DYKE A Quarterly

SIDE TRIP: Lesbiana, Une Revolution Parallele, a film by Myriam Fougere

 

This is a year for great films about Dyke Culture in bloom. Here is a trailer for Myriam Fougere's film Lesbiana-Une Revolutions Parallele, A Parallel Revolution. I've seen it, loved it, and I hope you get a chance to see it too. Bring it to your town or gathering perhaps?

 

Lesbaina, Une Revolution Paralelle, trailer

From a press relase by Miram Fougere:

“A Parallel Revolution”, is a unique documentary telling the story of the lesbian movement from 1975 to 1990 through interviews with lesbians in Canada and the US who contributed to the making of this incredible revolution. 

This documentary gives voice to lesbians who wanted to change the world, who questioned everything, including gender roles, social norms and structures, racism and the oppression of women. Who created women-only spaces, wrote, composed music, made art and staged “happenings”. We need to remember the radical spirit of these women who took control of their lives so others could too. 

In 2010 I filmed ten interviews in Montréal and more than twenty interviews in the US with provocative lesbian writers and activists, visiting women's lands in Vermont, Alabama and Arizona."

The womyn interviewed include: 

in Montréal: Diane Heffernan, Gloria Escomel, Laura Yaros, Line Chamberland, Lise Moisan, Lise Weil, Louise Turcotte, Nicole Brossard, Suzanne Boisvert, et Verena Stefan.

In the US: Alix Dobkin, Carol V. Moore, Carolyne Gage, Crow, Evelyne Thorton-Beck, Emily Greene, Glo, Imani, Irene Weiss, Jade Deforest, Jackie Anderson, Julia Penelope, Lee Evans, Lin Daniels, Marilyn Frye, Nadine Zenobi, Noel Furie, Ruth Silver, Selma Miriam, Sonia Johnson, Sudie Rakusin, and Vera Martin.

You can find information and updates about the film on facebook 

Check out more films here

SIDE TRIP: The Great American Lesbian Art Show. Los Angeles, 1980. Liza Cowan's Journal

In 1979 The Woman’s Building in LA hosted and sponsored GALAS, The Great American Lesbian Art Show. In addition to the invitational show at the Woman’s building, GALAS was structured to include independent Lesbian art shows in communities all over the United States. One of the shows was in Saugerties, NY, curated by Susun Weed, Billie Potts, Liza Cowan and probably some others.

As part of GALAS,  The Woman’s Building hosted Amazon Ambosia, an event produced by Terry Wolverton and Bia Lowe. I, Liza Cowan, was invited as one of the two guest artists. DYKE A Quarterly had recently folded. This is an excerpt from the journal I kept during my trip to LA for the event.

 

Newspaper notice for GALAS, Amazon Ambrosia, Los Angeles 1980

Monday, Jan 28, Los Angeles

At Terry Wolverton and Bia Lowe’s house

It’s raining this morning and the house is quiet. It’s nine a.m. Yesterday’s event, Amazon Ambrosia, was a huge success. There were about fifty women there at The Woman’s Building for the art sharing. Janet [Meyers] was there which made the event real for me. There were some other New Yorkers, too. Judy Reif who used to be lovers with Fran Winant, who now (Judy) lives in San Diego. Harmony Hammond was the other guest of honor. She has a wonderful haircut, and is, or seems to be, a warm, smart and interesting woman. She had a cold and seemed to be feeling a little out of it. So we all sat around in a huge circle. Terry spoke for a while about GALAS [the great American Lesbian Art Show], then we went around the room and everybody introduced herself. That was good. I had been sort of nervous about my presentation till I knew who everyone was. It made us all somewhat equally exposed. So then I gave my presentation. I spoke about Electra [my radio show on WBAI-FM, Electra Rewired], about COWRIE [magazine] and DYKE and the buttons    [White Mare buttons] and the Archive [white mare archive] and then I showed my portfolio. I explained how to make projector pictures and resist pictures. I explained how my art isn’t ARTY, just homey art, that it is a form of journal keeping for me, but as with all my work, I am quite willing to share the intimate details of my life. I spoke about breaking up with Alix [Dobkin], everybody gasped when I said we’d been monog for 6 ½ years. I showed my self portraits + my cards for Alix and Deb, and talked about the cards. I had a wonderful time. Just wind me up and let me speak. I could have gone on and on, but I only had a half hour so I didn’t even finish showing my portfolio. I showed the Amazons [Amazons On Parade series of paintings done with Susun Weed and Billie Potts] but I didn’t get a chance to show My Golden Pamela, which is one of my faves. Anyway, women seemed to like my presentation. I knew that if I went and was me, exposed myself, told stories, etc. that they would dig it.

Amazons On Parade. Paint on butcher paper. Liza Cowan, Susun Weed, Billie Potts. 1979. Hanging in the living room at 3 Maple Farm, Preston Hollow, NY.

How not to? The feedback was: they loved the cards. “thank you for sharing (big word here) yourself so intimately” “thanx for telling technique” “I really identified with the breaking up experience” “you were charming” I love to be charming. It’s one of my better acts. Not an act, really. A facet.

 We had a one hour break to eat vegetables + cheese, then we danced which was fun. Everybody was dancing in couples but I managed to make it into a circle + more free form. I don’t mind couple dancing but I don’t like it when it’s all there is, esp on a big bright dance floor with only 6 or 8 women dancing. Terry + Bia made a good tape.

  After dancing we all sat down and watched slides + listened to the artists talk. Oh yeah! Before the break Harmony showed slides of work by Lesbian Artists mainly from NY but from some other places too. Some of it was really exciting and it was good to see so much Lesbian art all at once.

 Nancy Fried + Clsuf were my favorite artists. Nancy does wonderful little sculptures – pictures of domestic details of her life + the lives of friends. She’s a Philadelphia Jew + very warm + funny. Her lover Clsuf makes buttons, cards + graphics. I like her work very much. It’s much like my own. Also I like Bia’s work. She showed her portfolio at the end.

 The event was over at six. We cleaned up, went out to dinner then went to Terry + Bia’s spirituality group... I participated fully, of course, but we were all exhausted. Terry was absolutely frazzled.

