1 100 6 https://herstories.prattinfoschool.nyc/omeka/files/original/6c3dcfb86773077e3c1b689f57231bb4.JPG ab329a120c86ee7deb9c2726bceb9116 https://herstories.prattinfoschool.nyc/omeka/files/original/d7d70287c82911d769fec0ff01d4883e.mp3 350099e8d00109c8d9f4f3ac71d6974e https://herstories.prattinfoschool.nyc/omeka/files/original/3a3a5cd0a75936c02835e4f6f6910633.mp3 40f928b85352626c4056f01a8776b4f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource WBAI Radio Programs, circa 1970s Description An account of the resource This collection consists of over a hundred recorded broadcasts from WBAI public radio, captured on compact audio cassettes by an unknown individual (or individuals). The tapes were likely dubbed from open reel masters before being moved to the Pacifica Radio Archives.  The tapes contain programs that are specific to feminism and lesbian communities, capturing the cultural and political conversations of the time. The collection includes panels, interviews, and listener Q&A with influential feminist writers, artists, poets, activists, and other cultural figures. Notable interviewees include Audre Lorde, Rita Mae Brown, Margaret Walker, and many others, along with medical professionals, journalists, and legal scholars.  Themes commonly explored include women’s health and body autonomy, activism, and gender norms. The programs also highlight women in music, the arts, and the ongoing fight for inclusivity and legal reforms. They served as a crucial platform for spreading information about LGBTQ+ and women’s events, informing women of their rights, promoting feminist and lesbian activism, and encouraging community and “consciousness raising.”  These WBAI broadcasts reflect an awareness that women’s experiences are shaped not only by gender, but also by race, sexuality, class, and other identities. Programs frequently highlighted the distinct challenges faced by women of color, lesbian women, and working-class women, challenging a single, unified view of womanhood. In this way, the collection captures early, evolving conversations about overlapping systems of inequality and what would later be defined as intersectionality. Recurring radio programs featured in this collection include Everywomanspace, The Lesbian Show, Women’s Consciousness Raising Hour, Velvet Sledgehammer, Women’s Studies, More Than Half the World, and Seeing Red, among others.  These broadcasts provide background for understanding the intersection of feminism, LGBTQ+ rights, and the cultural movements of the 1970s. Find out more about the context of the collection here: <a href="https://herstories.prattinfoschool.nyc/omeka/exhibits/show/feminist-programming/wbai-about">WBAI Women's Department and Feminist Programming</a> Sound A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SPW1962 Title A name given to the resource The Lesbian in Literature - Female Friendships, Crushes + Afffections in Children's Lit - Janet Cooper Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The Lesbian in Literature - Episode 3 of 4 Subject The topic of the resource Lesbian radio Lesbian poetry Lesbian children's literature Lesbophobia LGBTQ+ children's literature Childhood Children Conferences Discrimination Lesbian authors Lesbian writers Libraries Literature Sexism Gay Academic Union Description An account of the resource This tape contains the third panel from the Gay Academic Union Conference at NYU, the "Lesbian in Literature" Panel. Panelists are Janet Cooper, speaking on female crushes and friendships in children's literature, and Cynthia Secor, speaking about Gertrude Stein and James Joyce. The moderator was Virginia Caputo. Janet describes that the first room in a library targeted specifically for children was in the Pratt Library in Brooklyn in 1895. The librarian Anne Carole Moore worked there, and would become a very influential children's librarian. She speaks on the monopoly of children's literature in publishing and book awards, with Anne Carole Moore at the center due to her connections with other powerful librarians. Since Anne Carole Moore's appointment, child friendships and friend crushes in literature have disappeared. The removal of content in library books where children physically touched each other, Janet says, was a direct result of the fear of lesbianism. Cynthia Secor speaks about Gertrude Stein and James Joyce. She asserts that Stein is an oft-overlooked figure in literature. Gertrude Stein was a sort of hidden figure, while James Joyce was taught everywhere. Stein was read by many lesbian women, but Cynthia did not read Stein until she joined the lesbian community. Cynthia reads a passage by Stein, "Cow come out...", discusses Stein's novella, Q.E.D., and her "Patriarchal Poetry" essay. Publisher An entity responsible for making the resource available KPFK radio Date A point or period of time associated with an event in the lifecycle of the resource 1975-07-29 Rights Information about rights held in and over the resource This item is protected by copyright. You are free to use this item for personal and educational purposes, as outlined in <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC-BY-NC-ND 4.0</a>. Requests for further uses and licensing questions should be forwarded to <a href="https://www.pacificaradioarchives.org/">Pacifica Radio</a>, owner of KPFK and other historical stations. See also <a href="https://herstories.prattinfoschool.nyc/omeka/rights-statement">LHA Copyright Statement</a>. PBCore PBCore is a metadata standard for audiovisual media developed by the public broadcasting community. See http://www.pbcore.org/documentation/ Series Title If applicable, the larger series to which the episode or piece contributed. Gay Academic Union Conference (1974) Host If applicable, the person hosting the broadcast piece. (For personal names use "LastName, FirstName MiddleName, Suffix"). Virginia Caputo Interviewee The person(s) being interviewed. (For personal names use "LastName, FirstName MiddleName, Suffix"). Janet Cooper Cynthia Secor Physical Format The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive. Audio cassette Digital Format Access Copy: MP3 Duration Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS 1:27:55 Childhood Children Conferences Discrimination Gay Academic Union Lesbian authors Lesbian children's literature Lesbian literature Lesbian poetry Lesbian radio Lesbian writers Lesbian youth Lesbophobia LGBTQ+ children's literature Libraries Literature Sexism https://herstories.prattinfoschool.nyc/omeka/files/original/246b3841ada65edfd64515d21d25440e.pdf c9440db6a16c50d540e6277980c28eff PDF Text Text Alaina Zulli Okay, this is an interview with Maria Maria Gorkhover. On May 30 2007, interviewed by Alaina Zulli, we are in Bobst Library at NYU, in New York City. Okay, Maria, let's start with your background where you grew up your age and a little bit about your family. Maria Gorkhover So I grew up in Uzbekistan, which is one of the former Soviet republics. Now it's an independent country. And I lived there until I was 10 years old. My family, standard Jewish family, meaning, you know, everybody's Jewish into the nth generation, like pure read. I have one brother, who is 17. And I have another brother, who is for my, when my parents came here, like in about three years after they got here, they divorced. I was like, 13 at the time. And then my mom was married to a guy who was not Jewish, and they had a baby. And that baby is my, is my second brother, who is right now four. My dad, he also remarried, but there's no kids from that marriage. And then they got divorced. And right now he's not married, but you know, he is in a relationship. And I, when we came, I lived with both parents, obviously. Then, after my parents were divorced, I lived with my mom for many, many years. And then about, I think two years ago, something like that. I moved with my dad because he lives in Brooklyn, and it's closer for me to commute to school much closer. And I also like living with