, betrayal, and longing. In contrast, the speaker rejects this trope, asserting a sense of emotional resilience and independence that challenges the genre’s typical associations.
    The wordplay underscores a deeper critique of the societal expectations placed on women, particularly within the blues tradition, to frame their lives and art around suffering in relationships. By claiming she has never had the blues, the speaker subverts these expectations, presenting herself as a woman who refuses to center her identity or emotional state around male approval or loss. This aligns with the broader ethos of the Harlem Renaissance, where women artists used their work to challenge traditional narratives and reclaim autonomy in both their personal lives and creative expressions.

  • Verse 2

    This verse introduces the figure of a woman who embodies the blues, described as being tied to a man despite her evident dissatisfaction. The phrase "four or five good news" suggests fleeting or superficial comforts—perhaps financial support or material gain—offered by these relationships. However, the speaker’s advice to "woman and user, best you can" hints at a pragmatic, almost transactional approach to these dynamics, encouraging women to take advantage of what they can in a male-dominated world.
    This sentiment aligns with the resilience often found in blues music, where women navigated systems of oppression with wit and practicality. Bogan’s lyric underscores the limited options available to women during this era, reflecting a survivalist mentality that critiques the societal structures forcing women into dependency while also celebrating their resourcefulness. The subtext of female solidarity hints at a deeper critique of patriarchy, as the speaker implicitly recognizes the shared struggles of women tied to unfulfilling relationships.

  • Verse 3 & Bridge

    Verse 3 is cryptic but laden with undertones of caution and self-awareness. The speaker seems to issue a warning, reminding the woman of the dangers and consequences of her choices. The phrase "around here can go down" suggests the volatility of relationships or circumstances, particularly in a world where women’s agency was often constrained. The reference to "caring send" could imply a gesture of support or solidarity, emphasizing the importance of women looking out for each other in navigating these challenges. It becomes clear that Bogan is speaking from personal experience, as the bridge introduces a more personal tone, revealing the pain her man has caused while simultaneously affirming her attachment to him. This complexity reflects the layered dynamics of relationships, where love and dependence coexist with frustration and struggle. The phrase "more than a brand new way" suggests that her feelings are not superficial or fleeting but deeply rooted in shared history or connection.

  • Verse 4

    This verse is a bold declaration of the speaker’s belief in women’s independence from men, rejecting both emotional and financial reliance on them. The repetition of "women ain't gon' need to know men" emphasizes this defiance, suggesting a future where women can thrive autonomously. The simile "just like the water, money will come rollin' in" conveys the inevitability of this empowerment, aligning women’s self-sufficiency with natural forces—unstoppable and essential.
    Beyond its overt message of independence, the verse can also be read as having queer-coded undertones. By asserting that women "ain’t gon’ need to know men," the lyric subtly opens the possibility of women finding fulfillment outside of heteronormative relationships. This ambiguity allows the song to resonate with queer women who might interpret this line as an affirmation of same-sex relationships, where women define their lives and pleasures independently of male influence.The imagery of water, often associated with fluidity and renewal, deepens this potential queer reading.

  • Verse 5

    In this final verse, Bogan delves into the experience of navigating persistent gossip and societal judgment, potentially hinting at rumors about her sexuality. The phrase "street talk running everyday" conveys the relentless nature of speculation and whispers that follow her, suggesting that her defiance of traditional norms—whether through her independence, relationships, or desires—has made her a subject of public scrutiny. This interpretation aligns with the societal dynamics of the 1920s, when queer identities and unconventional lifestyles were often met with judgment or sensationalism.
    The instruction to "leave all now, get enough of right away" reflects the speaker’s desire to rise above this gossip, asserting her autonomy and refusal to be defined by others’ opinions. This line can be read as both a call to action and a declaration of resilience, emphasizing the speaker’s commitment to living on her own terms despite societal pressures.