 For Sat Jan 26

We did errands in the morning, Terry, Bia + I.  Then at two we went to a very nice apartment for a tea party honoring and showing the work of Nancy Fried. It was a most elegant party. All the girls were quite dressed up. The music was calm. Stevie Wonder, “The Secret Life Of Plants” and a woman actually playing flute, live, in the apt. Women sat around and stood around and yapped. I wore my purple skirt, green shirt, orange tights and my new Lady shoes. There were a zillion sweets to eat. Harmony was there in an all purple outfit looking squeezable, which I told her + squeezed her. Joanne Kerr arrived with Kirsten Grimsted. Kirsten + I started to talk shop, but made a date for me to go to the Chrysalis office instead. I have a feeling that the women have a slightly snobby attitude toward Country Women [the magazine, which a group of women I was involved with back in Woodstock were proposing to buy to take over publication from the Catskills] like it’s a hick publication. It’s very subtle, though and who cares. I feel like such a country DYKE here and am glad of it. I said so in my presentation Sunday, too. The city is disgusting. I don’t understand why anybody would choose to live here. I don’t think there’s much that can’t be done from the country. Anyway… Janet arrived and we mainly hung out together which was good because it was so good to see her and talk to her. She’s such a good friend. I’m happy to have found her again. Donna Dietch came in. She and Janet had just had dinner the night before.  It was good that Janet knew some one there too. I always want  everybody to know what a good artist she is. Donna and her lover of many years are just breaking up and she and Janet and I had a satisfying conversation about that, not just party talk...

Nancy Fried, The Woman's Building, sculpture

Phranc was there, a real cute little punker. We first met at the Lesbian History Exploration in ’75. It was good to see + speak to her. After a while I got pretty bored with neck up communication, longed for our Catskill style of disco corners and home made food. I was glad, however, to be with all the LA women. I am homesick, but I do not with to be with my home friends…

 Back at Terry and Bia’s we watched slides of some GALAS artists and looked at Bia’s slides. She has a very interesting vision. Very city, however. I think she’d be happier in the country. I like her quite a bit. I think we could be friends but it is not too easy getting to know her. For one thing she and Terry and quite the couple. They seem to be into couples around here. Not much consciousness about relating as individuals or what ever it is we seem to be working on at home as a community.

 Terry is an excellent publicist. I admire her drive, her ambition, her outspokenness.

GALAS button. Keep Lesbians Busy...making art!

Here’s what’s really nice and also funny: on this visit I am accepted by the LA Women’s art community as a peer and an artist. This seems to include the Chrysalis women, who last visit, seemed to want to have nothing to do with me. This is due to, naturally, changes + evolution. I’m not so snotty + neither are they. Also due to the fact that I invested $2,000 in Chysalis, thanks to Joanne. And Terry also liked me and my work, so included me in Ambrosia, therefore I am sort of a visiting personality. That the event co-starred Harmony (actually everybody was a star, but Harmony and I got publicity) was a help, too. It is nice because I feel good about being considered an artist and respected as such. It’s good for my self esteem and will be good for Country Women.

Harmony Hammond. Hunker Time. 1979. installation photo by Brian Forrest

I spoke to Harriet Bye [former editor at Country Women] last Friday. She’s not on the CW staff anymore but said that she thinks they’d be happy to sell the mag to us. Janet spoke to  Billie the other day. So did Susun and River. According to Arya, Billie still wants to just buy the mailing list, but it’s gotten bigger than just Billie now. I’ll call her one of these days.

Tonight is a dinner party at Arlene Raven’s.  Janet + I are going. I  think it’s a party for Harmony. Kirsten [Grimsted] will be there too.   I’m curious to see the art elite at home. None of them was at Ambrosia.

 Friday Feb 1^st.

I spoke with Helen from Ti farm a few days ago. She said she was afraid that CW would become too dykey under out supervision, She said that she was afraid to read DYKE. So that was depressing. They are going to have a meeting and get back to us. Then yesterday I spoke to Kirsten and Janet about it and I am left with the thought that CW can never be self- supporting. Not the way I would want to do it. My political and artistic vision is too radical. The mag biz is so hard anyway. Then, trying to sell to a group that is unwilling if not unable to support it financially? We would need to capitalize with $50,000 at least. We don’t have it. I won’t give it, even if I could. I don’t think that our crowd has the vision to share with me. Of all of them I work best with Susun and River, but they’re not writers. Don’t have a passion for magazines. B writes but I hate her style + I’m afraid we are not compatible. So if the others want to go ahead + do it, fine. I will help but not run it. I want to focus on my art. A mag could be the place but not now, not CW.

>about Monday Jan 28

Janet and I drove to a party at Arlene Raven’s. There were 12 women there: Arlene, Cheryl Swannack, Harmony Hammond, Lily Lakich, Donna Deitch, Susan Rennie, Dr. Nancy Sabin and a couple of others whose names I’ve forgotten. We had an unmemorable dinner. They were busy snapping polaroids which was fun. They took a couple of real goodies of me which they kept. They gave me this one, which Donna took of the group.  Susan and Nancy had already gone home. Everybody poured on the charm and it was very entertaining Cheryl took us on a tour of the house which has beautiful bathrooms. I told her about my miniature bathroom collection. She said Jane Wagner also collects miniature bathrooms. The first thing Cheryl said to me was how much she loved DYKE. Several other women agreed. That was gratifying. I have heard many compliments to DYKE on this trip. More than ever before. Fits my theory that it is easier  to love it now that it is defunct and poses less of a threat, tho I believe that they all did love it alive also. I wish PMAH [Penny House] could hear the compliments first hand. I try to pass them along but I’m sure its better to hear it from the lips of the women

Party at Arlene Raven's house. Clockwise from Cheryl Swannak (with raggedy ann) Arlene Raven, Harmony Hammond, Liza Cowan, Janet Meyers...the rest I'm not sure. Someone help. Included are Lily Lakich (with rose?) Donna Deitch (in stripes?) Susan Rennie?

Feb 2^nd

Janet drove us to Arlene’s for another party. Catherine Nicholson and Harriet Desmoines were there from Sinister Wisdom. I felt a little out of it and couldn’t really focus on the party. One funny thing was that Catherine really nailed Susan [Rennie] and Kirsten [Grimsted] about why Chrysalis isn’t Lesbian identified. It was especially funny because it was a role I would ordinarily choose to take on and though I’m sure I wouldn’t have, I really enjoyed seeing them debate. I only had to add that Chrysalis women are not at all present in the mag whereas PMAH + I were very present in DYKE, and Catherine are in Sinister Wisdom. I personally prefer presence as a tone for the mag.

