TITLE | DESCRIPTION | DATE CREATED | IS FORMAT OF |
---|---|---|---|
Kinsey Sicks photograph [1] | Photograph of Kinsey Sicks posing before or after a show. Members pictured include: Kevin Kirkwood (Trixie), Ben Schatz (Rachel), Chris Dilley (Trampolina), and Irwin Keller (Winnie). |
2001 | |
Amanda St. Jaymes interview, part 2 | Susan Stryker interviews Amanda St. Jaymes, a trans woman who moved to the Tenderloin in December 1963 at the age of 19. St. Jaymes worked at the Chukker Club, a 1960s venue frequented by trans people, and later went to clerical school; in 1972, after her transition, she married and moved to Houston, falling out of contact with most of the people she'd known. In this section, St. Jaymes reminisces about Finocchio's and other venues, her time in Houston, well-known strippers and performers who crossed paths with her, the Central City Anti-Poverty Program, and her experiences transitioning. She also narrates over photos and ephemera from earlier in her life. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Aleshia Brevard interview, part 1 | Susan Stryker interviews Aleshia Brevard, an actor, model, author, theatre professor, and trans woman. In the late 1950s and early 1960s, Brevard worked at Finocchio's drag revue as a Marilyn Monroe impersonator; a trans co-worker, Stormy, helped her to begin transitioning. She lived at the edge of the Tenderloin, and although she was not a central part of the trans community there, she felt more comfortable there than elsewhere. Stryker interviews Brevard about her early drag career, her transition, and the bars and venues where she spent time. This includes extensive attention to the culture and working conditions at Finocchio's. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Amanda St. Jaymes interview, part 1 | Susan Stryker interviews Amanda St. Jaymes, a trans woman who moved to the Tenderloin in December 1963 at the age of 19. St. Jaymes worked at the Chukker Club, a 1960s venue frequented by trans people, and later went to clerical school; in 1972, after her transition, she married and moved to Houston, falling out of contact with most of the people she'd known. In this section, St. Jaymes reminisces about her Tenderloin era, describing the clientele at Compton's and Chukkers (as locals called it), her forays into sex work, police harassment and brutality, and her memories of the Compton's Cafeteria Riot. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Amanda St. Jaymes interview, part 3 | Susan Stryker interviews Amanda St. Jaymes, a trans woman who moved to the Tenderloin in December 1963 at the age of 19. St. Jaymes worked at the Chukker Club, a 1960s venue frequented by trans people, and later went to clerical school; in 1972, after her transition, she married and moved to Houston, falling out of contact with most of the people she'd known. In this section, St. Jaymes gives Stryker a tour of the Tenderloin, reminiscing about the former locations of the Chukker Club, Compton's, the El Rosa Hotel, and other places. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Aleshia Brevard interview, part 2 | Susan Stryker interviews Aleshia Brevard, an actor, model, author, theatre professor, and trans woman. In the late 1950s and early 1960s, Brevard worked at Finocchio's drag revue as a Marilyn Monroe impersonator. In this section, Brevard narrates over a series of photographs from her career in entertainment. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Ed Hansen interview, part 1 | Susan Stryker interviews Ed Hansen, a pastor who worked with young people in the Tenderloin in the 1960s, including the organization Vanguard. Hansen reminisces about Tenderloin organizing and his clients' demands and concerns, and also tells some lighter-hearted anecdotes. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Felicia "Flames" Elizondo interview, part 1 | Susan Stryker interviews Felicia Elizondo, known as Felicia Flames, who was a sex worker, drag queen, and trans woman strongly associated with San Francisco's Tenderloin district. In this section, Elizondo tells her life story; she was born in Texas and moved to San Francisco as a teenager, staying for much of her life, with the exception of an early period when she returned to Texas and joined the Army in an attempt to become straight and cisgender. She extensively describes the scene of sex workers and LGBTQ people who spent time at Compton's Cafeteria and the neighboring Chukker Club, as well as her transition, professional history, and the experience of sex work in the Tenderloin. Elizondo witnessed the 1960s cultural shift among gender-nonconforming sex workers in the Tenderloin, in which they ceased to present themselves as feminine men and embraced the identity of trans women. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Felicia "Flames" Elizondo interview, part 2 | Susan Stryker interviews Felicia Elizondo, known as Felicia Flames, who was a sex worker, drag queen, and trans woman living in San Francisco's Tenderloin district. In this section, Elizondo describes her transition as a patient of Dr. Harry Benjamin, including the medical and social aspects of the experience. During this time in the early 1970s, Elizondo left sex work and got a job as a telephone operator, transitioning on the job. At work, she felt generally accepted by her co-workers, but the experience was still isolating, patronizing, and difficult. Stryker also talks to Elizondo about the history of her evolving self-identification as the available categories changed, and about clubs, bars, and other hangouts where she formerly spent time. Finally, the camera records older photographs of Elizondo and companions. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Elliott Blackstone interview, part 2 | Susan Stryker interviews Elliott Blackstone, a retired officer with the San Francisco Police Department. In 1962, Blackstone became the department's official liaison with the LGBTQ community, and worked extensively with trans women in the Tenderloin. Stryker speaks with Blackstone about his advocacy, including his work providing education on trans life for cisgender people as well as with the National Transsexual Counseling Unit; both projects were funded by trans philanthropist Reed Erickson. She also asks for his recollections of prominent figures like Harry Benjamin, Donald Laub, Ray Broshears, and Joel Fort. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Elliott Blackstone interview, part 1 | Susan Stryker interviews Elliott Blackstone, a retired police officer with the San Francisco Police Department. In 1962, Blackstone became the department's official liaison with the LGBTQ community, and worked extensively with trans women in the Tenderloin, including the group Conversion Our Goal. Stryker speaks with Blackstone about his early life, his career, and the connections that drew him to the community as a straight and cisgender ally. The two also discuss political action surrounding Compton's Cafeteria, including his limited recollections around the famous 1966 riot.
Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Elliott Blackstone interview, part 3 | Susan Stryker and colleagues interview Elliott Blackstone, a retired police officer with the San Francisco Police Department. In 1962, Blackstone became the department's official liaison with the LGBTQ community. In this section, Blackstone tells stories about his career, explains his philosophy of policing, and reminisces about the Tenderloin activist known as Jean-Paul Marat. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Tamara Ching interview | Susan Stryker interviews Tamara Ching, a sex worker, trans woman, and native San Franciscan. Ching extensively discusses her experience of living and working in the Tenderloin, describing sex work as a source of lifelong validation and pride, despite the harassment and violence she endured as a young woman from police offers and clients. Stryker and Ching also talk about political and religious organizing in the Tenderloin. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
Ed Hansen interview, part 2 | Susan Stryker interviews Ed Hansen, a pastor who worked with young people in the Tenderloin in the 1960s, including the organization Vanguard. In this section, Hansen talks about Tenderloin sex workers, police harassment, alcohol and drugs, and young gender-nonconforming people's search for identity. Portions of this interview were used for Stryker and Victor Silverman's documentary Screaming Queens. |
2001 | |
BAAITS/SF LGBT Center Tenant Announcement | A letter announcing that Bay Area American Indian Two-Spirits (BAAITS) will be a tenant at the new San Francisco LGBT Center. The BAAITS mission statement and organization description are included in the announcement. This digital collection was created in part through the generous support of BAAITS via the Hewlett Foundation. |
2001 | |
Dragapella! poster | Poster for the Kinsey Sicks off-Broadway show, Dragapella! which took place at Studio 54. Members pictured include: Irwin Keller (Winnie), Ben Schatz (Rachel), Chris Dilley (Trampolina), and Maurice Kelly (Trixie). |
2001 | |
Kinsey Sicks in convertible | The Kinsey Sicks ride in a convertible during a parade in Provincetown, Massachusetts, circa 2001. |
2001 | |
GLBT Archives Evolution (3 of 4) | A discussion about advantages and disadvantages of housing GLBT collections within a non-GLBT institution. Advantages discussed include wider public access to the collections and greater preservation resources, while disadvantages discussed include a loss of control over community history and the institution's lack of interest in more niche materials. This material was digitized through the generous support of Larry Brenner and Angelo Figone. |
1984-08-09 | |
GLBT Archives Evolution (4 of 4) | A discussion about how to unite various groups and community members around a gay and lesbian historical society and whether or not the society should be a separate entity or a collective made up representatives of independent groups. Also discussed is a potential fundraising effort for the Lesbian and Gay History Project and a crash course about basic preservation techniques used in archives. This material was digitized through the generous support of Larry Brenner and Angelo Figone. |
1984-08-09 | |
GLBT Archives Evolution (1 of 4) | A discussion about the early years of the Historical Society and how to involve more community members in the collection and preservation of gay and lesbian history in San Francisco. Topics also include the formation of the San Francisco Gay and Lesbian Periodical Collection within the Lesbian and Gay History Project. The evolution of the Harvey Milk Archives is also discussed, beginning with Milk's request for volunteers to organize his papers in 1978 and continuing with independent exhibits, official incorporation as a nonprofit, and collaborations with the Lesbian and Gay History Project. This material was digitized through the generous support of Larry Brenner and Angelo Figone. |
1984-08-09 | |
GLBT Archives Evolution (2 of 4) | A discussion about copyright and donation policies in the context of archives, legal responsibilities and structural components to consider when setting up the Historical Society, and differences between libraries and archives. Also discussed is a potential collaboration to create a gay and lesbian collection within the California Historical Society. This material was digitized through the generous support of Larry Brenner and Angelo Figone. |
1984-08-09 |