Ladies Who Sang More Than Just the Blues

In honor of Women’s History Month, I pay homage to Black women who poured out their souls, told their personal stories, and shared their beautiful gifts with the world. There have been few spaces in which Black women have been able to freely express their complexity — our joy, pain, hope, sorrow, love, intensity, vulnerability, struggle, success, passion, and lust. For centuries, Black women’s labor has long been in high demand with low compensation. Still, we have not only found ways to leave our indelible marks on the world’s cultures, we have also reshaped the artistic landscape with trendsetting innovations others steal — err — borrow and mimic. And, as we use artistic creativity to challenge the status quo, we continue to offer different perspectives about what it means to be a woman as defined by us and for us.

I was raised by a queer Black feminist woman who exposed me to the best of the best Black women had to offer in music, from the inimitable soulful soprano of Chaka Khan and prodigal lamentatons of Aretha Franklin to the revolutionary rhymes of Salt-N-Pepa and melancholic melodies of Nina Simone. I am eternally grateful for this blessing and I want to take this time to honor a *few* of those who have passed on, but not before giving us the very best of themselves. These women are no longer with us, but their music, impact, and legacies will live on forever.

Bessie Smith (1894–1937)

“I’m Wild About That Thing” is everything a sex-positive Black feminist woman needs to hear to remember that Black women’s sexuality hasn’t always been simply for purchase and control. Smith’s iconic career paved the way for many to come and this song… THIS SONG… had people whispering, hollering, calling on the Lord, and repenting. Smith was no shy woman; she made clear what she wanted out of life and others and her music affirmed Black women’s right to exhibit their sexuality and sexual agency on their own terms.

Celia Cruz (1925–2003)

“La Negra Tiene Tumbao” makes you feel SO good to be a Black woman! “Tumbao” loosely translated means “Negritude” or “Africanness”, a certain essence of pure, unadulterated Blackness that no one can deny or contain. The young people today would call it “Swag”, but it is specifically BLACK, and as an Afro-Cubana, Cruz never shied away from embracing her Blackness. With 23 gold albums, Cruz, born Úrsula Hilaria Celia de la Caridad Cruz Alfonso, will forever remain la reina de Latin music. All hail the queen!

Gwen Guthrie (1950–1999)

“Ain’t Nothing Going On But The Rent” affirmed sistas’ rights to ask for what they want and have standards. For too long, women have been told they should wait patiently for men to choose them and if they’re so lucky to be chosen, they should fawn over whatever crumbs that man doled out. Well, fly girl Guthrie changed the game in the 1980s with her hit song that told men, flat out, “You got to have a J-O-B if you want to be with me!”. While I believe the impact has been overlooked, this one song empowered so many women to not only go out and get their own, but to not settle for someone who would be a drain (and in a tumultuous economic era at that!). Bloop!

Natalie Cole (1950–2015)

Forgive me, as I’m still not sure I’ve accepted that Ms. Cole is no longer with us. Whew. Ok. “I’ve Got Love On My Mind” is one of my favorite songs about being able to fully embrace love and the effects it has on a woman. Daughter of legendary singer, Nat “King” Cole, Natalie established herself as a remarkable artist in her own right with a career that spanned four decades and garnered over 30 million record sales. Hers is a testament to the enduring legacy of musical talent through families and why it remains important to pass along our gifts to our children. The world needs their voices.

Nina Simone (1933–2003)

“I Wish I Knew How It Feels To Be Free” encapsulates so much of the melancholic hope Black women have felt for generations. Simone’s poignant, expansive career as a storytelling bandleader and soulful songstress spanned as many decades as it did genres. Whether she sang of bittersweet Black Love, demanded liberation from bondage, challenged the government, or praised the beauty and talent of Black people, Simone held little back even in the face of racist, sexist, colorist discrimination. She just wanted to do the things she could with the talents and tools she had and we can all agree, she nearly single-handedly shaped revolutionary soul music.

Whitney Houston (1963–2012)

“I Have Nothing” is, in my opinion, Houston’s best vocal performance of her career. From the 10x platinum(diamond), top-selling movie soundtrack of all time, The Bodyguard (which made Houston the first woman to have two diamond albums), Houston sang of vulnerability, passion, and undeniable love for herself and a lover. It was as much a passionate plea as it was an empowered declaration. Houston influenced so many singers today and she easily defined the sound of the 1980s crossing over from church girl joy to pop diva pizzazz. We lost “The Voice” entirely too early and there will never be another artist like her, so we must share “Nippy” for generations to come.

Lisa “Left Eye” Lopes (1971–2002)

One-third of the top-selling American girl group of all time (65M+ albums sold), TLC, Left Eye is one of the most important Hip-Hop emcees to ever bless the mic. The group’s debut album, Ooooooohhh… On The TLC Tip, should be considered part of any Black Feminist canon, as it advocated sexual agency and safe sexual exploration (“Ain’t Too Proud to Beg”), promoted Black sisterhood, tackled domestic violence and sexual assault (“His Story”), and empowered girls and women to define their female identities for themselves (“Hat 2 Da Back”). Left Eye was open about her struggles growing up and her fierce determination to not only be successful, but to inspire other girls and women to be and love themselves. Her life ended entirely too soon and we’ll never know what more she could have done to be her, for her, and not what she was “supposed” to be.

Billie Holiday (1915–1959)

A survivor of attempted rape at age 11 and forced childhood prostitution at age 12, “Lady Day” knew pain. Abandoned by both of her parents, she knew loneliness. And as a Black woman in Jim Crow America, Holiday, like many others, was forced to partake of the bitter fruit of success for colored artists of her time. “Strange Fruit”, based on the poem written by a Jewish man from New York City, became one of the most haunting vocal legacies of Black American culture and, as sang by the irreplaceable Billie Holiday, remains a daring condemnation of the despicable American Racism that lives on today.

Minnie Riperton (1947–1979)

“Lovin’ You” is the quintessential lullaby of Black motherhood. Riperton sang this song to her precious daughter Maya, it is said, to distract and settle her down, but it went on to become her signature tune. A former back-up singer for the likes of Etta James and Muddy Waters, Riperton’s unique, well-trained voice and her song’s vocal arrangements are the most noteworthy element of her short-lived solo career. After being diagnosed with breast cancer, Riperton became one of the first celebrities to speak publicly about cancer as a spokesperson for the American Cancer Society (she may have been the first Black woman to be a national spokesperson for the Society).

Phyllis Hyman (1949–1995)

“Meet Me On The Moon” is an enduring contemporary jazz vocal performance that solidifies Hyman’s place among the stars. Hyman is the first celebrity I recall being known to have Bipolar Disorder and one could argue that the signs of her early departure were in the songs she wrote and sang. Those close to her say she often spoke about suicide in the sense that it was each person’s right to decide to live and decide to die. In her note, she stated, “I’m tired. I’m tired…”, a refrain too many Black women repeat almost daily as we try to navigate this world. We can only hope she achieved the rest she sought and we thank her for leaving us with the beautiful memories in her golden tones.

An incredible number of Black women have made history in the music industry yet too many have been denied not only their fair compensation but also their due accolades. Far too many have been forced into the background, reduced to fine prints in liner notes, while others have been thrust into blinding spotlights they didn’t seek. Several endured horrific abuses at the hands of men whose horrendous behavior is skipped over in favor of fawning adoration (remember when Jackie Wilson tried to rape Patti LaBelle?). Through success and failure, world-renown glory and personal pain, sistas have managed to set the standards by which all others conduct themselves and even when others get the awards (Hi Iggy!), we know where it all began.

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