The Mental Health Foundation (MHF) are looking for a range of people from all over Scotland with different life experiences and perspectives to join the new Diverse Experiences Advisory Panel for Mental Health and Wellbeing (DEAP). MHF have reached out to us here at LGBT Health to help find those from the LGBTQ+ community with lived experience of mental health who might wish to join the Advisory Panel.

Here at LGBT Health and Wellbeing, we think that the DEAP is an excellent opportunity for queer folks who are interested in mental health policy, LGBTQ+ policy or are simply passionate about tackling mental health inequalities experienced by LGBTQ+ people here in Scotland, to become involved in the policy shaping process. We believe this opportunity to have LGBTQ+ voices at the table when discussing mental health prevention, policy and service provision is critical to ensure these spaces are safe(r), affirmative and accessible to all LGBTQ+ folks.

Funded by the Scottish Government, the panel is open to those aged 18 and over with lived experience of mental health. The panel aims to include a diverse range of folks from all walks of life, including:

• LGBTQ+ folks
• Those with mental health conditions
• Black and minority ethnic people
• Disabled people
• Refugee and asylum seekers
• Those with experience of substance use
• People from low socio-economic backgrounds

If you have one (or more) of these identities, then your perspective could be invaluable to the shaping of Scotland’s future mental health policy.

We are very much supporting the MHF in their search for LGBTQ+ folks to join the panel, if you are interested and wish to discuss the opportunity with a staff member from LGBT Health please contact Rebecca on rebecca@lgbthealth.org.uk

For more information, click here to view the official website or here to fill out the MHF’s online form. BE QUICK – the deadline for applicants is 7^th April 2022.

If you wish to talk to someone from the MHF directly about the possibility of joining the panel, contact Mairi Gordon, Senior Participation Officer at MHF at m.gordon@mentalhealth.org.uk

By Siobhan Donegan

It was through my admitted admiration of British iconic transgender woman April Ashley that I first learnt about the equally amazing Coccinelle. She was born in Paris France, August 23^rd 1931, and as the title of this article implies she became famous for having been France’s first trans celebrity. The name that they were given by their parents was Jacques Charles, but she cleverly, in my opinion, feminised her first two names to Jacqueline Charlotte. She later stated, “As a boy aged four I knew I was different. I was a girl, really, but nobody could see it”. Jacqueline ‘earned’ the nickname -which she subsequently adopted as a stage name- ‘Coccinelle’ (Ladybug or Labybird) after appearing at a party in a red dress with black polka dots.

Coccinelle was born in Paris at 66 Rue Notre Dame de Nazareth in the 3^rd ‘arrondissement’ of Paris, and was brought up in the Temple district. She was lucky enough to have a ‘relatively supportive family’ and apparently from a young age, expressed her inner femininity by wearing dresses and wigs. The Temple area of Paris is ironically near to what is now a thriving gay nightlife scene, the Marais. Coccinelle did not come from a particularly wealthy family and the first job she ever had was in a hairdressing saloon. Unfortunately her father’s homophobia made him fear that his ‘son’, through this form of employment, would become a homosexual.

Coccinelle eventually entered the ‘vibrant cabaret’ world as a Drag Queen or ‘female impersonator’ according to the public comprehension of the time -some performers did even self-identify as transvestites. Another general term that was used for these glamorous individuals was ‘transformistes’. However, Coccinelle’s self-awareness and comprehension obviously extended ‘beyond their stage personae’ as she clearly felt a strong ‘affinity’ with her ‘femaleness’.

This stunningly beautiful woman had a sense not only for elegant fashion -she became renowned for her trade mark polka dot dresses and mink coats -but she also discovered that she had a talent for the performance arts. After making her debut at Chez Madame Arthur (Paris in 1953) which was a fashionable cabaret, Coccinelle advanced onto the popular music hall at Le Carrousel de Paris which had opened in 1947. In fact, Coccinelle was a very talented singer upon which she built a career. She also developed her style by taking inspiration from and modelling her ‘look’ on Marilyn Monroe and Brigitte Bardot.