him better. So let's see. Anything else? AZ What did your parents do? MG My parents are both computer programmers. My dad, well, my dad used to be a computer programmer, but in America, he had a bit of difficulty in that department. And right now he's trying to be a teacher, like a teacher of high school mathematics. He's finishing his master's program, so you can be �certified. My mom continued to be a computer programmer. And she works right now at Duane Reade. Like, you know, in the corporate office and stuff. AZ Okay. So, let's jump ahead to your sexuality. Tell me about how you knew you were lesbian, when you came out, the whole story? MG Okay, the question presents itself, how graphic do we need to get? So I always knew that I liked girls. And I never, so how did I know that I liked them? Because I had really graphic fantasies about them. And that is before I you know, I saw any kind of pornography or anything of the sort before we had internet and before I you know, had Cinemax or anything of the sort, like I had really kind of graphic fantasies. Nothing like that towards guys. Like, really nothing. So from, I'd say, well, I'd say age eleven. I started having these fantasies, and then like, then I didn't know what the hell what that meant, actually. And by somehow around age fifteen. And I was like, well, let's see, it's pretty clear that I like girls like a lot. But I actually don't mind guys, because I didn't find them distasteful or anything like that. So I was like, You know what, I am bi, because I didn't want to say that I'm lesbian and, you know, cut out the potential of marriage and men and pleasing my parents and as important out of my life altogether. So I thought that, well, I thought in my mind that I was bi until actually recently, it's about a year – no, a year ago, about six months ago, a little bit more, when I figured out through, like, I guess, recent, through sexual experiences that I had at that time that No, I was not, in fact, bi I mean, not minding guys actually doesn't mean that you are attracted to them. So I mean, I mean, if that's your definition of bi, it's not mine. Right, so. So then I like identified myself as basically gay as such, although between that time when I was 23, and the time when I was 15. I always knew that I like girls like far, far more than guys. So I thought that I was bi, just really more much more towards girls. But now it's like it's, you know, like, there's no point of me �being with guys because if, I am just like not attracted to them. I can take it, but why bother? Let's see. Let's see. Let's see. Anything else? AZ Well, um coming out how was it for you with your family? MG Oh, that's that's a drama story and of itself rather. So the first time that I came out was to my mom when I was 15 years old. And it was this big. Like hysteric scene, like I was crying and I had like, hysterics and such and hyperventilating and stuff. Uh. Why I was coming out at that specific time? Because there was this girl that I loved or I thought I loved and I wanted to be in a relationship with her. And even though the smart thing to do would have been to, you know, keep hush hush about it, and save everybody the trouble, being the excruciatingly honest person that I am meaning I can't keep any secrets from my parents, right? I- You know, I, I went to confessional with my mom and the priest. And she was like, Oh, it's a phase, you know, you shouldn't do this. And basically, she told me that, if I do start a relationship with a girl, she'll be very disappointed with me. She will withdraw from me, and she doesn't know what kind of parent- daughter relationship we'll be able to have. Which was kind of like a death sentence. So, I mean, because my mom was basically like, my God at that time, like her approval was my main goal in life and my main cause of happiness in life, and lack thereof, my main cause of misery in life. So, I was like, That's it. Like, I like, I, even though I - No, I did love this girl, I didn't want to be with her. I simply could not do it, even behind my mom's back. Because I would be, let's say, like, you know, making out with her. And then with that going on, you'd be like, What would my mom think of me? If she knew I was doing this? Right. So at that time, I was like, I really, really wanted to �make myself straight. How did I do that? I kind of I started going out with guys basically. Right. Any, like random guys. Like, you know what, I don't mind them, so let's stick to that. Right. And I tried to like force myself to not look at girls – tried being the operative word, obviously. So and, like, a few days later. Like, I just could not stand the thought of my mom being disappointed in me and ashamed of me, basically. And withdrawing from me. I told her mom, you are right, this is a phase and I am in fact straight and so on and so on. Okay, so I thought, you know, the situation was taken care of, so I will make myself straight. Or rather, I will just ignore girls altogether, you know. Cause seeing as I was like well I can just go with guys for the rest of my life, why should that be a problem? You know. So fast forward to let's see, I think it was about 19 years old? Right. Then, was it 19 years old? No, it was not 19 years old. It was well, 20, it was actually 21 years old. Right. I actually, like began a relationship with this girl, like in secrecy at age eighteen, because I don't know I've calmed down or something. And I was like, You know what? I mean, like, I'm not going to kill myself over it. But like, I'm not going to tell my mom because I just could not live with her disappointmented, like, presence, right? But at like by age 21, it really begin to kind of weigh down upon me that I could not really, you know, be with girls and have her know about it. And, like, basically, there was this conflict with this girl. Okay, you know, we actually, we had a very strange on again, off again, open relationship where we're basically best friends and occasionally had sex. So it was not a relationship like as such, like not in the sense that most people understand that. Right. And I always knew that I would have like other relationships, other romantic relationships besides her. And she also knew that that she was like, cool with it. Right? We were just kind of each other's support system. Up until the time when we were both I don't know, ready to go find somebody else or �something like that. Basically, best friends who just turned out to be gay both so you know, why not have sex? So by age 21, there was this conflict in me. On the one hand, I couldn't I was like, okay, um, well, I'm bi, so I can be with guys all the time, but that would mean that I'm gonna be continuously suppressing my urge towards girls, which was very strong, and it was growing stronger, like every day. On the other hand, I could not tell my mom any of this because either she'll be disappointed in me. She'll be like, okay, Maria continue to suppress it or something like that. Or she'll be like, "No, Maria, you're already 21 years old. You're an adult. You can go do whatever you want. You can go sleep with girls," but inside she'll be very, very disappointed and ashamed. She'll just not say it, but she'll think that and she'll feel it. And I didn't want that. So the question was, like, suppress myself, for the sake of my mom's approval, not suppress myself, face her disappointment. Either way, not a pleasant solution. So, after a lot of, you know, mental anguish that we Jews are known for. True, right? So, I, I took my mom, I made an appointment with a shrink in the city, an American shrink, right? And I went to the shrink with my mom, like, I dragged her to it, because I was like, "Mom I need to tell you something." And after, and, it was like this big, big dramatic thing once again, in that shrinks office, right? Because, like, I started crying again, and hyperventilating and stuff like that. And I even had to go outside to like, calm myself down and