Notes: The "right track" is muffled and indistinct, but appears to contain music and a comedy program. The "left track" contains a discussion on the topic of gay liberation.]]> See the LHA Copyright Statement]]> See the LHA Copyright Statement]]> See the LHA Copyright Statement]]> See the LHA Copyright Statement]]>
The interviewee's name has been withheld at her request.]]>
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Artist Muriel Castanis, a self described “sculpturette” shares her enthusiasm for the exhibition and the New York Cultural Center for hosting it. After the conclusion of this section, Martha Shelley conducts a walking tour of the exhibition and discusses selected works that stood out to her. She bumps into Janet Kogan and asks about her works and how they became part of the show. ]]>
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Photograph by: Morgan Gwenwald]]>
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Photo by Morgan Gwenwald]]>
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Photograph by: Morgan Gwenwald]]>
See the LHA Copyright Statement ]]> See the LHA Copyright Statement ]]> She talks about her relationships with women, how she never openly acknowledged that she was gay but if she was asked she wouldn’t deny it.
They discuss monogamy, she was mostly faithful, but she also talks about jealous partners and how when one is accused of things, one might as well and go ahead and do it.
She doesn’t believe that a lesbian relationship is any different than a straight relationship.
They discuss bars and areas in Buffalo that she would frequent: Moon Glow bar, Pearls bar, Ralph Martins, Ryan’s Hotel, Little Harlem. They also discuss dating rituals, fashion, and relationship/ courting roles.]]>
Madeline Davis (Interviewer)]]> SPW497_Debra_B]]> See the LHA Copyright Statement ]]> MP3
WAV]]>
Side B = 29:38 minutes]]> PhysicalObject
Oral History Interview]]>
See the LHA Copyright Statement ]]> Side B: 11:07]]> Mp3]]> PhysicalObject
Oral History Interview]]>
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The social conditions, the acceptance of lesbians, and the "openness" of homosexuals are compared between New York, Florida, and Toronto. References are made to anti-gay activist Anita Bryant and others who put social pressure on lesbians to stay closeted.

Additionally, Judy touches upon negotiating workplace discrimination and "nosy" neighbors. She briefly mentions her relationship with her family and what it was like growing up in Buffalo.
]]>
See the LHA Copyright Statement ]]> Kennedy, E. L. & Davis, M. D. (1993). Boots of Leather, Slippers of Gold: The History of a Lesbian Community. New York: Routledge]]>
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Speakers' identities are unclear throughout. Recording label identifies Cindy and Joan but it is hard to tell if there are actually two separate speakers.

Sound quality is poor. Tape cuts off abruptly at the end. ]]>
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Side B: In this interview Pat talks about how she does not like or feel comfortable in the gay community. She has never identified with it, or been made to feel welcome. This is one of the reasons that she does not maintain friendships with other lesbians, unless she is having a sexual relationship with them. She mentions being victimized and physically assaulted because she was a butch lesbian. Interviewer Madeline enters the discussion, speaking about her own sexual experiences with women. Madeline classifies Pat as “untouchable,” something that Pat denies, stating that she is simply very private. She feels that sex is a necessary but not important part of a relationship; it is something that is never sought or welcomed. She is suspicious of those who claim to experience sexual pleasure, including Madeline. ]]>
See the LHA Copyright Statement ]]> Side B: 43:18]]>

Recording has loud feedback sounds and squeaks at the beginning.

Side B: Pat and DJ discuss bar denizens vs. lesbians who did not frequent bars and the "class" distinction there, and also the way non-butch lesbians looked down on butches. DJ describes how her long-term relationships were analogous to marriage, where she was the breadwinner and her partners were housewives who perhaps worked but did not "provide." Both discuss the fact that in the 1940s and '50s butches had the freedom to have affairs whereas femmes were expected to be faithful. This created an atmosphere of mistrust in which monogamous long-term relationships became very difficult.

Recording has loud squeaks at the beginning, hisses throughout, and cuts off abruptly at the end.]]>
See the LHA Copyright Statement ]]> Side B: 31:56]]>
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