Black Lesbo

Black Lesbo
They've been behind some of the biggest trends and movements in American politics, music, art, fashion, civil rights, and feminism. From kicking off the gay rights movement to popularizing Black music across America, Black queer women have been knocking down doors forever.
Here are just a few of the countless Black lesbians and queer women who have changed history.
Without Stormé DeLarverie, we wouldn't have the modern gay rights movement as we know it. According to many eyewitnesses, the butch lesbian and civil rights icon was in handcuffs being dragged and beaten by police through the Stonewall bar crowd on June 28, 1969 when she shouted at the crowd to fight back and help her. The resulting uprising became known as the Stonewall Riot, and is largely credited with kicking off the modern LGBTQ+ rights movement in the United States.
Before Stonewall, she served as MC and the only drag king member of the Jewel Box Review, North America's first-ever racially integrated drag show. She also worked as a bouncer at several lesbian bars in New York City, and was known as the "guardian of lesbians in the Village." DeLarverie's impact on the Gay liberation movement, as well as her impacts on fashion, lesbian history, and women's rights, will never be forgotten.
In her signature tail coat and top hat, Gladys Bentley was one of the Harlem Renaissance's greatest singers and entertainers. In the '20s and '30s she would perform throughout New York, playing piano, cross-dressing, singing raunchy tunes, and flirting with women from the stage. She's an icon of Black female masculinity.
The bisexual "Mother of the Blues," Ma Rainey was one of the first singers to bridge vaudeville and the blues. Rainey released over 100 recordings of blues songs, many of which she wrote herself. She wrote at least a third of the songs she sang, including many lasting hits like "Moonshine Blues" and "Ma Rainey's Black Bottom." Many of her songs reference relationships with both men and women. She was immortalized in the play Ma Rainey's Black Bottom , which was adapted into an Oscar-nominated movie starring Viola Davis.
Hansberry was the first Black woman author to have a play performed on Broadway when her play, A Raisin in the Sun , premiered in 1959. At just 29, she became the youngest American playwright to win the New York Drama Critics Circle Award for Best Play. Before becoming a playwright, she was a staff member of the Black newspaper Freedom . She not only focused on the U.S. civil rights movement, but also wrote and spoke on global issues of colonialism and imperialism.
Audre Lorde is considered one of the greatest American writers, feminists, theorists, and poets. Her writings and poems often dealt with issues including civil rights, lesbianism, and Black female identity. Her book Sister Outsider: Essays and Speeches forever changed American feminism, addressing the need for different groups of marginalized people to come together to overcome oppression. Her essay "The Master's Tools Will Never Dismantle the Master's House" emphasized that looking at problems through a racist and patriarchal lens will never lead to liberation.
A civil rights leader, Jordan became the first Black person elected to the Texas Senate after Reconstruction, and later became the first Black woman from the South to be elected to the U.S. House of Representatives. In 1976, she became the first woman and first Black person to deliver a keynote address as a Democratic National Convention. She participated in the House Judiciary Committee hearings during Richard Nixon's impeachment process.
Burkett and Evans were one of the first same-sex couples in American history to challenge the government for the right to marry. The couple applied for a marriage license when they went to the Milwaukee County clerk in 1971, but were denied. After that, they filed a federal lawsuit claiming that the denial of marital benefits like inheritance and tax filings went against the Constitution's equal protection. While the suit was dismissed over a technical legal issue, the two got married on Christmas Day in 1971 in front of 250 friends.
Known as the "Empress of the Blues," Smith was a bisexual powerhouse and one of the most popular singers of the '20s and '30s. Born in Chattanooga, Tenessee, she left a lasting impact on music that still influences blues, jazz, and rock. For a while, she performed and was close with Ma Rainey, but later went on her own. She tragically died in a car crash at age 43.
During the Harlem Renaissance, Hampton danced in all-Black productions, and in 1932, met Lillian B. Foster, the woman who would be her partner until Foster's death in 1978. She was a vocal supporter of gay and lesbian organizations and marched in the first National Gay and Lesbian March in Washington. She spoke at the 1984 New York City Pride Parade and served as the parade's grand marshal in 1985.
Mabley is one of the greatest comedians of the early 20th century. She began her career on stage and soon became one of the central figures of the Chitlin' Circuit of Black vaudeville performers. Later, she recorded several comedy albums and was featured on The Ed Sullivan Show and The Smothers Brothers Comedy Hour . She's influenced Black comedians and entertainers like Whoopi Goldberg, Wanda Sykes, and Eddie Murphy.
Eckstein was one of the major players in the 1960s gay and lesbian rights movement and a leader of the New York chapter of the Daughters of Bilitis, the first lesbian civil and political rights organization in the US. Her work in the Civil Rights Movement provided valuable insight into the type of tactics and public demostrations that were needed in the gay rights movement. In the '70s, she became involved in the Black feminist movement and the organization Black Women Organized for Action.