 

Women mentioned in this journal entry:

Liza Cowan: editor, DYKE A Quarterly, artist

Harmony Hammond. Artist, writer

Terry Wolverton: writer, editor, artist producer

Bia Lowe: designer, writer

Janet Meyers: film maker, film producer

Judy Reif: Activist

Fran Winant: poet, activist

Penny House: editor, DYKE A Quarterly

Susun Weed: artist, writer, herbalist, teacher

Billie Potts: herbalist, writer, activist

Alix Dobkin: singer, writer

Nancy Fried: artist

Clsuf: artist

Kirsten Grimsted: writer, editor

Donna Deitch: film maker

Phranc: Pholksinger

Harriet Bye: writer, editor of Sinister Wisdom

Arlene Raven: art historian

Cheryl Swannak: producer

Dr Nancy Sabin: doctor

Susan Rennie: writer, editor of Chrysalis Magazine

Lily Lakich: neon sculptor

Jane Wagner: writer

Joanne Kerr:

Catherine Nicholson: Editor Sinister Wisdom

Harriet Desmoines [Ellenberger]: Editor Sinister Wisdom

 

 

 

 

 

 

DYKE A Quarterly, no. 3. 1976. pp 6-12 Letters

Letters To The Editor

 Illustration by Tee Corinne

 

DYKE NO 2: Letter Salad

Dear Liza and Penny,

I hope you print this so other lesbians who feel the way I do will know someone agrees with them.

I am really angry about a lot of what is in your magazine. One thing is that it costs $3.00!!! I can't believe you really care about most lesbians reading it if you charge so much.

Another thing I can't believe is that the Red Dykes from Detroit wrote how fucking classist you are and how oppressive and you didn't even respond!!! How can you not respond to a letter like that?? Its obvious that you don't have to worry about jobs or money, and that you don't care about Lesbians who do! And you won't even admit that money separates us us from each other as lesbians and that we have to learn to deal with it. I wouldn't expect you to write articles about jobs, etc, if its not in your experience, but the least you could do is get articles from other lesbians about these things, so that those of us who have to deal with daily survival would have something to relate to in your magazine.

The other main thing that made me real angry was the shitty review you, Liza, did of Linda Shear's tape. I experience Linda's music as very powerful and beautiful, both musically and what she's saying. I can't believe how much you put her down in that review - saying something good about everything else except the music itself. Her songs are not at all difficult for me to listen to, and I think it's really destructive to all Lesbians to say the things you say. I am not saying that you should pretend to like something if you don't - but the way you say what you think is really insulting and putting her down. It is also infuriating to me that you don't at least say that linda is a separatist and her songs are about that vision, instead of saying her ideas are interesting! That means nothing!! If you cared about Linda or the rest of us Lesbians, you could have said what you had to say in much more positive and accurate ways. (Not that I can understand at all why you don't like her music in the 1st place.)

It's very clear to me from your magazine that you are upper class snobs who don't care what effect you have on other lesbians and are not really serious about putting out a good lesbian magazine.

Melanie

North Hampton

Dear Melanie,

Yes, $3 is a lot of money, but to produce a 86 page magazine that has been typeset and printed is expensive. The printers and typesetters are Lesbians. The contributors are all paid, except us, plus for every magazine that is sold by a bookstore, the store gets a full 40%, which in this case is $1.20. Since we're a quarterly, we wanted to make each issue quite long and of high quality so that it would last a long time. The cost of a subscription is $8.00, which is $2.00 per issue, which is quite reasonable, we thought. For every copy we sell individually through the male (mail) system, we must pat 34¢, now raised to 50¢. About one quarter of the time, the Post Office "loses" the magazine and we have to send another.

We're not breaking even let along making any profit from the magazine. However, since many women felt the price was too high we are lowering it and reducing the number of pages per issue. Please see Criticism, Feedback and Changes for more on price.

As for not answering Red Dykes' letter as well as some of the other letters, we agree that it was the wrong decision to make. We are now answering letters of criticism in print. Please see Criticism, Feedback and Changes for more explanation of this.

Where did you get the idea that we don't "admit that money separates us from each other as lesbians and that we have to learn to deal with it." We do "admit" it, we never said otherwise and we certainly never meant to imply otherwise. I'm sorry if you did. The CLIT papers 1 and 2 did contain a certain amount of discussion about class and money and we did print them.

We have, including this issue, only produces three issues so far, so of course we have not covered every topic of interest to every Lesbian. Obviously we can write only our of our experience. We can and actively do seek articles written by other Dykes. And now that we have put out a few issues, we have been getting a lot more in the mail. We started DYKE with the idea that the general themem would be Lesbian experience, and we hoped and still hope that logs of Lesbians would write about anything they were interested in from a Lesbian perspective. We are now switching to theme issues in an effort to make it easier for Lesbians of all different classes, races, ages etc. to write. Again pleas read Criticism, Feeedback and Changes for more details.

Almost all the women who have written for DYKE have to work for a living. Does having a job really preclude you from relating to the articles that have been printed? And if so, which ones? You say in your letter that we are "upper class snobs who don't care what effect you have on other Lesbians, and are not really serious about putting out a good lesbian magazine." What a lot of assumptions in one sentence. If we didn't care what effect we had on other Lesbians, we wouldn't bother putting out a magazine, a medium that can't survive without readers and participants. And you can you possibly think we are not serious about making a constructive magazine? Whatever you think of the content, it should be obvious that many women worked very  hard and very seriously to put out these magazines.

Does the fact that Liza and I don't have straight jobs disqualify us from participating in Lesbian culture. Should we not use our money to put out a Lesbian magazine? Should we not write from our own experiences? Does the fact that we don't have to earn our living off the magazine mean that we are less serious about putting out a good magazine. How many feminist and Lesbian magazines or newspapers suppor the women who are producing them? I am not asking rhetorical questions. I really don't understand what you mena. You seem to be saying that because we have some money that everything generated from that is of no value and has evil intent. Do you really believe this?

As for Liza's review of Linda Shear. Please see her answer to Helen's letter. I think we all have a lot to learn about giving and receiving criticism that is both hones and supportive. I also feel that the tone of a piece is as important as the content. We are trying to be conscious and responsible about this. Destructive tones are a problem of many Lesbians and, as you say, destructive for all Lesbians. As an example of destructive tones of criticism, reread the Red Dykes letter which you mention.

I have tried to answer what I perceive you are saying in you letter. Criticism is hard because we all operate on so many different levels. Making negative assumptions about each other isn't going to help. We all have to overcome the conditioning that teaches us to mistrust each other.