Coccinelle is also famous for being the first French individual to undergo gender affirming surgery. Just like April Ashley, whom she had met at the popular Le Carrousel de Paris, Coccinelle travelled to Casablanca to undergo her gender affirming procedure with Dr Georges Burou, stating afterwards, “Dr Burou rectified the mistake nature had made and I became a real woman, on the inside as well as the outside.”

Coccinnelle’s gender affirming surgery has also been described as a ‘victory’ during an era she could still have been arrested for ‘cross-dressing’. In fact, there had been a French Law since 1800 making it illegal for women to wear trousers -obviously French women have ignored this law- however, it was only officially repealed in 2013.

At the famous Le Carousel de Paris, Coccinelle not only encountered other iconic trans women such as April Ashley, but also the performer Bambi (Marie- Pierre Pruvot, born in Algeria) who became a lifelong friend of Coccinelle. The Parisian Cabaret scene became a magnetic centre that attracted into its orbit a number of trans feminine individuals. Not only did it become a ‘haven’ in which there was the freedom for feminine gender expression but it also became the focal point for important information, and a ‘network of care’, support and communication.

Coccinelle became a media sensation after her surgery. Her career included appearances in the films ‘Europa di Notte’ (1959), ‘Los Viciosos’ (1962) and ‘Dias de Viejo Color’ (1968). As a talented singer she also recorded albums, appeared on TV shows and radio shows, and toured world-wide with her stage act.

Furthermore, Coccinelle’s name was emblazoned in red letters by Bruno Coquatrix on the front of the Paris Olympia for her 1963 revue ‘Cherchez la Femme’ -a production which showcased her ‘magnetic talent’ as a singer. This was because she was the first French trans woman to become a major star.

Coccinelle got married in 1960 to the sports writer Francis Bonnet. However, first she was unusually required to undergo the rite of baptism again due to her name change to Jacqueline. The real significant point here was that through the French Government, acknowledgement was established for a transgender person to marry. All in all, Coccinelle was married three times in her life. Her second marriage to Mario Costa -a Paraguayan dancer- and finally to transgender activist Thierry Wilson with whom she jointly founded the organisation ‘Devenir Femme’ which provided care and was dedicated to supporting transgender individuals seeking gender re-assignment surgery.

Unfortunately, after the media sensation surrounding Coccinelle’s first marriage, trans individuals who had already undergone gender affirming surgery were unable to obtain the requisite legal documentation confirming their identities. This was due to the fact that the French State reacted negatively to Coccinelle’s stardom, ‘forcing’ the public to adopt trans visibility. Some people have tried to blame Coccinelle for this, but in my opinion, that is entirely unfair.

The truth is that Coccinelle could also be described as a pioneer of trans visibility. As whereas other trans women felt that they had to live by stealth, she apparently refused to live in secrecy. In fact after her first marriage the issue of trans, through the media, became a preoccupation, both within and outside of France.

In the later years of her life, Coccinelle wanted to reach out and help others. She established the ‘Center for Aid, Research, and information for Trans-sexuality and Gender identity’. Before passing away, she also wrote and published her ‘self-titled’ autobiography. This beautiful and amazing individual sadly died in Marseille (France) at the age of 75, having been hospitalised after suffering a stroke.

It has been said -and is part of queer ideology- that by simply existing and thriving in a heteronormative society, that you are taking part in your own ‘subtle revolution’. From this perspective, Coccinelle is a triumph.

by Keith Paterson

Before there was LGBT Health and Wellbeing’s Helpline, there was Switchboard (which had several name changes over the years) and before Switchboard, there was the Edinburgh Befriending Service. In a series of articles, I will explore the beginnings of the service and follow the near 50-year journey of what has been a constant presence for the LGBT+ community in Edinburgh and Scotland as a whole.

