Transgender and Gender Non-Conforming Women of Color, the Stonewall Inn and the Modern Lgbtq Movement
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
The Stonewall Riots
Marsha P Johnson, and the influence of the Stonewall Riots By Sol and Zivia What were the Stonewall Riots? The Stonewall riots were a reaction to opretion by the police. LGBTQ+ spaces were being invaded and criminalised by the police, and on June 28th 1969 they decided they had had enough. Who was Marsha P Johnson? Marsha P Johnson was a drag queen, gay liberation activist, and one of the most prominent leaders of the Stonewall Riots. She was also popular in New York City’s gay and art scene- modeling for Andy Warhol and performing onstage with Hot Peaches are only some of the achievements she has under her belt. When did the Stonewall Riots take place? The Stonewall Riots took place in 1969, during a time when very few establishments welcomed gay people. Bars like the Stonewall Inn were one of the few gay bars, and unfortunately were one of the few bars that were raided regularly by police. What caused the riots? Police were regularly raiding bars such as the Stonewall Inn, and this eventually was the tipping point for many members of the bar and the LGBTQ community. Many residents of the town started to riot, protesting that there should be places where anyone is comfortable about being open about their sexual orientation without being arrested for it. What was Marsha P Johnson’s involvement? It is hard to say what role Johnson had in the riots as accounts differ. What is certain is she was there, and went on to help found The Gay Liberation Front, one of the first organizations created as part of the modern fight for LGBTQ+ rights. -
The Reconstruction of Gender and Sexuality in a Drag Show*
DUCT TAPE, EYELINER, AND HIGH HEELS: THE RECONSTRUCTION OF GENDER AND SEXUALITY IN A DRAG SHOW* Rebecca Hanson University of Montevallo Montevallo, Alabama Abstract. “Gender blending” is found on every continent; the Hijras in India, the female husbands in Navajo society, and the travestis in Brazil exemplify so-called “third genders.” The American version of a third gender may be drag queen performers, who confound, confuse, and directly challenge commonly held notions about the stability and concrete nature of both gender and sexuality. Drag queens suggest that specific gender performances are illusions that require time and effort to produce. While it is easy to dismiss drag shows as farcical entertainment, what is conveyed through comedic expression is often political, may be used as social critique, and can be indicative of social values. Drag shows present a protest against commonly held beliefs about the natural, binary nature of gender and sexuality systems, and they challenge compulsive heterosexuality. This paper presents the results of my observational study of drag queens. In it, I describe a “routine” drag show performance and some of the interactions and scripts that occur between the performers and audience members. I propose that drag performers make dichotomous American conceptions of sexuality and gender problematical, and they redefine homosexuality and transgenderism for at least some audience members. * I would like to thank Dr. Stephen Parker for all of his support during the writing of this paper. Without his advice and mentoring I could never have started or finished this research. “Gender blending” is found on every continent. The Hijras in India, the female husbands in Navajo society, and the travestis in Brazil are just a few examples of peoples and practices that have been the subjects for “third gender” studies. -
Vision for Change: Acceptance Without Exception for Trans People
A VISION FOR CHANGE Acceptance without exception for trans people 2017-2022 A VISION FOR CHANGE Acceptance without exception for trans people Produced by Stonewall Trans Advisory Group Published by Stonewall [email protected] www.stonewall.org.uk/trans A VISION FOR CHANGE Acceptance without exception for trans people 2017-2022 CONTENTS PAGE 5 INTRODUCTION FROM STONEWALL’S TRANS ADVISORY GROUP PAGE 6 INTRODUCTION FROM RUTH HUNT, CHIEF EXECUTIVE, STONEWALL PAGE 7 HOW TO READ THIS DOCUMENT PAGE 8 A NOTE ON LANGUAGE PAGE 9 EMPOWERING INDIVIDUALS: enabling full participation in everyday and public life by empowering trans people, changing hearts and minds, and creating a network of allies PAGE 9 −−THE CURRENT LANDSCAPE: o Role models o Representation of trans people in public life o Representation of trans people in media o Diversity of experiences o LGBT communities o Role of allies PAGE 11 −−VISION FOR CHANGE PAGE 12 −−STONEWALL’S RESPONSE PAGE 14 −−WHAT OTHERS CAN DO PAGE 16 TRANSFORMING INSTITUTIONS: improving services and workplaces for trans people PAGE 16 −−THE CURRENT LANDSCAPE: o Children, young people and education o Employment o Faith o Hate crime, the Criminal Justice System and support services o Health and social care o Sport PAGE 20 −−VISION FOR CHANGE PAGE 21 −−WHAT SERVICE PROVIDERS CAN DO PAGE 26 −−STONEWALL’S RESPONSE PAGE 28 −−WHAT OTHERS CAN DO PAGE 30 CHANGING LAWS: ensuring equal rights, responsibilities and legal protections for trans people PAGE 30 −−THE CURRENT LANDSCAPE: o The Gender Recognition Act o The Equality Act o Families and marriage o Sex by deception o Recording gender o Asylum PAGE 32 −−VISION FOR CHANGE PAGE 33 −−STONEWALL’S RESPONSE PAGE 34 −−WHAT OTHERS CAN DO PAGE 36 GETTING INVOLVED PAGE 38 GLOSSARY INTRODUCTION FROM STONEWALL’S TRANS ADVISORY GROUP The UK has played an While many of us benefited from the work to give a voice to all parts of trans successes of this time, many more communities, and we are determined important role in the did not. -
Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Winchester Research Repository University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester MPhil/PhD THESES OPEN ACCESS / EMBARGO AGREEMENT FORM This Agreement should be completed, signed and bound with the hard copy of the thesis and also included in the e-copy. (see Thesis Presentation Guidelines for details). Access Permissions and Transfer of Non-Exclusive Rights By giving permission you understand that your thesis will be accessible to a wide variety of people and institutions – including automated agents – via the World Wide Web and that an electronic copy of your thesis may also be included in the British Library Electronic Theses On-line System (EThOS). Once the Work is deposited, a citation to the Work will always remain visible. Removal of the Work can be made after discussion with the University of Winchester’s Research Repository, who shall make best efforts to ensure removal of the Work from any third party with whom the University of Winchester’s Research Repository has an agreement. Agreement: I understand that the thesis listed on this form will be deposited in the University of Winchester’s Research Repository, and by giving permission to the University of Winchester to make my thesis publically available I agree that the: • University of Winchester’s Research Repository administrators or any third party with whom the University of Winchester’s Research Repository has an agreement to do so may, without changing content, translate the Work to any medium or format for the purpose of future preservation and accessibility. -
Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. -
University LGBT Centers and the Professional Roles Attached to Such Spaces Are Roughly
INTRODUCTION University LGBT Centers and the professional roles attached to such spaces are roughly 45-years old. Cultural and political evolution has been tremendous in that time and yet researchers have yielded a relatively small field of literature focusing on university LGBT centers. As a scholar-activist practitioner struggling daily to engage in a critically conscious life and professional role, I launched an interrogation of the foundational theorizing of university LGBT centers. In this article, I critically examine the discursive framing, theorization, and practice of LGBT campus centers as represented in the only three texts specifically written about center development and practice. These three texts are considered by center directors/coordinators, per my conversations with colleagues and search of the literature, to be the canon in terms of how centers have been conceptualized and implemented. The purpose of this work was three-fold. Through a queer feminist lens focused through interlocking systems of oppression and the use of critical discourse analysis (CDA) 1, I first examined the methodological frameworks through which the canonical literature on centers has been produced. The second purpose was to identify if and/or how identity and multicultural frameworks reaffirmed whiteness as a norm for LGBT center directors. Finally, I critically discussed and raised questions as to how to interrupt and resist heteronormativity and homonormativity in the theoretical framing of center purpose and practice. Hired to develop and direct the University of Washington’s first lesbian, gay, bisexual, and transgender (LGBT2) campus center in 2004, I had the rare opportunity to set and implement with the collaboration of queerly minded students, faculty, and staff, a critically theorized and reflexive space. -
Homophobia and Transphobia Illumination Project Curriculum
Homophobia and Transphobia Illumination Project Curriculum Andrew S. Forshee, Ph.D., Early Education & Family Studies Portland Community College Portland, Oregon INTRODUCTION Homophobia and transphobia are complicated topics that touch on core identity issues. Most people tend to conflate sexual orientation with gender identity, thus confusing two social distinctions. Understanding the differences between these concepts provides an opportunity to build personal knowledge, enhance skills in allyship, and effect positive social change. GROUND RULES (1015 minutes) Materials: chart paper, markers, tape. Due to the nature of the topic area, it is essential to develop ground rules for each student to follow. Ask students to offer some rules for participation in the postperformance workshop (i.e., what would help them participate to their fullest). Attempt to obtain a group consensus before adopting them as the official “social contract” of the group. Useful guidelines include the following (Bonner Curriculum, 2009; Hardiman, Jackson, & Griffin, 2007): Respect each viewpoint, opinion, and experience. Use “I” statements – avoid speaking in generalities. The conversations in the class are confidential (do not share information outside of class). Set own boundaries for sharing. Share air time. Listen respectfully. No blaming or scapegoating. Focus on own learning. Reference to PCC Student Rights and Responsibilities: http://www.pcc.edu/about/policy/studentrights/studentrights.pdf DEFINING THE CONCEPTS (see Appendix A for specific exercise) An active “toolkit” of terminology helps support the ongoing dialogue, questioning, and understanding about issues of homophobia and transphobia. Clear definitions also provide a context and platform for discussion. Homophobia: a psychological term originally developed by Weinberg (1973) to define an irrational hatred, anxiety, and or fear of homosexuality. -
