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8. B.D. Woman's Blues

Lucille Bogan

[Verse I] Comin' a time, B.D. women ain't gonna need no menComin' a time, B.D. women ain't gonna do need no menOh, the way they treat us is a lowdown and dirty sin [Verse 2]B.D. women, you sure can't understandB.D. women, you sure can't understandThey got a head like a sweet angel and they walk just like a natural man [Verse 3]B.D. women, they all done learnt their planB.D. women, they all done learnt their planThey can lay their jive just like a natural man [Verse 4]B.D. women, B.D. women, you know they sure is roughB.D. women, B.D. women, you know they sure is roughThey all drink up plenty whiskey and they sure will strut their stuff [Verse 5]B.D. women, you know they work and make their doughB.D. women, you know they work and make their doughAnd when they get ready to spend it, they know they have to go

  • Verse 1

    This verse serves as both a wish and a critique, envisioning a future where masculine-presenting women fully liberate themselves from men. Bogan uses the term "BD" (an abbreviation of a word referring to masculine lesbians, though considered a slur), noting that throughout the audio, she only uses the abbreviated form. The phrase "ain't gonna need no men" can be seen as a reference to the self-sufficient lesbian networks that thrived in Harlem. These communities were deeply rooted in spaces like buffet flats, private parties, and cabarets, where women built relationships, formed partnerships, and supported each other outside of male oversight.
    The accusation of a "lowdown and dirty sin" directly critiques the societal hypocrisy that criminalized queer love while tolerating men’s mistreatment of women. This lyric aligns with the lived realities of queer women in Harlem, who often found refuge in the companionship of other women as a response to patriarchal violence and neglect. The verse functions as both an indictment of male oppression and a celebration of lesbian solidarity, framing their independence as a moral and emotional necessity rather than a mere choice.

  • Verse 2

    Here, the speaker highlights the duality of B.D. women, blending angelic intelligence and masculine swagger. This duality reflects the gender fluidity often embraced by masculine-presenting lesbians in Harlem, who combined traditionally feminine and masculine traits to assert their unique identities. The "head like a sweet angel" might evoke their intellectual and emotional depth, a nod to figures like poet Angelina Weld Grimké, whose poetic works explored the complexities of queer love and longing.
    The "natural man" reference connects to the androgynous styles and behaviors of prominent Harlem lesbians, such as Gladys Bentley. Bentley, who performed in tailored suits and adopted masculine mannerisms, openly pursued women in her songs and real life, challenging societal norms. This verse acknowledges how these women navigated both acceptance and prejudice, embodying masculinity on their own terms. Their "natural" confidence was not an imitation but an authentic expression, making them compelling and disruptive figures within Harlem’s queer culture.

  • Verse 3

    This verse celebrates the resourcefulness of B.D. women, who have "learnt their plan" to navigate a society that marginalizes them. The "plan" implies a deliberate strategy of self-reliance and survival, which was essential for queer women in Harlem. These strategies often included building supportive networks within queer-friendly spaces like buffet flats and speakeasies, where women could express themselves freely and forge connections.
    The phrase "lay their jive" carries significant weight, particularly within the context of Harlem’s cultural vibrancy. Jive, a term originating in the Black vernacular, refers to witty banter, playful communication, or persuasive speech. In the context of this verse, "lay their jive" suggests B.D. women’s ability to charm, seduce, and engage with confidence, often rivaling the social skills traditionally attributed to men. Harlem’s jive culture was deeply intertwined with its jazz scene and nightlife, where quick wit and verbal dexterity were prized traits, particularly in social settings.
    Jive also symbolized the fluidity and creativity of Harlem’s cultural output, from the improvisational brilliance of jazz to the linguistic inventiveness of everyday life. For B.D. women, laying jive was not merely about language but also about navigating social and romantic interactions with skill and confidence. It allowed them to assert agency, challenge norms, and connect with other women in a way that was both bold and subversive.

  • Verse 4

    This verse portrays B.D. women as unapologetically embodying traits traditionally associated with masculinity. The description of them as "rough" aligns with the toughness and resilience often celebrated in men, but here, it is reclaimed by queer women who adopt this demeanor to assert their power and agency. This roughness is not about physical aggression but rather a bold, confident attitude—one that mirrors the way men occupy public spaces with authority and self-assuredness.
    The phrase "strut their stuff" reflects not only a physical confidence but also a deliberate mimicry and subversion of male dominance. Just as men "manspread," walk with swagger, and carry themselves as though they own the world, these B.D. women exude a similar commanding presence. In Harlem’s queer nightlife, such as at the Clam House or during drag balls, women like Gladys Bentley exemplified this demeanor, donning suits, drinking whiskey, and openly courting women. These behaviors disrupted traditional notions of femininity and highlighted the fluidity of gender expression.

  • Verse 5

    This verse emphasizes the economic independence of B.D. women, aligning their breadwinning status with traditionally masculine roles while still affirming their identity as women. By highlighting their ability to "work and make their dough," the verse acknowledges their self-sufficiency and resilience in a society that often relegated women—especially queer women—to economic dependence. Unlike the stereotypical housewife or marginalized laborer, these women take pride in their capacity to earn, a role traditionally celebrated in straight men.
    The line "when they get ready to spend it" ties their financial independence to their freedom of choice, particularly in how and where they use their money. Just as straight men would frequent clubs or spend money on dancers and entertainment after work, these B.D. women engage in similar rituals of indulgence and leisure. In Harlem’s vibrant nightlife, queer women could exercise this autonomy by spending their earnings in speakeasies, cabarets, or buffet flats, where they participated in the same social and economic activities typically associated with men.
    However, the phrase "they know they have to go" underscores the precariousness of their autonomy. Unlike men, whose presence in these spaces was normalized, B.D. women often faced societal judgment or legal risks for their visibility. This fleeting nature of their freedom reflects the double standard they navigated, where their masculinity and independence were celebrated within queer spaces but condemned outside them.