whatever. And then I came back, and I was like, Mama, I love you. And I don't want to disappoint you, like your approval means everything to me. But I like girls, and I can't fight it anymore. You know, add all the tears and all that and all that stuff. And I wanted to do it in front of a shrink, who has a PHD. So the shrink can immediately tell my mom, no, it's not a phase. And no, you know, it's not like an abnormal thing, or whatever it is. So we can have the professional opinion in �the consultation, like right there. Right? So if I tell my mom, it's not a phase, it's like who the hell am I? I'm no doctor? But if this PhD of psychology tells her? It's an entirely different thing. She took it like much calmer, actually. Right? And so you know, and I asked the shrink, like, is this a phase? Like, can you tell my mom, is it a phase or not? She's like, "No, it's not a phase." And I'm like, "Mom, I'm 21 years old. It's like, how can it be a phase by now if I've been experiencing this since 11, 12, something like that." Right? She took it. And she, at that time, she kind of, she calmed down about it. And she believed me fully. Like she believed that, you know, that is indeed the situation. There's nothing you can do about it really, and right and stuff. And I guess, it also helps the fact that I told her I was bi, because I thought I was bi at the time. So she's like, well, she likes girls. Let her experiment with girls, sleep around, but you know, she's still gonna get married to a guy. And actually I told her as much I'm like, "Yeah, I'm gonna sleep around with girls, party. And then I'm gonna get married to a guy because I want to have a family," and so on and so on. She's like, okay, you know, that's, that's not a problem. I mean, it's unfortunate. That's not the best situation, but you know, we can deal with it. She's still gonna give me grandkids. Yeah. So then, it was like, Okay, this you know, this is a much better situation for me nice and calm. But then it was pressing upon me to confess to my dad, which I did. After you know, a little bit of Dutch courage. AZ Some drinking? MG Yes. So, because I was like, You know what, I'm not gonna hyperventilate, I'm not gonna cry. And I'm not gonna go into hysterics again. I'll be calm, even if it's chemically induced. So, like, yeah, that was, that was really interesting. Like, �he's sitting on the couch. Right. Watching soccer. I'm like, Papa, I want to talk to you. Like, okay, talk to me. I'm like, Papa turn off the tv. I'm gonna talk to you. He muted the soccer. Papa, look at me, I want to talk to you. It's important. He's like, I'm listening. I'm listening. Like, okay. So I'm like, Papa, like girls. He's like, I know. Like, what? How do you know this? Like, your mom told me when you were 15? Yeah, my mom actually, like, as soon as I told her, way back when, she called up my dad and she told him. And it's amazing that he's actually very calm about it. Like, it's not like he doesn't think it's a big source of bother. Especially seeing as at that time, I thought I was bi and my mom thought I was bi. So my mom was like, yeah, she likes girls, but she also likes guys. So my dad is like, okay, that's fine. You know, you know, as long as she likes, guys, it's not a problem. Right? So but, at the present moment, my mom has, you know, gotten used to it like it's not like a big deal for her really. And it's my dad, he was, he was actually a lot less, a lot less having problems with than my mom, like very much so. I-like he was like, he doesn't really care, like, who do I sleep with or something like that. As long as I make a family and stuff. So it was fine. Like it became like very calm and stuff. But then I realized about, basically in November of 2006, after having like sexual experiences with both girls and guys, like one after the other pretty soon, you know, like concentrated. Like that, you know what, guys don't do anything for me, not really. And, you know, it's girls that do. So I guess I must be gay then, like, fully, you know, which was not such a big switch because, like, I don't know, 80% towards girls and 100% towards girls? So not such a big switch. So right now, I do identify as gay, because my, because you know, of my experiences. And my, how do I say this? Like, pretty, pretty kind of concrete definition. Sorry, concrete evidence that I don't like guys. And I do like girls. Yeah, and I'm not going to say what because that would, that would be, you know, the graphic part. So, let's see. That's about it. So I mean, did I cover everything that you want me to? �AZ Yeah. Right. Okay, so, let's go back to let's, let's go back to when you first started thinking about girls. Did, did you think that about gender, about yourself in any gender or how you dressed? MG Well, I always, I never thought of myself as a guy. Like, I always knew I was female. But I always dressed in very loose clothing and either unisex or even guys clothing. But it was not because like I wanted to be butch, it's because I thought I was kind of fat. Like I had, like a, like relatively big stomach. And I wanted to hide that fat. And I was really like, uncomfortable with my body, like a lot of body issues. And because of that, right? It's just that I suppose if other girls are uncomfortable with their bodies, and they wear loose clothing, they will usually be wearing feminine loose clothing, whereas I wore just like T shirts and sweatshirts and something that a guy would wear with no problem. Right? Why? Because I just felt more comfortable in those kind of clothing. So that has been my style since basically, day one, like loose clothing that, that is either unisex or when guys pants and guys, not guys shirts but like sweatshirts, right and T shirts. And that style it was how do I say this? It was not, it was not determined by my orientation. But at the same time, if I were straight, like as such, and I wanted to attract the attention of guys, then I probably would be wearing more feminine clothes and tighter clothes, even on my stomach because I would be like you know, you know, why not? That's like show something, instead of showing nothing. But seeing as I was really into girls and I didn't care much about guys, I was not interested in attracting their attention. So it was not important for me to wear tight clothes that would attract their attention and for me to like appear on their radar as potential you know, dating candidates you know? �AZ Yeah, so as your self conception as a lesbian as it evolved, did your let's see, how can I say this. Did your style change at all? Did you feel? MG Yes. Okay. My style like in high school was influenced by several factors. First of all the fact that my parents didn't have a lot of money and I also didn't want to take a lot of their money so I bought crap basically, like cheap crap that looked bad. Brand name was something that happens for other people. So cheap jeans from Kmart, guys jeans, like cheap sweatshirts for like five bucks, things like that. So I look like a badly dressed guy basically. Right so, so that, and I mean I could have bought cheap women, cheap girls clothes, you know from things like pretty girl or you know, any, you know, like really cheap, cheap, like, what's it called, even Kmart, cheap girls clothes. But I didn't feel comfortable like showing my body. So my style in high school was that cheap unisex clothes. Then when I went to college, I started working and I started making some money. And I started dressing a little bit better. Like also unisex clothes because I was just used to that style and then because I still thought of myself as kind of always not attractive, and unattractive. But more stylish mens clothes, like men's jeans from Express for example, as opposed to Kmart or Old Navy, like more brand name, you know, like nicer shirts instead of just crap. Right? Still kind of loose and still something that a guy could wear also, but just nicer, nicer looking and better fitting. Right. Ah, and