The Queer Harlem Compilation
The Compilation is carefully curated to take listeners on a journey.
Bessie Smith's "Tain't Nobody's Bizness If I Do" and Lucille Bogan's "Woman Don't Need No Man" assert autonomy and feminist self-reliance without directly engaging with queerness. These tracks set the stage by hinting at the potential for queer interpretations without overtly addressing them.
The compilation then gradually introduces queerness through metaphor and nuanced acknowledgment. Ma Rainey's "Sissy Blues" recognizes the existence of gay men, albeit with a degree of separation, while Sloppy Henry's "Say I Do It" and George Hannah's "Freakish Man Blues" delve more openly into queer themes. These songs use metaphor and layered interpretations to navigate societal taboos. Hannah's "The Boy in the Boat" continues this trajectory, subtly referencing lesbian spaces and relationships, portraying queerness as both concealed and celebrated.
As the narrative unfolds, the songs become increasingly explicit in their embrace of queer identities. Ma Rainey's "Prove It on Me Blues" and Lucille Bogan's "B.D. Woman's Blues" boldly transition into direct affirmations of queerness, with both tracks celebrating the identity of masculine-presenting women with pride and defiance. The journey culminates in Ethel Waters’ “Dinah,” a tender and heartfelt portrayal of queer love, untainted by framing lesbianism as a reaction against patriarchy.
Tracklist:
[Click on the track hyperlinks to view detailed analyses.]
1. Tain't Nobody's Bizness If I Do - Bessie Smith
2. Woman Don't Need No Man - Lucille Bogan
3. Sissy Blues - Ma Rainey
4. Say I Do It - Sloppy Henry
5. Freakish Man Blues - George Hannah
6. Prove It on Me Blues - Ma Rainey
7. The Boy in the Boat - George Hannah
8. B.D. Woman's Blues – Lucille Bogan
9. Dinah - Ethel Waters
Why these artists? Bessie Smith, Ma Rainey, Lucille Bogan, and Ethel Waters were not only central figures in Harlem's cultural landscape but also women who, at various points, were romantically involved with other women. Their work reflects the complexities of black queer women, blending their personal truths with the vibrant artistry of the era. While George Hannah and Sloppy Henry were less prominent in the Harlem scene and did not openly identify as queer, their music is richly queer-coded. Their lyrics often narrate or imply same-sex intimacy between men, whether through metaphor or first-person storytelling, offering interpretative glimpses into the queerness of their narratives.