In 2022 the LGBT+ community has access to a range of services, delivered by many and varied organisations across Scotland including LGBT Health and Wellbeing. There is, certainly in the cities, a commercial scene of venues and spaces. This summer there are Pride marches taking place across the country, including for the first time in Shetland, there is much more positive representation in the mainstream media with series like It’s A Sin, Love,Victor and Channel 4’s Big Boys. There is a devolved Parliament and a Scottish Government that is broadly supportive of the community and our rights. The situation, particularly for trans people, is nowhere near ideal, but 50 odd years ago Scotland offered a very different picture.

Homosexuality was still illegal. There were no services available, no switchboards or helplines or charities reaching out to LGBT+ people. In Edinburgh, in the late 60’s and early 70’s, there were, for some gay men, house parties, which people got to know about by word of mouth. One former Switchboard volunteer remembers “that board games were set up all around the house when a party was happening so that if raided by the police, we could claim it was a games night”. Or in some cases a pile of bibles was formed so that the participants could claim that they were taking part in a religious gathering. Another community member recalls gatherings in Crawford’s Lite Bite café off Princes Street. There were bars that people met in but generally furtively and with none of the visibility that commercial premises have these days.

Against that background, particularly the fact that in terms of the legal situation, Scotland had been left behind, activist Ian Dunn convened a meeting in January 1969 with half a dozen others in the sitting room of his parents’ home in Glasgow. A few months later the Scottish Minorities Group (SMG) was formed to campaign for decriminalisation.

The group held meetings in The Chaplaincy Centre at Edinburgh University, where an enlightened priest, Father Anthony Ross, offered his support. SMG continued to meet to pursue it’s political aims however there was a feeling from some members of the group that they needed to provide more support for people, who were at the start of their coming out journey.

In Edinburgh, in January, 1974 a group of 7 men and women formed the Edinburgh Befriending Service. Founding member Cecil Sinclair recalled some years later that the aim of the service was “so that anyone who wanted to discuss or ask about any matter relating to homosexuality could ring in complete confidence”. The initial group also included Nicholas Atkinson, Jim Halcrow and Iona McGregor, the eminent author.

If this piece spurs any memories of volunteering or contacting the Edinburgh Befriending Service or Switchboard or if you knew any of the people mentioned in the article, it would be good to hear from you.

You can click the share your memories link below, email keith@lgbthealth.org.uk or phone on 0131 564 3972

Share your memories

Iona McGregor (1929-2021) was one of Edinburgh’s first lesbian novelists. Well-known for her YA historical fiction in the 1960s and 70s, she was warned by her publisher never to include queer characters. In 1989 she was finally able to publish a lesbian mystery, set in Edinburgh in 1860 – Death Wore A Diadem.

Recently discovered letters to her editor show how hard she worked to create vivid lesbian characters and portray the city of Edibnburgh, where she lived much of her life. She was also an activist who risked losing her job as a teacher in order to support LGBT people. She sadly died last year, aged 92.

On 25th February, Lavender Menace teamed up up with LGBT Health and Wellbeing, to celebrate her life and work for LGBT History Month, during an online discussion with contributions from lesbian novelist Ellen Galford, Iona’s editor Jen Green, and other friends and readers.

Watch the replay

by Siobhan Donegan

I was deeply saddened by the news that the truly iconic, pioneer, trailblazing beautiful transwoman April Ashley had died on the 27^th December 2021-at her home in London aged 86. A friend of April’s, Tim Brunsden confirmed April’s passing however, he wasn’t able to specify the cause of death-but was able to add that April had been in failing health. In all probability the entire trans-community, especially the British community will be saddened by the loss of such a significant and amazing individual as April Ashley.

For those of you who have read and hopefully enjoyed reading my articles-some of you of course might have realised that I have already written a previous article on April Ashley. However, in my defence that article was written quite a while ago-was very short-and as April has only very recently passed away-I thought that this wonderful and important transwoman was definitely writing more about, and I also felt that this would be my own personal way of paying my respects too.