that style continued to about. Well, basically, up until now, and as I continued throughout college, I worked more, you know, as I made more money. And I started just asking my mom for money to buy more brand new things, like nicer things, but I still stuck to unisex slash male clothes mostly, or at least kind of loose female clothes. Right, like nothing tight, nothing that shows up anything. If you look at me in regular clothes, it would be like, okay, the only way you can tell I'm female is you know, possibly boobs �and above the neck, you know. And you know, the shirt could be female, but it would be loose female. The pants, you know, male pants. So the quality of my clothes improved, and the fit and the style improved. But the overall, overall kind of approach has remained the same. And right now, I have lost some weight recently. So now I feel like I could wear like tight feminine clothes and look appropriate in them and stuff, appropriate means good. But I just don't choose to because first of all, I'm so used to wearing loose clothes, that I'm just comfortable in things that are losing and not tight fitting. And second of all, I don't feel like having my ass for display, you know, to all and sundry, it's just I don't know, like, I prefer this kind of approach, especially the school that I go to, which is City College. It's a, it's mostly there's a lot of like Hispanics and blacks, there. And the neighborhood itself is Spanish. And for a white girl tall, white girl, tall, skinny white girl in tight clothes to be walking around in Spanish Harlem, late at night, in tight clothes. Ahhh, no, not happening. So like, like, I don't want to attract that kind of attention, because they are, in that neighborhood, and that setting in my college specifically, it's very easy for me, like, you know, just by virtue of being exotic for them, to attract that kind of attention and I don't want that. Also, I feel like I get more respect, if I wear nice clothes, clothes that are like brand new, and you see they fit nice and stuff, but they're loose. Because in our society, women are evaluated on their appearance first and everything else second. So if my appearance, you know, my shape is taken out of the equation, then it ceases to be a components available of evaluation for me. And when people, when I meet new people, they see me, okay, female, but they don't check out you know, the assets and so on. And they don't make their judgment based on that, they make their judgment based on their actual interaction with me in whatever capacity that occurs. So, in that mirror, I feel like, I could represent myself not as a set of, you know, the stuff but as �like a whole person, and males would be evaluating me as a whole person, which is what I want. And females also because girls also judge other girls by their appearance, not in the sense oh, I want to like do her, but in the sense, you know, comparing to themselves, I guess. So, in that- So I think that I'm definitely going to stick to this like loose but now brand name and nice looking stuff. Because for me, it was also in my chosen profession of engineer, there's not a lot of women. And obviously. So and I feel like if you don't know, if you present yourself like in any sexual manner to guys, then they will immediately see you like a something of an object more or less, not entirely but to some degree, yes. And I don't want to be seen as an object. Like at all, even like 1%. That's just not, at least not let's say by just some random guys. You know, I mean, obviously, I want my girlfriend to want me but not just some random guy in the street. AZ So do, you said that that you dress, or that you don't dress to please the male gaze? Is there any sense in your clothing or how you dress and pleasing the female gaze? MG I have no idea what pleases the female gaze. Well, I mean, okay, I know what pleases me, but that's the same thing that pleases guys. So it's not, so it's not like anything different, but I don't really know. I mean, my objective is not to impress somebody with you know the beauty of my abs. But, like, you know, to look presentable, clean cut, matching, like wearing quality clothes instead of junk. It's like somebody, you know, that seems like smart and worthy of respect. And I, and I think that, you know, my general clothes, they accomplish that. And also like, lately, it's clothing has ceased to have very much importance for me honestly, I do have feminine clothes, and I do wear them when I go out and stuff. Like when I go into a club, I dress appropriately. Of �course, like short skirts, tight shit, the whole nine yards. But that's because the setting demands it. You know, when you go to a restaurant, you know, I would also wear like a dress and stuff like that. But in general, in general, like I don't think I dress to please the female gaze. I don't try to please, the female gaze means you're like looking for a girlfriend, which I'm not because I have one. And when I didn't have one, I don't know. Like, it didn't occur to me that if I dress like sexy, I would attract girls as well as guys, so it just doesn't work. I don't know if that's the case. So no, not really, I don't think so. I dress to please me most importantly, and in a manner that is in accordance with the setting that I'm in. Meaning business casual, when it's necessary, to college, I can wear whatever I wants, but you know, I wear like, like nice, like, sort of brand name stuff. To a restaurant, I would wear something appropriate, and so on and so on. So my objective in terms of dressing is not to look sexy and not to look hot. And I mean, looking attractive, yes, but attractiveness in the sense that, you know, I look put together. And my appearance is fitting the setting, and it's considered normal and appropriate. And it's like, yeah, that girl dresses nicely, like nothing special. But you know, not that. AZ So this is maybe a little repetitive. But do you consciously use any signs in the way you dress? Or maybe even the way you walk, or talk, to let other people know that you're gay? Is that all important to you? MG Letting other people know is not important to me, per se. Because to me, because that has never I mean, while that is a big part of my identity, I've never been, let's say political about it. Like, you know, I've never been an activist or anything of the sort. Like if people asked me, I would say girlfriend and so on, but I don't but I don't you know, have like rainbow flags on my bed �or something. But on the other hand, my attitude, meaning the way I walk the way I talk, the way I sit, like on a subway. Like if somebody like in the family looks at me, they'll be like, yeah, she's probably gay. Yeah, because I really don't have act that feminine. Like really. So, but on the other hand, if somebody who looks at me who is not really straight and who doesn't have much experience with gay people, they will, they will not really think gay, they will be like no no, ithat girl is kind of I don't know nerdy or she's like kind of eccentric or something like that. But they will not think gay, the reason they will not think gay is because my hair is long. If my hair was short everybody will think I'm a total dyke obviously because, for short when I say I don't mean short as yours, I mean really really short because yours as you know still. Yes. No, no, no, no short as in boy short Yeah, like that. Yes, I did have that experience. I used to have like here like this long. This long. I'm showing like two inches. AZ And um, did it, did people perceive and? MG Yeah like people mistook me for a guy like so. But actually, when I had my hair that short, I dress really feminine to compensate so nobody would mistake me for a guy because if I dress like the way I usually did with that short hair it would be Sir, Sir, Sir all the time. But yeah, like, like one of my friends. She, she, she figured out I was gay like, long before I told her because like, she knows a lot of gay people