Penny 

 

Dear DYKE magazine,

Reading your ads and things I realize that you want nothing to do with the man. I can understand that, the man tells us where and when we can work, eat, sleep and just about everything else. We can oppose the man and not buy his goods, take his jobs, live in his houses. On the outside like that you know its hard unless one has a source of money the man doesn't try to take away. You know the man (or 'lord' these words are interchangeable) gives and the man/lord takes away. Unfortunately the man owns the home I rent for me and my dog, and man owns the company that sends me my chick for the forty hours a week I spend in the office/factory/store/field etc. Anyway I can't seem to get away from the man. But - and this brings me to my point- you want money for your mag. But the only money I got is from the man so I don't know what to do for you. I have a solution: here are some dyke dollars.

So please send me your magazine.

In sisterhood

Jacqueline

Washington,DC

 

Dear Jacqueline,

I know that we did not intentionally try ot imply that any Lesbian could possibly exist without relating to men in any way. Our money comes from men most of the time. The source is certainly men. Anyway, we are sending you one issue of DYKE in exchange for you beautiful Dyke dollar. And remember - we pay for all work that we print, that includes graphics, so keep it coming.

P & L

DYKE A Quarterly, No. 3, 1976. p. 6. Dyke Dollar by Jacqueline. "This is good tender for all Dyke debts public and otherwise."

 

Hi,

I was absolutely fascinated by the copy of DYKE you recently sent me. When  can scrape up the price I'll be sending in my subscription. I wish I were fortunate enough to live in a more advanced place so that I might benefit from the experiences and associations of others like myself. As it is, I'm rather isolated - my only contact being my whole light and life and love. Who also happens to be married. I'm expanding my mind and ever growing (I hope.) She's working on it too, after a fashion I guess. Not fast enough for me, but maybe we'll get there one day. I read everything I can lay my hands on anymore regarding feminism and Lesbianism and etc- an pass it on to her partially digested- Hopefully that won't be necessary soon, but since she doesn't care to read a great deal, I guess it's up to me to garner new ideas.

Being alone and isolated, and weak, I remain under the control of the present system, getting by as much as possible and where necessary and keeping to ourselves the rest of the time. The economic hold over me (at least) is powerful. I'm not strong enough to fight it yet. Magazines such as yours inspire and encourage me, and I need all the help I can get. Please don't give up!! You are reaching people who need you!! I'm not a person who writes to magazines as a rule, but I guess I'm groping for someone who might understand what life is like for me. Sorry for crying on your shoulders.

I realize the magazine and your other business must use up your time quite effectively. I hope you can clear up two things for me, though. If you aren't able to, I understand

First, I'm not sure what you mean by your usage of the term "DYKE." In trying to scope out the philosophy behind your magazine I can't imagine you mean the 'macho butch' type image. Does it apply to all lesbians, or Lesbian separatists, or who?

And second, I'm beginning to comprehend the necessity of separatism. As each day goes by and I run up against the frustrations and heartbreaks I feel more and more ready to separate myself. But aren't men a requirement at least in the propagation of the race? We can't do that by ourselves yet, can we? Maybe it's a sophomoric question, but unless I ask, where do I get an answer?

This is too long already. In eager anticipation of a repy, at at least issue #2. I'll sight off.

Keep your presses rolling! I wish you love.

an emerging infant sister,

Susan,

Wyoming

Dear Susan,

Your situation sounds unfortunate. I hope that you will be able to find more satisfactory conditions for yourself. As to your questions: We use the word "DYKE" to mean strong Lesbian. This does not mean 'macho' or 'butch' although straight people might think that we are macho or butch. "Dyke" is a word that has been used to insult and intimidate Lesbians for a long time. Its origins are obscure, but contemporary Lesbians are reclaiming the word to use with pride about oourselves. We chose it as a title for our magazine because it is simple, direct, powerful and easy to remember. Our full title is DYKE, A Quarterly because a spiritualist told Penny that we should use the letter "Q" to help us financially.

About propagation: Some women say that Parthenogenesis, or virgin birth, is possible and, in fact, does happen sometimes. You can read more about that in The Lesbian Reader published by Amazon Press. Even without parthenogenesis though, it is not necessary to build a lifestyle around a few minutes of impregnation. As dairy farmers know, it is not necessary to have a bull for every cow. It is not even necessary to have the bull at all, anymore. Just call the artificial inseminator. Also, many Lesbians choose not to have children at all, while others come out after they have children.

I hope this answers your questions satisfactorily. I am glad that you like DYKE so much. It is very gratifying to hear that.

Liza

MOTHER LETTERS

Dear Penny,

Whew! I just read your "Letters From My Mother." They are word for word what my female parent's (cant stomach the word 'mother' suddenly) reaction would be if I came out to her. I've tried to fantacize her reaction many times - your article saved me much fantasy time - not to mention months and years of shit if I actually did come out to her. I"m surprized to find another parent who plays exactly the same games mine does - Reading your article made mine's games crystal clear - more clearly than I've been able to on my own....

(exerpt only)

Thanks, 

Polly & Georgine

New York

 

DYKE A Quarterly, no. 3, pp 48/49 - Reviews: Hysterical Hystoricals

DYKE A Quarterly No. 3. p. 48. Reviews of Linda Shear and The Performance at Grace & Rubies CLICK TO ENLARGE

 

DYKE A Quarterly No. 3 p. 49. Review of Hysterical Hystoricals, Lesbian Connection, Dynamite Damsels CLICK TO ENLARGE

 

 

Hysterical Hystoricals: A Lesbian-Feminist Revue

 Written and produced by: IV Women Productions; Doreen DiBiagio, Chris Larkin, Robyn Lutsky, Joanne Schumann. Directed by Margueite McLaughlin. Music by Robyn Lutsky. Musical arrangements Kathi Sheer. Orchestration by Roberta Kosse. Musical direction by Robyn Lutsky and Kath Sheer. Lighting design by Shelly Blue, Dreen DiBiagio and Debbie Wieser. Set design by Doreen DiBiagio. Costumes by Louise Martinez. Choreography by Murphy Cross. Musicians: Mrj Conn, Robyn Lutsky, Natash Olate, Kathi Sheer, Alina Trobridge. Cast: Kathy Tedeschi, Marge Helenchild, Jan Goldman, JoAnn Starkey, Lillian Engelson, Doreen DiBiagia, Chris Larkin and Robyn Lutsky.

 

We were just talking about how nice it would be to see a Lesbian musical play when the fleer for Hysterical Hystoricals came in the mail. Of course we ordered tickets and went to see the play during Lesbian Pride Week in New York City.