April Ashley has been described as epitomising the hedonism of the swinging 1960’s, especially the cool scene that was just beginning to emerge in the London society of the time. During this era she partied with members of the 60’s rock hierarchy-elite, such as John Lennon and Mick Jagger.  However, she also moved in high profile circles of the European ‘chic-set’ and as she found that she had a talent for moving in such privileged company and cultivated a number of wealthy friends, she often found that she didn’t have to work.

As such, I personally think that not only should the elegant April be seen and remembered as a trailblazing pioneer Transgender Woman -being historically the second British person to undergo gender reassignment surgery – but should also be remembered simply as an iconic beautiful woman of the 1960’s in the same way as, for example that of Twiggy, Audrey Hepburn and Jean Shrimpton are.

It was while performing at the Le Carrousel night club in Paris, which was renowned for its drag acts, that April saved the money that she needed for her gender reassignment operation. As this procedure was illegal in Britain at the time she had to go to Casablanca, Morocco. However, despite the obvious physical pain, April stated that becoming a woman in 1960 had been the happiest day of her life.

Ms Ashley was (or believed to be) the second person to have undergone gender reassignment surgery in Britain. She was also ‘desperately ill’ after the procedure-in the early days of recovery. In fact, during this era-the operation was still considered dangerous, April had been given a 50-50 chance of survival. However, many years later April, reflecting on this, told an interviewer that she hardly cared stating that, “I would prefer to have died than not have the operation.”

After her gender reassignment procedure April returned to London where to support and establish her ‘new’ identity obtained a passport and driving licence which identified her as female. Furthermore, from the time April arrived in London she began to rise in popularity. This of course was the era of the swinging 60’s and in reference to this early point in her life. April has been described as an ‘elegant fixture’ of the London society of the time. Her new-found fame was no doubt due to her ‘doe-eyed’ stunning good looks and her statuesque-slender beauty. She was also always ‘immaculately dressed’, often wearing a glamorous pearl necklace and ‘Balmain suit or fur coat’. As such she attracted the attention of and was photographed by David Bailey and Terence Donovan.

This of course was a very exciting and creative part of April’s life and not just because she was in the first flush of youth. In other words, this was the beginning of what looked like being a highly successful career. Whilst in London April, with her striking good looks, was able to work as a model, perhaps being the first trans-woman, certainly in Britain, to work as a model, and was photographed for Vogue magazine. Ms Ashley also had the beginnings of a potential career as a film actress as she played a role opposite Joan Collins in the film ‘Road to Hong Kong’.

However, after Ms Ashley had undergone her gender confirmation procedure (before and after), the movement for transgender rights was as one writer described it still ‘in its infancy’. As such, April was living as a woman ‘by stealth’-in other words the fact that she was transgender wasn’t public knowledge, and her early career as a model and potential screen career came to an end, after she was outed in 1961 by the Sunday People newspaper.

Despite this setback April, it would seem, remained as popular as ever and even and inevitably attracted the attention of some very famous men. A few very interesting examples I think should suffice here. Ms Ashley was at one point apparently approached by none other than Elvis Presley himself, who tried his best to woe her. Her unique looks and fame also attracted the attention of the famous surreal artist Salvador Dali who wanted to paint Ms Ashley in the nude -however, she declined.

In a subsequent work on her life story -written by April herself as a memoir called ‘The First Lady’ 2006 with Douglas Thompson, which was in fact being considered as a potential film-with Catherine Zeta Jones playing the part of April. However, when it came to light that April had used large sections from her previous autobiography 1982s ‘April Ashley’s Odyssey’, not only were copies of this new book scrapped but the movie plans were also ditched as well. However, it appeared that this misadventure didn’t bother April.