Trans Inclusivity 101
TRANS INCLUSIVITY 101 By Kalliope R. Dalto Trans women are women. Trans men are men. Nonbinary people are nonbinary. “Trans” is inclusive of all ways of experiencing gender that varies from the gender one was assigned at birth ● Binary: trans men and trans women ● Nonbinary, including: genderfluid, agender, genderqueer, bigender, androgynous - and more! ● Transmasculine and transfeminine: indicates directionality, alignment with a gendered presentation but not necessarily a gender identity. ● People who never experience ● People are assigned a gender incongruity with the gender at birth based on perceived sex assigned at birth are characteristics. cisgender, or cis. ● People who are assigned ● Cis is an important word female at birth (AFAB) may because it reframes the way grow up to realize they are men, we talk about trans folks as or nonbinary. ‘other’ – rather than ‘trans’ and ‘normal.’ ● People who are assigned male at birth (AMAB) may grow up to ● Simply two different ways of realize they are women, or experiencing your body and nonbinary. your gender in the world. Nonbinary Genders ● Some people aren’t men or women ● There isn’t one right way to be nonbinary – some nonbinary people need medical transition, some don’t. Some change their names or pronouns, some don’t. ● Nonbinary people can have relationships to maleness or femaleness and do not necessarily aspire to androgyny ● They/them/theirs is a common pronoun used by nonbinary people, but it is not ‘the nonbinary pronoun.’ Some nonbinary people use she/her or he/him, and some use neopronouns like ze/zer or ze/hir or ey/em/eirs. -
Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20 -
The Year 1969 Marked a Major Turning Point in the Politics of Sexuality
The Gay Pride March, begun in 1970 as the In the fertile and tumultuous year that Christopher Street Liberation Day Parade to followed, groups such as the Gay commemorate the Stonewall Riots, became an Liberation Front (GLF), Gay Activists annual event, and LGBT Pride months are now celebrated around the world. The march, Alliance (GAA), and Radicalesbians Marsha P. Johnson handing out flyers in support of gay students at NYU, 1970. Photograph by Mattachine Society of New York. “Where Were Diana Davies. Diana Davies Papers. which demonstrates gays, You During the Christopher Street Riots,” The year 1969 marked 1969. Mattachine Society of New York Records. sent small groups of activists on road lesbians, and transgender people a major turning point trips to spread the word. Chapters sprang Gay Activists Alliance. “Lambda,” 1970. Gay Activists Alliance Records. Gay Liberation Front members marching as articulate constituencies, on Times Square, 1969. Photograph by up across the country, and members fought for civil rights in the politics of sexuality Mattachine Society of New York. Diana Davies. Diana Davies Papers. “Homosexuals Are Different,” 1960s. in their home communities. GAA became a major activist has become a living symbol of Mattachine Society of New York Records. in America. Same-sex relationships were discreetly force, and its SoHo community center, the Firehouse, the evolution of LGBT political tolerated in 19th-century America in the form of romantic Jim Owles. Draft of letter to Governor Nelson A. became a nexus for New York City gays and lesbians. Rockefeller, 1970. Gay Activists Alliance Records. friendships, but the 20th century brought increasing legal communities. -
Presidential Documents Vol
42215 Federal Register Presidential Documents Vol. 81, No. 125 Wednesday, June 29, 2016 Title 3— Proclamation 9465 of June 24, 2016 The President Establishment of the Stonewall National Monument By the President of the United States of America A Proclamation Christopher Park, a historic community park located immediately across the street from the Stonewall Inn in the Greenwich Village neighborhood of New York City (City), is a place for the lesbian, gay, bisexual, and transgender (LGBT) community to assemble for marches and parades, expres- sions of grief and anger, and celebrations of victory and joy. It played a key role in the events often referred to as the Stonewall Uprising or Rebellion, and has served as an important site for the LGBT community both before and after those events. As one of the only public open spaces serving Greenwich Village west of 6th Avenue, Christopher Park has long been central to the life of the neighborhood and to its identity as an LGBT-friendly community. The park was created after a large fire in 1835 devastated an overcrowded tenement on the site. Neighborhood residents persuaded the City to condemn the approximately 0.12-acre triangle for public open space in 1837. By the 1960s, Christopher Park had become a popular destination for LGBT youth, many of whom had run away from or been kicked out of their homes. These youth and others who had been similarly oppressed felt they had little to lose when the community clashed with the police during the Stone- wall Uprising. In the early morning hours of June 28, 1969, a riot broke out in response to a police raid on the Stonewall Inn, at the time one of the City’s best known LGBT bars.