 

How nice it was to go into the little theater with real theater seats and a real stage. It was exciting to sit and wait for it all to begin, watching the heater fill up with Dykes, all different types of Dykes, some scruffy movement Dykes, some not scruffy movement Dykes, and several women wearing bouffant hairdos and shell tops. I never see these kind of women at most Lesbian events, and it was a pleasure to see them at the theater.

 

We read the program and then the lights dimmed and the orchestra began the overture. It was great. We had been listening to Guys and Dolls and Oklahoma for months and it was a thrill to listen to the overture of a real Dyke musical. The play began. It was a series of short skits, commemorating the bicentennial, sort of, but mostly commemorating Dykes. Queen Isabella and Christina Columbus are having  lovers spat. Christina goes off to sail around the world with her all women crew. In a later skit, “Sappho’s Hideaway” Christina has discovered the New World in a women’s bar in Flatbush. The year is 1493. “I’m always late” says Christina “We had to start without you” they say. In another skit, Ms. Grossinger negotiates a deal to by Manhattan for Ms. Rockerfeller. In a ballroom scene all ten Dykes in the cast are wearing long ball gowns, singing and dancing with each other. The look terrific, hairy arpits, cowboy boots and all. They give an award to Zero, who does underground work with women. She always leaves the mark of Zero. She is a klutz.

 

In the old West, two cowbutches are planning a showdown gunfight to see who will wind the femme. The femme becomes disgusted, “You’re a mean and ornery critter, Calra mae” she said. “Neither of you can win me.” And she goes off with another femme.

 

The skits were all well done & very funny. Sometimes it was a little hard to hear the lyrics to the songs, but we were sitting right next to the drum. The music was well arranged, catchy, well played and hummable. The costumes were funny and funky. Everything was good. The show was entertaining and inspiring as well. It was truly a pleasure to spend an evening at Dyke Theater. By Liza Cowan

DYKE A Quarterly, No. 3, pp.50 + inside back cover: ADS

 

DYKE A Quarterly, No. 2 p. 50 + inside back cover, ads

TEXT OF ADS in gray, indended. Commentary follows.

Living With Lesbians

Women’s Wax Works A002

An Uncommon Musical Adventure with Alix Dobkin & Friends

Living With Lesbians was the second album from Alix Dobkin. Like her first album, Lavender Jane Loves Women, this one had two versions of a cover. This was the first. Most women found it threatening although we were really just raking apples at the farm. Pictured are left to right, Mary, Smokey, Alix, Penny House and Liza Cowan. Photo by Ginger Legato. Design by Aenjai Graphics.

This album has been blogged about a lot, mostly showing how awful, funny, wierd, it is. Worst record album cover etc. We loved it, but the people spoke and we listened. We made a new cover for the next pressing.

 

This cover sold well. Photo of Alix Dobkin and the dog Three Maple Betsey Booper (aka Saint Betsey) , photo by LIza Cowan.

Of course, there were always Dykes who loved the first cover, as well as the second. See QueerMusicHeritage

 Also Lavender Jane Loves Women

Women’s Wax Works A001

 $6 Each (includes postage) Make check payable to

Project No. 1 Preston Hollow NY 123469

 

Lavender Jane Loves Women was Alix's groundbreaking first album. Never before in the history of the world had there been an album made entirely by women. The musicians, the engineer, even the vinyl pressers were women (although the vinyl pressing company was male owned - the only part of the whole process for which we couldn't find a woman - owned company. But the actual pressers were women. We met them. And, equally important, the album was conceived for an audience of women. Also groundbreaking.

 

For the first pressing, the abums were shipped to us in plain white sleeves. We had a work party where half a dozen women came over to our apartment and sat around the living room rubber cementing the 12x12 printed paper of the cover art, which was a drawing by Alix. I'm sure there was lots of food, probably a joint or two passed around and lots of good laughs and hard work. Now that's a collector's item.

The second cover came a few years later. Design by LIza Cowan, photo using Mita 900-D copier and cut-out heart. Liza's hand. I don't remember why we changed the art.

 

 

Alix released her memoir, My Red Blood, in the Spring of 2010. The last chapters chronicle the time leading up to the release of Lavender Jane Loves Women. Published by Alyson Books you can buy it from them if your local bookstore doesn't carry it. Alyson Books

 

 

 

  Limited supply available:

The Flying Lesbians

German record album

Send $6 to : Project #1

Preston Hollow, NY 12469

The Flying Lesbians was a Lesbian Rock Band from Germany.

You can read about them HERE

When band members Monika Jaekel and Monica Savier came to the States, they stayed with us. Later, Alix toured Europe with them.

 WOMANSPLACE

Feminist Books and Periodicals

Booklist Available

Mail Orders

9 East 5^th Street

Tempe AZ 85201

One of the many women's bookstores that peppered the landscape in the 1970's Womansplace no longer exists. Any information about it is welcome. Just drop a line in the comment box.

 

MEGAERA PRESS

A women’s press collective for 3 ½ years- formerly Mother Jones Press

‘wimmin printing for wimmin

lesbian publishing

 

design layout offset printing binding sipping

write or call for an estimate

mail to: c/o WIT Inc P.O.. Box 745, Northampton MA

 

Deliver to: 19 Hawley St. Northampton MA, Rear Building

See Elana Dykewoman, here and here

 

LONG TIME COMING

CANADIAN LESBIAN FEMINIST NEWSPAPER

BOX 128 STATION G, MONTREAL P.Q.

SUBS: $5 YR INDIVIDUALS

$10 YR INSTITUTIONS  5O c SAMPLE COPY

 

I asked asked the CLGA- Canadian Lesbian and Gay archives if they had some infromation on Long Time Coming. They had a response for me within hours. Archivist RULE! Thanks to Elizabeth Bailey at CLGA and Michelle Schwartz who supplied the following information:

From Never Going Back by Tom Warner, page 83

"A few months after its founding, some members of Montreal Gay Women began publishing Long Time Coming, the first regularly produced publication exclusively for lesbians in Canada. Long Time Coming found a receptive readership that stretched across North America. But, in testament to the times, none of the women involved allowed her real name to be published. In all, Long Time Coming produced approximately twenty issues from June 1973 until it folded in 1976."

The citation given for this is: Laura Yaros, "Long Time Coming: Long Time Gone," Amazones d'Hier: Lesbiennes d'Aujourd'hui, vol. 5, March 1988.

From Lesbian and Gay Liberation in Canada: A Selected Chronology, 1964-1975 by Don McLeod, page 130

"July, 1973. Montreal. The first issue of Long Time Coming was published by Montreal Gay Women. Edited by Jackie Manthorne, this was the first lesbian journal published in Canada. Long Time COming contained news, poetry, opinion pieces, book reviews, advertisements, and listings. It ceased publication in April-May 1976, after twenty issues."