In 2012 April was named to the ‘Order of the British Empire’ for her ‘Service to transgender equality’. In Liverpool she was named as a ‘citizen of honour’ in acknowledgement of her accomplishments.

by Siobhan Donegan

Susan Grace Calman is a Scottish all-round celebrity.  She is a Television presenter, comedian, and writer. Many of us will be familiar with Calman from her recent amusing and quirky performances in the Bank of Scotland adverts. She’s also been a panellist on the comedy quiz shows ‘QI’ and ‘Mock the Week’, amongst others. Susan Calman is gay and has talked about how after coming out as a lesbian at the age of just 19 in 1993 how difficult it was growing up with a different orientation in Glasgow commenting that at the time there was one lesbian bar- “But there was no internet, there was no way of finding out about other people”.

Susan Calman’s father is Sir Kenneth Calman who was the former Chief Medical Officer of Scotland. Her mother, Lady Anne became Chair of NHS county Durham. Calman was born to these distinguished parents on the 6^th November 1974 in Glasgow. Calman started her education in an ‘independent school’, the High School of Glasgow. She won the Judge Brennen scholarship after studying law at the University of Glasgow. With this scholarship came the chance to work with criminals on Death Row in North Carolina for 3 months.

Calman had a difficult time growing up in Glasgow.  She was extremely unhappy as a teenager, self-harmed and through desperation, attempted suicide. In retrospect she opened up about these difficult experiences of depression, discussing this not only in her books, but also in interviews.  Calman commented to ‘Digital Spy’ whilst looking back at her radical stand campaigning for LGBT rights how she encountered ‘horrific bigotry’ over a number of years. She revealed: “I have protested. I have picketed. I have been spat on. I have been punched.”

It was in 2006 that Calman, at the age of 30 and having worked as a lawyer for 7 years, decided to change from what was obviously a brilliant career in law to the potentially more risky one of being a comedian. Anyone who would be willing to give up a legal career to start out in comedy, something she knew nothing about at the time, must be either very brave or an eternal optimist. Yet, it turns out that the opposite is true as she is ‘always waiting for bad things to happen’. It is in fact Calman’s wife Lee who is responsible for helping her to perceive things/life from a positive perspective. At a very early stage in her work life Calman had worked at an electrical superstore being in charge of vacuum cleaners and microwaves. From such humble beginnings-during Calman’s eventual career as a corporate lawyer had, as already mentioned above, worked on Death Row in America and at one point had even worked at the United Nations in Geneva.

After deciding to switch to a career in comedy, Calman made it to the semi-finals of the ‘BBC New Comedy Awards’. Calman was also a finalist in the 2006 ‘Funny Women’ competition-both achievements have obviously boosted her confidence as she hasn’t looked back since. In 2007 Calman was cast in a sketch show at the Edinburgh Festival called ‘Ugly Kid’ which was a sell out and as such won ‘critical acclaim’. The show was renamed as ‘Blow Out’ after being commissioned for a pilot for Channel 4.

Calman has also become known as a contender on the highly popular show ‘Strictly Come Dancing’. Interestingly enough Calman found herself within the firing line of criticism due to not insisting on a same sex partner on the show. Calman saw the comments as unfair stating: “No one is holding me hostage in this room, making me wear a dress and dance with a man. I want to learn to dance.”

Calman further stated in response to this specific criticism, ‘It’s making this about my sexuality, instead of a woman wanting to learn how to dance.”

Calman met her partner Lee in 2002.  After dating for 10 years they made it official by having a Civil Partnership ceremony in 2012 and in 2016 they got married choosing the Fruitmarket in Glasgow as the venue for this important occasion in their lives. Lee also used to be a lawyer by profession. Calman  stated that she doesn’t really like it when people question the validity of marriage-claiming it’s just a bit of paper-adding, ‘And anyway, it’s something gay people fought for over many years’.