and stuff like that. And if you want to know in any, any sort of way, either you're friends with gay people, or you are yourself gay. You definitely suspect like as soon as you look at me. AZ Right. So I'm interested in that you, you bought men's clothing, since you were very young you said. Did you ever have the sense that that was transgressive? �MG Because for me it was not. It was not like clothing was not really divided into, like allowed women's clothes and disallowed mens clothes, it was like, Okay, I'm not going to wear men's women's pants for the only reason that they are too tight for my fat ass. And what is like, what jeans would be fitting for me, meaning what jeans would be loose enough that they would like not show anything men's jeans, if there was a line of women's clothes that was, well, first of all, cheap, and second of all loose, I will get those, that will not be a problem. In fact, I would prefer them because, you know, made for women, they would fit better. And with mens schools, there were a lot of issues with comfort and the crotch being too low with that and stuff like that, like because of the cut. And it's been, what's my objective was not to, to present myself as gay or to present myself as Butch or to I don't know, rebel or anything like that. It was simply that is that was the only option of loose pants available to me, or just who that is available to women period, that women's pants are tight, like straight up, or at least in my estimation, that is the style currently. And that was the style when I was younger. And if I don't like the style, then what else must they turn to? I guess I was turning to I don't know, straight leg men's pants or something like that. Which is what I did. AZ Okay let’s see. Um, just looking around, you’re in New York city, so you see women all the time and do you, you probably evaluate them and try to guess, that’s one of my favorite games. Um, is there a style that seems lesbian to you? Like an iconic style? MG Well, if a woman looks really butch, then very likely she is lesbian right. And you know, well not only looking butch because you can have like, like some 45 year old lady with really short hair from the midwest who is you know, maybe �kind of fat, so she’s wearing mens clothes because that’s the only thing that will fit. And she’s married with three kids. I don’t mean like that. I mean, I mean, like looks butch and acts butch and like kind of young and stuff. Obviously, then that would be to me, not an iconic lesbian style because butches are I think a minority if we take the lesbian population as a whole, they’re like one minority of many other subdivisions. But, that is a distinguishably lesbian. Because, any other style is like straight women wear it also. So it’s not like you can be like, that is uniquely gay, besides the butch. AZ Okay….I guess that’s it, that’s all I have. Is there anything else you want to, anything else you want to bring up? MG Hm, I’m probably not like the best interview subject, because my experiences are not shaped by my orientation as much as a bunch of other things like body issues and self esteem and socialization and blah blah blah. Uh, so, hm, hopefully, I mean, ui don’t know if I’ll be a very accurate, how do I say this, like, representative of the general population as a whole. Add to it the fact that I like, am an immigrant with an immigrant mentality. So it’s, so you know, so, I hope that you can find some American born lesbians who would like, with normal social development and normal friendships and normal everything. Whose clothing experiences were in fact shaped a lot by their orientation. AZ This is actually one of my questions, is how much really do lesbians care how visible they are? MG Uh, well I cannot speak for all of them. And, okay, it’s like, it works the same way as straight people. There’s a spectrum, obviously. On the one hand you �have the activists, you know, who march in the Dyke March and rainbow flags all over the place and so on. Obviously they care very much about visibility. On the other hand, you have just regular people who don’t really care very much. Right, or, who cannot be very open about it because of their job or something like that. Right and obviously you have people who are entirely in the closet. So, I don’t know if you can say as whole. Obviously, all lesbians would like to see more lesbians being visible, like on TV or something like that. Like, that’s what’s up. But, themselves being visible? Mmm, I think that uh, only a minority is actively concerned with being visible I guess, like the ones with a more activist mentality. Uh, I don’t have that activist mentality. I don’t mind it, but I’m not going to go around Spanish Harlem with like a rainbow flag because that’s just asking for trouble. My friend got into trouble like, doing that, even though she keeps doing that. Yeah, so, you know what? I can add one more thing. I can, if you, if you don’t mind. I can tell you what I think about the way lesbians dress as compared to the way straight women dress? AZ Please. MG Right. Uh, well, for lesbians’ appearance, like their physical appearance. Is definitely less important in my opinion than it is for straight women. Because straight women are ought to get men, who are very visual and for whom the physical, visual appearance is the make it or break it point, at least initially. So they’re like, you know, we need to look nice, we need to bring everything to the table and so on and so on. Uh, for lesbians, seeing as they’re trying to get women, and women are not so visual, it’s more of a like, they make their choice like in partner and fuckbuddy and whatever it is, based on the interaction they have with that person and so on. There, the appearance becomes less important. So, lesbians, they would, they would probably wear, probably looser clothing or uh, less mainstream clothing, like more punk style �or something like that. Uh, or more, you know, just not be as tremendously concerned about presenting their assets, continuously to the entire world. Because of the, their kind of target market, as it were. AZ And just the innate, uh… the innate way that women… MG Yeah, like that’s why gay guys are so appearance oriented, right, because their target market it guys who are appearance oriented. So, you know, if you wanna, if you want to like market yourself successfully to them, then you have to uh, look good. And probably that's why straight guys are, can let themselves go, you know and wear crap and have beer bellies and so on, because they know women will not be evaluating them based on whether they have a six pack or not, but based on what they say and what they do and how much money they make, and so on and so on. AZ Okay, very good. Thank you. � https://herstories.prattinfoschool.nyc/omeka/files/original/7f879f599dd03334b803bab3f53fc842.mp3 b8cf5f5e1e6219bd650262988ab32ff1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource History of New York Lesbian Style Oral History Project, 2007 Description An account of the resource The History of New York Lesbian Style collection is an oral history project created by Alaina Zulli in 2007. Zulli was a NYU graduate student studying fashion history at the time and was working with the oral history collection as a student employee at Tamiment Library. This motivated her to document changes in New York City’s Lesbian culture as expressed in fashion through the personal accounts of women who identify as a lesbian. This collection includes four audio recordings of interviews conducted by Zulli, digitized from CD-R by students at Pratt Institute’s Library and Information Science Program. The original materials are held in off-site storage by the Lesbian Herstory Archives. Transcriptions were made by Amelia Leventhal, Marissa Moxley, and Sophia Santaniello. Date A point or period of time associated with an event in the lifecycle of the resource 2007 Rights Information about rights held in and over the resource