The citation given for this:

Margaret Fulford, ed. The Canadian Women's Movement, 1960-1990: A Guide to Archival Resources/Le mouvement de femmes, 1960-199: guide de resources archivistiques (Toronto: Canadian Women's Movement Archives/ECW Press, 1992), Entry 618.

Don McLeod's book is available for free as a pdf from the University of Toronto website.

A You're An Amazon button by White Mare Inc

For more on White Mare Buttons see HERE

ad for Riverfinger Women by Elana Dykewomon

For more on Elana Dykewomon see HERE and HERE

 

 

DYKE A Quarterly no. 3 p. 51: ADS

DYKE A  Quarterly No. 3, p. 51, ADS

Text of Ads- in gray, indented. Commentary follows.

White Mare Inc.
I Like Older Women,
3 color button, 1  ¼” diameter. Also available, Mother Nature Is a Lesbian and A You’re An Amazon. From White Mare, Box 90, Preston Hollow Y 12469. 55c each. New York residents add state and local sales tax.
 A You’re An Amazon
Mother Nature is a Lesbian.

 

White Mare was the button and graphics company owned and run by me, Liza Cowan. I've written about my button company at my art blog HERE

Notice the Medusa button on the upper left. Medusa was a big theme for Lesbians. She was a Gorgon, a fierce fighting woman, who turned men to stone if they dared take a peek at her. The Medusa button shown here was drawn by cartoonist Roberta Gregory.

White Mare Buttons, direct image on Mita 900-D photocopier by Liza Cowan

 

 

 

 

 

 

They Will Know Me By My Teeth  By Elana Dykewoman

Author of Riverfinger Women

Megara Press

To be Sold and Shared With Women Only

 

 

See Elana Dykewoman's website HERE

and Wikipedia entry HERE

 

 

 

 

 

 

 

 

Come to Womencrafts

Unique and beautiful work

Handcrafted by New England Women

Provincetown

Womancrafts is still in Business in Provincetown.

Here's their website.

Go see them if you are in P'Town.

 

Sistersilver is Back
Fine handmade sterling silver jewelry: Lesbian symbos, rings, bacelets, etc. Free Brochure. Lesbians only. M’lou Brubaker, Chicago

 

M'Lou is also still in business. See her website HERE

 

Ladyslipper pendant and earrings by M'Lou Brubaker

 

 

 

Interesting. Everyone on this page is still in business doing the same thing, more or less, that they were doing 35 years ago. I'm still doing graphic design, creating product and selling retail. Elana is still writing and publishing, M'Lou is still making and selling jewelry and Womancrafts is still in business. What's up with that?? I'm impressed.

DYKE, A Quarterly, No. 2, Inside back cover, Ads

DYKE A Quarterly, No. 2, Ads on inside back cover. Page 87.

 

Ads for Alix Dobkin's album, Living With Lesbians, graphics by Aenjai press. Linda Shear's album, A Lesbian Portrait. Ad for Sherry, Carpenter Consultant.

Review of DYKE, A Quarterly from The Lesbian Tide "DYKE STRIKES OUT'

 

The Lesbian Tide, a magazine from Los Angeles, really hated us! Here's their review of Issue No. 1:

 

Review of DYKE in The Lesbian Tide, March/April 1976

Dyke purports to be a separatist magazine reporting "analysis, communication and news" of Lesbian culture. What it is in fact is a vehicle for the personal ramblings of its two editors (high-school diary style) and a mishmash of politically naive thinking they call Dyke Separatism.

Separatism, as espoused by Dyke, is a luxury item for the privileged few. For those that can afford it, the best I can say is "Gee whiz, you lucky dykes sure do have a great life". For the rest of us, its crucial lack of awareness of lesbian and women's oppression is classist, ignorant and infuriating. Two examples of this are chronicled in the section called "California Diary."

One is an incident where the two right-on dykes ask a stewardess if she wouldn't be more comfortable in pants, instead of her mini-skirt uniform, and are surprised at her taking offense. She's probably be most comfortable being independently wealthy and quitting that oppressive job where she has to grovel to travelers all day long for crumby money. The issue of pants does not exactly speak to her oppression, since she can't control PSA's requiring stewardesses to dress like sex objects, nor change the fact that she needs the job to survive. How'd they miss the point?

We were both angry and highly amused by this review. Puzzled too. How could the author not get that the one of the things that made the stewardesses job oppressive was that she was forced to wear hot pants? Meanwhile, unbeknownst to The Lesbian Tide, stewardesses themselves were claiming their own power, organizing and changing the rules

Another interesting misuse of separatism is their report of visiting a local feminist bookstore and finding a man (of all things) shopping there. They harass him and finally make him leave. What that accomplished was that it lost the bookstore some money. Six women's livelihoods depend on that bookstore, and in these pre "Lesbian Nation" times men's money has the same buying power as women's. The bookstore is glad to rip it off and  re-filter it into  alternative jobs for women.

Well, as a retailer myself, now, I don't think I'd appreciate my customers harassing other customers, which is certainly what we were doing, as reported in "California Diary." It was interesting, though, that the author felt that selling things to men was "ripping them off" but selling  the same things to a woman was not a ripoff.  Interesting attitude for a retailer.

The worst part of the critique, however, was that the author failed to mention that she was a co-owner of Sisterhood Bookstore. Because we believed so strongly in situated knowledge and transparency, this kind of false - if implied- claim to objectivity really stunned us.

Here's our (rather hot headed) response, which they probably published, or published some of. Click on the thumbnail image and the bigger page will pop up. You can double click to enlarge even more.

 

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DYKE A Quarterly, No. 1: What The Well Dressed Dyke Will Wear

What The Well Dressed Dyke Will Wear. DYKE  A Quarterly No. 1, pages 20-25

 

 

Abridged text in grey italics, comments in black. Click to enlarge page to read it in full.

What The Well Dressed Dyke Will Wear

By Liza Cowan

 When I was co-editing COWRIE I wrote a series called, “What The Well Dressed Dyke Will Wear.”  The quotations her are taken from that series.