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Nuanced, full, expository Black stories matter, maybe more today than ever. As a renewed fire breathes lives into the ongoing Black struggle for human rights, we can begin to right the wrongs committed yesteryear. When we champion Black lives, we must include Black woman lives and Black queer lives. We must. And we cannot begin to champion those lives completely until we come to know them. Through this learning process, we should realize that our struggles—male, female, queer, straight—are not that different at all. It’s the same difference, actually, which is the title of producer and documentary filmmaker Nneka Onuorah’s newest work. The provocative piece was recently screened earlier this week at the Atlanta Black Pride Festival. View the trailer HERE .
Onuorah’s film, The Same Difference , begins with sage advice from Black lesbian poet and activist Audre Lorde, “It is not our differences that divide us. It’s our inability to accept and celebrate those differences,” and discusses the layers of isolation and otherness many Black lesbians experience when refusing to conform to the tiny set of boxes made available to them in their communities. The film is divided into various segments, or acts maybe, that debate various taboos associated with being Black queer and woman, and was created by Onuorah because she came of age witnessing and dealing with various kinds of discrimination within the Black lesbian community, and because she wanted to create content that “liberated and changed lives.”
The rules argued in The Same Difference begin with the very rigid gendered ideas regarding appropriate presentation. According to commentary made in the film, Black lesbians can identify as either masculine or feminine- with no combined presentations and no in-betweens. Studs, dykes and AGs (or aggressives) must always carry themselves with a hard edge, and can never behave “femininely” or adopt an overly feminine look. AGs can’t wear makeup or hair extensions; this point is made very clear. But just as Onuorah’s cast establishes and clarifies rules like these, she astutely presents a character that obliterates them. For instance, when discussing what kind of behavior and look is allowed for masculine presenting, stud lesbians, we meet Kellz, a stunning and sexy exotic dancer and drag king, who causes much confusion because she identifies and lives as an AG but also wears a weave.
From an outsider’s view, one may not understand how a Black stud lesbian wearing hair extensions could instigate such debate and even abuse (both physically and emotionally), but we must remember that many sub, and often oppressed, communities seek to emulate what is celebrated in dominant cultures—even while trying to escape the tyranny those cultures impose on them . For this reason, even in relationships where men are not present, dominant culture makes a purely masculine (and often patriarchal) model necessary. To many of the lesbians interviewed, an AG like Kellz wearing a weave is akin to a man wearing one. It’s something that is simply not allowed—ever.
It’s complicated. And this complication represents both Onuorah’s brilliance and burden in the film. How does one tenderly present the painful layers of misogynoir present in her community while celebrating that community and also demanding that it break away from its monolithic and limiting rulebook? The Same Difference repeats this storytelling pattern present in its first act throughout the rest of the film. The film asks: why can’t two AG women be in a love relationship that is open and free of judgment? And why does the Black lesbian community shun women who identify as bisexual altogether? Why does a community who has worked so diligently to release themselves from the chains of heteronormality seek to reclaim those chains in its newly imagined and constructed free space? Maybe the answer to all of these questions is that we never quite escape our chains—even when our minds and hearts want us to.
Admittedly, King Kellz’s story, that also centers on the pain of attempting to mother a Black girl while living freely as an AG, touched me the most in the film. But a narrative that is equally intriguing and revelatory is Jordan’s story, which turns Black lesbian rule #4 on its side. She is an AG who is pregnant, and who chose to become pregnant because her partner was not able to conceive. If there was any rule that seemed to hold no wiggle room in the rulebook, it’s the clear understanding that masculine presenting lesbians cannot show any signs of femininity, and there is nothing more innately and anciently feminine than pregnancy and childbirth. Jordan is mocked, ridiculed and even threatened by other members of her supposed lesbian tribe, all because of her choice to support her wife and carry a child. In conversation with someone from the community that opposes her decision to become pregnant, Jordan clarifies something that I think many folks, both straight and gay, get wrong—just because a woman is more comfortable presenting masculinity doesn’t mean that she necessarily wants to be a man.
Jordan proclaimed that, despite what people believe she should be, she is a woman. And this may be Onuorah’s thesis, that each person speaking in the film is a woman who loves women. In a world that seems intent on showing Black women the opposite of love, we should all be working to let the love that is available to us run wild and free.
Josie Pickens is an educator, cultural critic and soldier of love. Follow her musings on Twitter at @jonubian.
Since 1945, EBONY magazine has shined a spotlight on the worlds of Black people in America and worldwide. Our commitment to showcasing the best and brightest as well as highlighting disparities in Black life has been, and will always be, cornerstone to EBONY.

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