Calman and her wife Lee have is a mutual love of cats as they have 5 rescue cats-whose names are so wonderfully creative and quirky that I thought it was worthwhile listing them: Thus we have Pickle, Daisy Fay Harper, Olivia Pope, Dr Abigail Bartlet and DCI Jane Tennison.

One of the most interesting TV shows that Calman has hosted, in my personal opinion, is ‘Secret Scotland’. In this she travels around her native homeland on a ‘light hearted jaunt’-which is nevertheless a voyage of discovery. Here Calman visits what have been described as ‘iconic destinations’ such as Loch Ness, the mysterious Roslyn Chapel and not forgetting of course our very own Edinburgh Castle.

Susan Calman has been described as a ‘feisty’ Glaswegian comedian whose skill-set includes legal expertise, quick fire caustic wit and ‘infectious bubbly manner’ which have proved to be an intoxicating recipe that has insured her success. This combination of talent has given her a flare for writing after dinner speeches for some of ‘the most prestigious organisations’. As such she continues to be in demand with ‘high profile’ clients. She has worked most recently with such clients as ‘Famous Grouse, Halifax Bank of Scotland, Women in Industry and Law Society Scotland’.

Amongst Calman’s other media credits is the fact that she is also known as a regular guest on Radio 4 appearing on shows such as ‘The News Quiz’, ‘Now Show’ and also ‘So Wrong It’s Right’. In fact Calman’s work in Radio includes having hosted her own Radio Series ‘Susan Calman is convicted’ which won an award. Calman has also presented her own TV Shows, apart from the already mentioned ‘Secret Scotland’, her most recent programme has been on Channel 5 ‘Susan Calman’s Grand Week by the Sea, hurtling along the coastline in her campervan called ‘Helen Mirren’.

by Ari Bone

Souls break at the edges.

It’s slow at first, subtle, the spider web crack of the ice creaking under your foot. Like in the winter, when
you think the river is safe to cross and then you hear it:

Crack, crack, crack.

And you think, it’s fine, I can keep going, it’s only a few little cracks – but you haven’t realised the pressure
that’s already been put upon it and it’s really not fine at all.

Your soul will break first at the edges, it’ll get worn away and jagged and cracked, and maybe you won’t realise at first because your soul is like glass, but not everything is a hammer. Sometimes, it’s the words that get you first, words from the people closest to you, the ones that mean well, but then they tell you, oh so casual: you are going to hell. But they don’t mean you, of course, they mean “those people”. You know those people – and they don’t realise that those people are your people, and those people’s souls sing a song that
resonates with yours and maybe you don’t even realise what its called yet.

But it calls to you in a secret language that you have never learned, but somehow you have known since before you were born – and it calls to you in a voice so so old, and they’ll tell you that it’s new and it’s not. And they’ll tell you it’s a phase, and it’s not. What in life is permanent anyway?

This, this is a song that you know, even when it’s quiet, even when you have to hide it – Your song will always sing true through you – don’t shut it out, let it ring through your voice – be loud! – Let it call out to others, and it won’t ever break you. Because it’s you, it’s you and its okay.

A soul is fragile, sheet glass, ice with a thousand little cracks, but it’ll always hold true for you. Embrace your edges, those broken pieces, see them and hold them until they don’t hurt you anymore – because every crack is you that was, a you that could have been, and a you that is – a million versions of you, all perfect, because you are perfect.

At my edges, in those cracks, there was a me once who cried and didn’t understand what the song that their soul was singing, and there was a me once that was a she and I don’t know her anymore but I grieve for her. And there was a me once that turned 18 and thought my god, this is as far as my dreams went, and didn’t realise we could make it this far – but now I’m 10 years on, and what am I doing? I’m standing here, talking to all of you, and hoping you understand the song that my soul is trying to sing out today.

It’s okay, it’s okay, it’s okay. Take your time, take a breath, pick up your broken pieces. And I’ll help you handle them with care, we’ve all got repair work to do.