The information available on this site, including any text, data, artwork, video, audio, images or graphics may be protected by copyright and other intellectual property laws. Entities other than the Lesbian Herstory Archive may own copyright of the material. Material from the website may be used for non-profit or educational purposes. However, if copies are printed or displayed, copyright notice must be included. Except as provided above, you may not reproduce, republish, post, transmit or distribute any material from this website in any physical or digital form without the permission of the copyright owner. For information regarding any further use of the materials contained on this site, please contact the <a href="https://lesbianherstoryarchives.org/">Lesbian Herstory Archives</a>. Sound A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Lesbian Style Project Gorkhover Is Part Of A related resource in which the described resource is physically or logically included. History of New York Lesbian Style Title A name given to the resource Lesbian Style Project: Mariya Gorkhover Description An account of the resource Alaina Zulli interviews Mariya Gorkhover. They discuss her family, coming out to her parents, how her style has evolved with her sexuality, how she believes she is perceived, and how she would like to be perceived (based upon her looks). Rights Information about rights held in and over the resource Contact LHA at <a href="mailto:dyv.lha@gmail.com">dyv.lha@gmail.com</a> <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">Licensed under CC BY-NC-ND</a> Date A point or period of time associated with an event in the lifecycle of the resource 5/30/07 Extent The size or duration of the resource. PT37M27S Format The file format, physical medium, or dimensions of the resource audio/mpeg Medium The material or physical carrier of the resource. CD-R PBCore PBCore is a metadata standard for audiovisual media developed by the public broadcasting community. See http://www.pbcore.org/documentation/ Interviewer The person(s) conducting the interview. (For personal names use "LastName, FirstName MiddleName, Suffix"). Alaina Zulli Interviewee The person(s) being interviewed. (For personal names use "LastName, FirstName MiddleName, Suffix"). Maria Gorkhover Coming out Fashion Lesbian youth Sexuality https://herstories.prattinfoschool.nyc/omeka/files/original/fd09cf570fbec313c6c3bbdd285b3db7.jpeg f5935e04917f60c5bb619401c3f516e6 https://herstories.prattinfoschool.nyc/omeka/files/original/83d220984b528ed5bba4c13885325256.mp4 55f5662b60fc8f32364d055f75d69ae2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Neighborhood Voices, 1985 Subject The topic of the resource New York City Description An account of the resource Neighborhood Voices was a series produced by WNYC-TV in 1985 and consisted of interviews with long-term residents of New York City. Identifier An unambiguous reference to the resource within a given context C1 Language A language of the resource English Date A point or period of time associated with an event in the lifecycle of the resource 1985 Extent The size or duration of the resource. 10 videos Contributor An entity responsible for making contributions to the resource <a href="http://herstories.prattinfoschool.nyc/omeka/items/browse?tags=WNYC">WNYC</a> <a href="http://herstories.prattinfoschool.nyc/omeka/items/browse?tags=Audre+Lorde">Audre Lourde</a> <a href="http://herstories.prattinfoschool.nyc/omeka/items/browse?tags=Sonny+Wainwright">Sonny Wainwright</a> <a href="http://herstories.prattinfoschool.nyc/omeka/items/browse?tags=Irving+Cooperberg">Irving Cooperberg</a> Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Neighborhood Voices: Audre Lorde Interview (Tape 4) Description An account of the resource In the final part of the Old Neighborhood Voices interview with Audre Lorde, she wraps up the talk with a discussion on the drama of lesbian life in her youth. She talks about the difficulties and joys of living in community with lesbians in the 1950s and how being on the edge of society gives you a different worldview. She stresses how everyone should view themselves as an outsider so they don't lose perspective on the true sense of power structures at play in the world. Identifier An unambiguous reference to the resource within a given context VID013 Creator An entity primarily responsible for making the resource Neighborhood Voices Date A point or period of time associated with an event in the lifecycle of the resource April 30, 1985 Rights Information about rights held in and over the resource WNYC-TV <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">Licensed under CC BY-NC-ND</a> Language A language of the resource English PBCore PBCore is a metadata standard for audiovisual media developed by the public broadcasting community. See http://www.pbcore.org/documentation/ Digital Format MP4 Episode Title If applicable, the episode or piece to which a media item contributed. Audre Lorde Series Title If applicable, the larger series to which the episode or piece contributed. Neighborhood Voices Interviewee The person(s) being interviewed. (For personal names use "LastName, FirstName MiddleName, Suffix"). Lorde, Audre Physical Format The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive. U-matic Physical Location An address for a physical media item. For an organization or producer acting as caretaker of a media resource, this field may contain information about a specific shelf location for an item, including an organization's name, departmental name, shelf ID and contact information. Lesbian Herstory Archives Duration Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS 00:10:47 Audre Lorde Black lesbians Lesbian youth New York City lesbians & gays Racism WNYC https://herstories.prattinfoschool.nyc/omeka/files/original/46/256/BarbaraGrierFinal.jpg 45c2f586a2e13d8575e0a3e0e2c9b73b Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 270 Width 353 https://herstories.prattinfoschool.nyc/omeka/files/original/46/256/Grier_tape1of7_1987nov27_access.mp4 26f0653b8bbbf2311db17a076c80272a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barbara Grier Interview, 1987 Description An account of the resource Barbara Grier was born on November 4, 1933 in Cincinnati, OH. Her affiliation with the Daughters of Bilitis began in 1957, when she started to subscribe to The Ladder. Shortly thereafter she began writing book reviews for the publication, then served as poetry and fiction editor from 1966-1968, when she became the editor-in-chief. In this role, Grier included news stories, essays, prose and poetry that focused on the burgeoning women’s movement. When the DOB folded in 1970, she and DOB President Rita Lapore continued to publish The Ladder until this ceased in 1972, for financial reasons. Grier met Donna McBride, the reference librarian at the Kansas City, MO public library and Grier's eventual partner, in 1971. McBride first knew Grier as a library patron who made frequent and numerous recommendations of books of lesbian interest that she wanted the library to buy. In January 1973, Grier and McBride, started Naiad Press, the “world’s largest [and foremost and longest-lived] publisher of lesbian books” -- by lesbians, about lesbians and for lesbians. It included romance novels, histories, erotica, volumes of poetry, science fiction and self-help guides, as well as mysteries, non-fiction and classics. Prior to Naiad, “lesbian literature was primarily written by men whose protagonists generally ended up in one of two ways: they married a man or killed themselves.” Grier and McBride kept their day jobs until 1982, when Naiad became their full-time work. In 1995 Grier donated her “Lesbiana" collection to the James C. Hormel Gay and Lesbian Center of the San Francisco Public Library.” Bella Books took over when Grier closed Naiad Press in 2005. Grier died of cancer on November 10, 2011 in Tallahassee, FL. Barbara Grier (n.d.) In Wikipedia. Retrieved from