 

OPPRESSION

“Women have been forced to dress as objects since the invention of patriarchy. Do you object to my saying that women are forced to wear certain clothing? I know some women will say that no one Is forced to wear anything. If women go along with these social/fashion customs, there are just stupid. But this is not true. If you don’t dress the way you are supposed to, you are a social outcast. If you function in mainstream culture you may be fired from your job, kicked out of school, ridiculed by our ‘peers’ and family. It takes great courage to defy your class and sex taboos.” (February 1974)

 

Sometimes I forget how different we’re looking these days. My eye has become so accustomed to our short cropped hair, baggy work trousers, vests, boots ad our direct stares. The other day Alix and I went up to town to pick up Adrian at school. It was the first time we had been there since school opened. Adrian usually comes and goes on the school bus. Her class wasn’t quite finished when we arrived, so we hung out in the hall. Several classes were on their way to the cafeteria, and every kid in that hall stared at us as if we had three eyes, and they were not merely curious. Lots of them were hostile, especially the little boys.

 

Ordinarily we would have let the boys know that it was past due time for them to be castrated. Especially me. I hate little boys and I love to make scenes. However, we were in Adrian’s school. She’s five years old and has no choice about where to live or go to school. We know how heavy the other children in that rural public school could make it for her. At least in the city there are bound to be other children whose parents are weird, but here in the country everyone is pretty much the same except for the Lesbians, and Adrian is the only child in our Dyke community. Clearly nobody in that school had ever seen the likes of us, two stompin’ Dykes, trained in the streets of New York City. So we had to act like “Mommie and Aunt Liza” (or whoever I was saying I was that day.) We were wearing the wrong costumes to play that part. It’s way past time when we might want to pass at Adrian’s school. We’d never be able to pull it off, anyway. The last time we put on Ladies clothes Alix looked like Jan Morris. I guess our solution at school is to keep a low profile and hope for the best.

The following is commentary by Liza Cowan, written for this archive in 2011

Thirty five years later, I'm amazed by how much has changed yet so much has stayed the same.

Clothing

When I wrote these essays in the mid seventies, I didn't have the vocabulary to write cultural  theory about clothing. I hadn't been to college yet, but more than that, cultural studies didn't really enter the academy until the late seventies.  The idea of reading clothing as text was barely developed, and an interest in clothing was considered feminine i.e. devalued.  It's no wonder that my theory was simultaneously rudimentary and passionate. That said, I'm proud that my colleagues and I understood that examining clothing in the context of power was a worthy endeavor. We believed the feminist credo: the personal is political. Our readers, for the most part, found our interest in clothing superficial, classist and apolitical. 

From Our Right To Love, Ginny Vida, Ed. 1978

"This visually enticing quarterly magazine abuses valuable news space by filling it with trite meanderings on such superficial subjects as dyke fashions and interior decorating. Lacking political analysis(even of dyke separatism) or the talents to express the written word, DYKE, fortunately still a baby in the lesbian publishing world, unfortuneately displays the temperment of a spoiled brat"

These days there are some excellent  blogs about clothing and theory. For example, see Worn Out, a scholarly and beautiful blog. Universities offer cross disciplinary classes and conferences on the politics of fashion. We wer just ahead of our time.  

Daily Life Of a little Dyke family in rural New York circa 1975

Alix Dobkin, her daughter, Adrian, and I were living on a farm in the tiny hamlet of Preston Hollow, Schoharie County, New York. Partly back-to-the-land, partly Lesbian Separatist, we had  moved there from New York City in 1974 with another Lesbian couple.  There were a few other Lesbians who lived somewhat nearby. Penny lived there in the summers. We were the only Dykes with a child. We were the only Jews. None of our neighbors were even divorced. We were in a new territory without much of a map.  We were terrified that our neighbors would be vicious. The first time it snowed I cried. We had never lived outside of New York City.

We did try to be good neighbors; we kept our place tidy, waved to folks on the road and chatted with people at the hamlet's one market and post office. It turned out that the neighbors liked us well enough. They thought we were strange, but likable. They cared less that we were Lesbians, and more that we kept our property tidy and we were friendly, so word got out that we were OK. Or OK enough for them to be neighborly. We were Lesbians, but we were their  Lesbians. Some became friends.

At age five, Alix's daughter Adrian was in kindergarten. Maybe first grade. She took the bus from Preston Hollow to Middleburg every day. It was a 45 minute ride. None of the other parents knew usexcept by town gossip.  Sociable by nature, Adrian nevertheless only made friends with a few of the children who lived down the road.

Adrian remembers that her teachers singled her out to be mean to, and the other children, but for a few, were not allowd to play with her. But it wasn't only the rural parents - the ones from the city could be just as bad. It was, in fact, a city friend's mom who was the most homophobic and vile to little Adrian, who came home one after one weekend in the city with her Dad, crying, "Andrea's mom says we can't play anymore because you are hobos."

"What??"

"Hobos. Andrea's mom says you're hobos and I can't play with Andrea?"

"Do you know what a Hobo is?

"No, but she thinks you're bad."

It took us a few minutes but we figured out that we were homos. Homos. We explained to Adrian that homo was a word for same sex couples like us. And that Andrea's mom was an idiot. But our theories and explanations didn't make Adrian's life any easier for her. She longed to be treated as if she were normal. Her moms were happliy not normal. All The choices were fraught with consequences.

In a year or so Adrian moved to New York city with her dad, then subesequently they moved to Woodstock, NY an hour's drive south of us, soon followed by Alix, then by me. We had separated as a family, but only in the traditional heteronormative sense. In the Lesbian sense we remained very much an enlarged and engaged family. And Woodstock was full of weirdos: artists, hippies, musicians...so being a Hobo wasn't such a big deal.

Adrian grew up into a wonderful woman: smart, talented, kind, beautiful. She has a terrific family; a husband, three gorgeous kids, doting Grandmas Alix and Nancy down the road, and a bevy of faithful long - term friends. She's the best.

The comment about little boys: I was being dramatic. I hated how boys were raised with the assumption of gender power and it showed all over their bodies, their posture, their clothing, their play. Castration? We lived in farm country, and it was an easy metaphor. It was a castration of the Phallus=symbolic in the Lacanian, theoretical sense, not the actual body. Castration in fact? No. Of course not. I was angry - not delusional.

 

DYKE, A Quarterly. No. 1: California Diary

 

California Diary. Illustration, Amy and Phranc at Alix's Concert, drawing by Liza Cowan

 

California Diary. Illustration by LIza Cowan

 

California Diary. Illustration, Syreeta's Car, Berkeley, by LIza Cowan

 

Excerpted Text below in grey. For full text see above. Click to enlarge and make them more readable.