http://en.wikipedia.org/wiki/Barbara_Grier. Barbara Grier Obituary (2011, November 13). Tallahassee Democrat. Retrieved from http://www.legacy.com. Brownsworth, V. (2011, November 11). In Remembrance: Barbara Grier. Lambda Literary. Retrieved from http://www.lambdaliterary.org. Gallo, M.M. (2006). Different Daughters—A History of the Daughters of Bilitis and the Rise of the Lesbian Movement. New York: Carroll & Graf Publishers An Imprint of Avalon Publishing Group, Inc. Grier, B. (1987, November 27). [DOB transcript of tape]. DOB Oral History Project, Daughters of Bilitis. Herstory Archives, Brooklyn, New York. Grier, Barbara (1933-2011). (n.d.). In glbtq’s online encyclopedia. Retrieved from http://www.glbtq.com/literature/grier_b.html. Kallmaker, K. (2011). Barbara Grier, Reflections (blog). Retrieved from http://blog.kallmaker.com/2011/11/barbara-grier-reflections.html. San Francisco Public Library. Barbara Grier. Retrieved from http://sfpl.org/index.php?pg=2000134701. Vitello, P. (2011, November 13). Barbara Grier, Publisher of Lesbian Books, Dies at 78. The New York Times. Retrieved from http://www.nytimes.com. Woo, E. (2011, November 13). Barbara Grier dies at 78; co-founder of lesbian publishing house. Los Angeles Times. Retrieved from http://articles.latimes.com. Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview. Manuela Soares Interviewee The person(s) being interviewed. Barbara Grier Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data VHS Tape Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 61:36:00 Bit Rate/Frequency Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio) "16 bit/32 kHz" Digital Format State the type of digital format. avi file with DV Codec [digital master] mp4 file with H264 Codec [access file] Digital Master File name of master Grier_Barbara_tape1of4_1987nov27.avi Frame Rate 29.97 fps Resolution avi: 720 x 480; mp4: 320 x 240 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LHA Daughters of Bilitis Video Project: Barbara Grier, November 27, 1987 (Tape 1) Subject The topic of the resource Bars, Police, Sexuality Description An account of the resource Barbara Grier discusses her personal experiences with developing her identity. She describes lesbian nightlife and particular lesbians frequented in her youth. Creator An entity primarily responsible for making the resource Manuela Soares Source A related resource from which the described resource is derived http://devherstories.prattsils.org/omeka/archive/files/29f7909c6fdc5040ad20f5f6776ffaf3.mp4 Publisher An entity responsible for making the resource available Lesbian Herstory Archives Date Created Date of creation of the resource. (October 23, 2013) Date Issued Date of formal issuance (e.g., publication) of the resource. (November 27, 1987) Contributor An entity responsible for making contributions to the resource edited by Morgan Gwenwald, Manuela Soares, Sara Yaeger Rights Information about rights held in and over the resource <a href="/omeka/rights-statement" target="_blank" rel="noopener"> See the LHA Copyright Statement </a> Licensed under CC BY-NC-ND Format The file format, physical medium, or dimensions of the resource VHS tape [Original Format] Preservation: Grier_Barbara_tape1of4_1987nov27_access.mp4. Access: Martin_Lyon_tape1of4_1987may09.avi [Digital Format] Medium The material or physical carrier of the resource. Digital reproduction of video cassette Language A language of the resource English Type The nature or genre of the resource Video; Oral history Identifier An unambiguous reference to the resource within a given context (MV-27) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Tallahassee, Flordia Rights Holder A person or organization owning or managing rights over the resource. Lesbian Herstory Archives, Contact Designation: Maxine Wolfe, Contact Address: 484 14th Street, Brooklyn, NY 11215, Phone Number: 718-768-3953 License A legal document giving official permission to do something with the resource. CC BY-NC-ND (Creative Common License) Relation A related resource LHA Spoken Word Audio Cassette Collection, SPW169 - SPW173 PBCore PBCore is a metadata standard for audiovisual media developed by the public broadcasting community. See http://www.pbcore.org/documentation/ Transcription The textual transcription of the media item. Transcript available upon request. Content of the transcript may differ from the content of the video. Barbara Grier Bars Communities Daughters of Bilitis Identity Lesbian youth Manuela Soares Police Sexuality https://herstories.prattinfoschool.nyc/omeka/files/original/29/77/1652_ca_object_representations_media_136_original.jpg 03fccfe35ceb2005947f119c7c6be8bb Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 3000 Width 4000 https://herstories.prattinfoschool.nyc/omeka/files/original/29/77/spw52_A.mp3 8c37e1139e13106771faf2a7b253e466 https://herstories.prattinfoschool.nyc/omeka/files/original/29/77/spw52_B.mp3 56e35aad431925a249a812d93059f0e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mabel Hampton Oral History Collection, 1976-1989 Description An account of the resource Mabel Hampton (1902-1989) was an African-American lesbian, an activist, a domestic worker, and a dancer. Born in Winston-Salem, North Carolina, she lost her mother when she was only two years old. For the next five years, Mabel was raised by her maternal grandmother, but she too passed away. In 1909, she moved to Greenwich Village in New York City at age seven. Less than a year after moving in with her aunt, Mabel was raped by her uncle, a minister. She ran away to New Jersey, buying a bus ticket purchased with a nickel given to her by a woman on the street. Luckily, Mabel was taken in by a family that cared for her for the next several years. As a young woman, Mabel gravitated toward the lively scene in Harlem. In 1920, when she was seventeen, Mabel was wrongfully arrested during a prostitution sting and sentenced to time in Bedford Hills Correctional Facility for Women. Upon her release, she danced at clubs like "The Garden of Joy", sang as a member of the Lafayette Theater Chorus, and performed with Harlem Renaissance stars such as Gladys Bentley. Mabel engaged in several relationships with women and lived openly as a lesbian. In 1932, Mabel met Lillian Foster, who would be her partner until Lillian's death in 1978. With the Harlem Renaissance waning, Mabel sought out employment in other areas, primarily working as a domestic worker and hospital attendant. As a domestic, she worked for the family of Joan Nestle. Mabel and Joan developed a friendship that lasted for decades. When Joan started the Lesbian Herstory Archives in 1974, Mabel joined her as a founding member. Mabel donated her huge collection of lesbian pulp fiction novels and worked tirelessly with Joan and other volunteers to amass lesbian-related materials--literature, biographical information, academic publications, and ephemera--as a resource for the lesbian and gay community. Mabel was also a vital, enduring element in the gay rights movement-she participated in every gay pride march that occurred during her lifespan, including the first, historic march and demonstration for gay rights in Washington, D.C., which took place in 1979. In 1985, Mabel was named the grand marshal of the New York City Gay Pride March. That same year, Mabel was awarded a lifetime achievement award by the National Coalition of Black Lesbians and Gays. After the Lesbian Herstory Archives were founded, Mabel carried the LHA banner in many marches. She also worked tirelessly for SAGE, an organization devoted to promoting advocacy and developing services for elderly members of the gay, lesbian, bisexual, and transgender communities. Interviews with Mabel are featured in "Before Stonewall" and "Silent Pioneers"; both movies document the struggle for gay rights and the efforts made to obtain equality. Joan Nestle started recording Mabel's oral histories in the late seventies, realizing the importance of documenting Mabel's life