 

April 26, 1975

Penny flies to San Francisco to see Janet who is there working on a film…

 

May 1, 1975

Liza and Alix fly to Los Angeles. Met at airport by Norma NY…

 

May 2, Friday

Penny and Janet drive to LA with Deborah Hoffman and Joan Bobkoff. We all meet at the Lesbian History Exploration…we settle into our bunk…which we share with other New Yorkers, Moregan Zale, Majoie Canton, Joan Bobkoff, Deborah Hoffman, Karen and Jan Oxenberg.

 

We have dinner and a meeting with all 150 women who have come for the weekend. The Exploration collective tells us that we are to break into small groups to CR about  Lesbian history. Penny objects to this attempt to structure our experience but everyone looks daggers at her, so she shuts up….

 

 May 3, Saturday

…Alix sings songs arranged chronologically to show the development of her Lesbian consciousness. Then we listen to Judy Grahn read her poetry, She is fabulous. Lunch. Liza and Alix go to a workshop where a woman presents a Marxist analysis of Lesbian oppression. They argue with her….Alix talks music with Margie Adam. Liza meets another of her pen pals Chocolate. Dinner. Liza gets dressed up in her beautiful green velour suit that Moregan Zale had just finished making. Liza presents her slide show, What The Well Dressed Dyke Will Wear.’” An historical examination of Lesbian clothing from 1900 to the present. Margie Canton does a comedy routine. Then we see a part of Jan Oxenberg's very funny movie, A Comedy In Six Unnatural Acts. We go indoors and listen to two women tell us about the bar scene and the Army in the 1950’s.

May 4, Sunday

At the end of the Exploration we all gather around in a circle to sing songs but nobody knows what to sing. Alix finally leads us in “Beware Young Ladies”.  Snip

 

May 5^th

…we drive to Lee’s office, where she works as a professional feminist, then to Sisterhood Bookstore. A man comes in and starts to look at books. Liza and Penny decide to make him feel unwelcome. He is looking at books on a revolving rack. Liza and Penny surround him, and Liza spins the rack around fast. He pretends nothing is happening. Eventually we force him to leave. The woman in charge of the store calls us fascists and we leave. Later we meet Simone of Sisterhood books, who is more in agreement with our politics. W go to The Feminist Wicca and meet Z Budapest, who tells us a few stories about her recent arrest. Nancy Toder and Alice Bloch, who had been on the planning collective for the Lesbian History Exploration meet us at The Wicca. They take us to their house for dinner. We all get along so well that they invite us to stay with them starting the next night.

 

Tuesday, May 6

…We drive to Hollywood and all around Beverly Hills. Penny buys two maps of the stars homes. …Liza and Alix go to Jan Oxenberg’s for dinner and then on to KPFK to do a live radio show, Lesbian Sisters, with Jan.

 

May 8

We go to the Santa Monica Women’s Center. Jan Aura, Amy, Phranc (who had just cut her hair short) Judy Dlugacz and others come by. We have a discussion about separatism and women’s music. Janet joins us and we drive to visit Liza’s brother and sister –in-law.

 

May 9

..Alice and Nancy drive Alix and Liza to the train station to take the train to San Diego for Alix’s concert. …snip…after the concert we go to Las Hermanas, the women’s coffeehouse; we are impressed by the décor; mural of women, big wooden bookcases and pillows on the floor. It is very friendly and casual…

 

May 10, Saturday

Train back to LA…rest up for Alix’s concert. Janet comes back from here sister’s and we all get dressed up.

 

The concert is at Metropolitan Church, a Gay church in downtown LA. It looks like a converted movie palace, with red plush all over the seats and stage. The walls are gold speckled stucco. The concert, produced by Marion for Macaroon Productions, is fabulous. The sound engineered by Margot McFedries is rich and clear. Everyone is dressed to the teeth, and six women have had their hair cropped short since The Exploration. Alix gives a wonderful  performance and many women say they are thrilled to hear such overt Lesbian music

 

After the concert there is a party upstairs with dancing and punch. Alix leaves with Meg Christian, Margie Adam, Cris Williamson and Ginny Berson. They go back to Olivia records house to play music. Janet, Liza, Penny, Nancy and Alice go home.

 

May 11, Sunday

…Liza, Alix and Penny are flying to San Francisco…snip…On the airplane the stewardesses are wearing orange hotpants and high heels. We ask them if they wouldn’t be more comfortable in pants? They say no and seem offended.

 

At the San Francisco airport we are met by Ellen Broidy and Ilsa Perse, who, along with Natalie Landou, are producing all of Alix’s Bay Area performances….snip…They tell us about the controversy at the Full Moon, a woman’s coffee house where a large part of the collective have quit for political reasons, and a debate is raging. Alix has two dates to perform there. We go out to dinner  and then to the Baccanaal, a women’s bar in Berkeley, where Alix is playing. The show is great and we have a good time. The sound, by Joan Bobkoff, is excellent, and the women are tough looking and gorgeous.

 

….at noon we go to KPFA to be interviewed by Karen. Meet Ellen, then we go to ICI A Woman’s  Place Bookstore, and see an old school chum of Liza and Penny’s who is working at the bookstore and is a Lesbian.

We visit the Women’s Press Collective which shares space with the bookstore, and we talk to Wendy Cadden and Judy Grahan. Wendy explains how she is learning color separation and shows us a project, a cover for a 45 record. ..snip…in the evening Liza shows her slide, “What The Well Dressed Dyke Will Wear” at The Women’s Skills Center.

 

Wendy Cadden at the press. Photo by Willyce Kim

 

 

May 13^th, Tuesday

….we go to The Full Moon where Alix is playing. The Free Box Collective (the women who quit The Full Moon) is handing out copies of its statement. We stop to talk with them. Inside, The Full Moon is packed with Bay Area women, but we hear many women won’t come because of the controversy We like The Full Moon, and we think it is attractive.

 

May 15^th, Thursday

In the morning Laurie from Seattle interviews us for the Lesbian Feminist Radio Collective.  Afterward we drive to Oakland where Penny buys a pair of Red Wing hiking boots. Then out to a house in the Berekely Hills where we meet Syreeta and Linda. We have a wonderful fresh salmon for dinner. We are late so we have a mad drive through the hills of Berkely, Penny and Liza in Syreeta’s 1959 Mercedes Benz; Alix, Ellen, Ilsa and Linda following in Ilsa’s car. Alix sings at Bishops, a people’s coffee house in Oakland given over to women for the evening. Joan Bobkoff engineered the sound, as she had for all the performances.

Red Wing Boot, drawing by LIza Cowan 1975

May, 16^th, Friday

We fly home to New York. Janet meets us at the airport with flowers.