story as an example of racial and sexual freedom. In these histories--many of which are featured on this website--Mabel discusses her relationships with women, her struggles with racism, and her identity as an African-American lesbian in the twentieth century. Mabel died of pneumonia in 1989 at the age of eighty-seven. Her life as an advocate, activist, performer, and storyteller lives on in the images and oral histories collected by the Lesbian Herstory Archives. Many of the resources below, as well as additional subject files, biographical information, images, and media about Mabel, lesbian history, and gay pride are available by visiting the LHA in person. Resources City University of New York. (2003). Queer ideas: The David R. Kessler lectures in lesbian and gay studies. New York: Feminist Press at the City University of New York. DuPlessis, R. B., & Snitow, A. B. (1998). The feminist memoir project: Voices from women's liberation. New York: Three Rivers Press. Hampton, M. (1979) "I didn't go back there anymore: Mabel Hampton talks about the south." In Feminary 10, 7-16. Hogan, S., & Hudson, L. (1998). Completely queer: The Gay and Lesbian encyclopedia. New York: Henry Holt. Lesbian Herstory Archives. Mabel Hampton special collection, including transcripts of oral history. Lesbian Herstory Archives, Brooklyn, NY. Nestle, J. (1993). Excerpts from the Oral History of Mabel Hampton. Signs, 18, 4, 925-935. Nestle, J. (1998). "I Lift My Eyes to the Hill: the Life of Mabel Hampton as told by a White Woman." In A fragile union: New & selected writings. San Francisco: Cleis Press. Nestle, J. (1991). "Surviving and More: Interview with Mabel Hampton". In Sinister Wisdom 43/44, Summer. Berkeley, CA. Identifier An unambiguous reference to the resource within a given context SPWC1 Sound A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mabel Hampton Interview [Lillian Foster / Youth] Subject The topic of the resource Lesbian couples, African American lesbians, Lesbian community Description An account of the resource Oral history interview with Mabel Hampton. Mabel tells stories of different women she dated and how she met Lillian Foster, who would be her partner from 1932-1978. She also talks about friends and jobs she had in her youth. Creator An entity primarily responsible for making the resource Mabel Hampton (Interviewee) Joan Nestle [interviewer] Source A related resource from which the described resource is derived Side A (mp3) http://herstory.prattsils.org/mp3_files/spw52_A.mp3 Side A (wav) http://herstory.prattsils.org/wav_files/spw52_A.wav Side B (mp3) http://herstory.prattsils.org/mp3_files/spw52_B.mp3 Side B (wav) http://herstory.prattsils.org/wav_files/spw52_B.wav Date Modified Date on which the resource was changed. Digitized 2010, November Format The file format, physical medium, or dimensions of the resource Original = Cassette Tape WAV MP3 Medium The material or physical carrier of the resource. Digital reproduction of audio cassette. Language A language of the resource English Type The nature or genre of the resource Sound Sounds Oral Histories Identifier An unambiguous reference to the resource within a given context SPW52 Spatial Coverage Spatial characteristics of the resource. New York City, NY, United States Temporal Coverage Temporal characteristics of the resource. 1930's Rights Holder A person or organization owning or managing rights over the resource. Lesbian Herstory Archives, Contact Designation: Maxine Wolfe, Contact Address: 484 14th Street, Brooklyn, NY 11215, Phone Number: 718-768-3953 Rights Information about rights held in and over the resource Contact LHA at <a href="mailto:dyv.lha@gmail.com">dyv.lha@gmail.com</a> <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">Licensed under CC BY-NC-ND</a> Joan Nestle Lesbian youth Lillian Foster Mabel Hampton Relationships Work Youth https://herstories.prattinfoschool.nyc/omeka/files/original/33/55/spw1158_B.mp3 bd4d177fcb02f787c2c5620b77662a2a https://herstories.prattinfoschool.nyc/omeka/files/original/33/55/spw1158_A.mp3 2b2426acdcb7cbf62100bb0d76977982 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Audre Lorde audio recordings, 1977-1986 Description An account of the resource Audre Lorde (February 18, 1934 – November 17, 1992) was a celebrated and influential Caribbean-American poet, novelist, autobiographer, and publisher whose art and life explored issues of race, class, sexuality, gender, and illness. The cassettes in this collection were deposited at the LHA by various donors. They document various public events including the 1979 National March on Washington for Gay and Lesbian Rights, a 1982 poetry reading, and writing conferences in the late 1970s and early 1980s. Sound A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource March on Washington/Pacifica Program Service, 1979 (Tape 1 of 4) Subject The topic of the resource National March on Washington for Lesbian and Gay Rights, Washington, D.C., 1979, Gay rights,Civil rights Description An account of the resource Tape 1 of 4 of a collection of cassette recordings of the NPR/Pacifica Radio national broadcast of coverage of the 1979 Washington DC march and rally for gay rights. Side A includes speeches by Robin Tyler, Troy Perry, Adelle Starr, and Michiko Cornell, as well as brief interviews with spectators in the crowd. Topics covered on side A include general theme of gay rights, as well as advocacy for gay youth and gay Asian Americans. Side B includes speeches by Rene McCoy, Bill Blish, Arly Scott, Maria Diaz, and Steve Alt, as well as brief interviews with spectators in the crowd. Topics covered include general gay/civil rights themes, advocacy for promotion of parental support for gay/lesbian children and discussion of Mayor Berry decision to declare "Gay/Lesbian Awareness Week". Side B. also also includes the song, "Not Anymore", (performed by Celebration). Creator An entity primarily responsible for making the resource Robin Tyler, Troy Perry, Adelle Starr, Michiko Cornell Rene McCoy, Bill Blish, Arly Scott, Maria Diaz, Steve Alt Source A related resource from which the described resource is derived Side A. (mp3) http://herstory.prattsils.org/mp3_files/spw1158_A.mp3 Side A. (wav) http://herstory.prattsils.org/wav_files/spw1158_A.wav Side B. (mp3) http://herstory.prattsils.org/mp3_files/spw1158_B.mp3 Side B. (wav) http://herstory.prattsils.org/wav_files/spw1158_B.wav Publisher An entity responsible for making the resource available NPR/Pacifica Radio Date Created Date of creation of the resource. 1979, October 14 Date Modified Date on which the resource was changed. Digitized: June 2011 Contributor An entity responsible for making contributions to the resource Celebration (band) Rights Information about rights held in and over the resource Contact LHA at <a href="mailto:dyv.lha@gmail.com">dyv.lha@gmail.com</a> <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">Licensed under CC BY-NC-ND</a> Relation A related resource Tape 1 of a 4 tape series. Followed by SPW1159, SPW1160 and SPW1161. Format The file format, physical medium, or dimensions of the resource Original = Cassette Tape WAV MP3 Extent The size or duration of the resource. Side A [38:09] Side B [37:04] Medium The material or physical carrier of the resource. Digital reproduction of audio cassette. Language A language of the resource English Type The nature or genre of the resource Sound Radio Program Identifier An unambiguous reference to the resource within a given context SPW1158 Spatial Coverage Spatial characteristics of the resource. Washington D.C. Temporal Coverage Temporal characteristics of the resource. 1979, October 14 Rights Holder A person or organization owning or managing rights over the resource. Lesbian Herstory Archives, Contact Designation: Maxine Wolfe, Contact Address: 484 14th Street, Brooklyn, NY 11215, Phone Number: 718-768-3953 Activism Interviews Lesbian pride rallies Lesbian youth LGBTQ+ civil rights Marches On Washington Music Parents Radio