Ari Bone is an NB poet and writer, and part-time nature photographer, living in Edinburgh. Growing up on the west coast of Scotland, a passionate interest in high-fantasy novels and linguistics led them down a path into Diversity and Inclusion in their professional life. They spend a large amount of their time constructing new worlds and languages for future novels, as well as learning as many real-world languages as they can. Their writing is inspired predominantly by the works of JRR Tolkien, but also their own intersections of queerness, ADHD and aphantasia, and seeing representations of queerness and disability in fantasy worlds.

With support from the Edinburgh Health and Social Care Partnership in September 2021, we hosted a safe and collaborative discussion space for any LGBTQ+ people (16+) living in or around Edinburgh, to explore what wellbeing currently means for them, both as an individual and for us, as a community.

On Wednesday 29^th September, we hosted the online event ‘You, Me & Us’, creating a supportive  and validating framework to hold discussions with the wider community, with respect to all LGBTQ+ identities and experiences. The discussions took place in break-out rooms and the main space and included guided prompts to explore the theme of ‘Wellbeing’ and what people’s current needs are.

With the help of guest collaborators, we have been able to collate these contributions and are delighted to be able to capture discussions in both a community poem, curated by Gray Crosbie, and a graphic illustration by Madeleine Leisk.

We are delighted to introduce you to the artworks below which will be soon available in print.

From Here

by Gray Crosbie, and the LGBTQ+ community of Edinburgh

Where do we go from here?
After all these months and that endless year
locked down,     pandemic stuck.

Now we’re ready
……excited, nervous, desperate
to be together.
For new friends and familiar faces,
safe spaces to take it slow,
or to jump back in,
to jog, run, box, swim,
dance and sing our way back to ourselves.

To share the ways we endured the days
the discovery that flower-picking and photography
can be survival skills.
Our new favourite movies,
the best forests and hills.
To tell of the things piano keys can unlock
and talk about how it’s not only time
that’s been lost.

Now we’re ready to be with our people,
to laugh and worry over a shared apple crumble
and tangle ourselves in cuddle-pile jumbles.
To relearn the energy of bodies,
to remember how company in itself
…………………………………………can be a cure.

We need music to close the meters
activities to ease anxieties.
We need journeys that are worth the three buses.
To buy tickets, hold programmes and run fingers
over plans for the future, to embrace our city
in a big queer takeover and have parties in the street.

We need the calm of nature,
and a good night’s sleep.

And some of us, we need
to know we won’t now find ourselves alone.
That the virtual rooms where we found connection,
that sparked with joy
won’t go dark and empty.

And some of us, we need for things to be different,
better, fairer.
Back to normal isn’t as exciting
when “normal” wasn’t always inclusive.
We need the same changes we did before:
affordable childcare, help with the bus fare,
spaces to be social while sober
places without prices, where it’s only time that is spent.

We need wait lists to be smaller and bigger funds
counselling, assistants, interpreters,
to be around people who’re like us.
Accessibility,
comfort,
safety—

Our needs are varied
but that’s the beauty of diversity.

Lately, we’ve been looking forward again.
Because after all those months and that endlessly long year,
if nothing else, we’ve learned the importance of togetherness.
Where do we go from here?

More about the artists

Madeleine Leisk (she/her)
YLWBK Illustrations
www.ylwbkillustrations.com
@ylwbkillustrations

Gray Crosbie (they/them)
www.plantpoweredpoet.bigcartel.com
@GrayCrosbie

By Siobhan Donegan

It has recently come to my attention that regular readers of my articles have been asking if I could write an article, or a number of articles on gay women, and thus I have decided to write this article on Sue Perkins. Sue Elizabeth Perkins is a famous celebrity who is a comedian, actress, TV presenter, writer and broadcaster. She is also gay, which I will discuss later in the article. Perkins is also a talented musician having studied music to a serious level of comprehension and has reached ‘grade 8’ on her instrument of choice, the Piano. She is in all probability most famous as part of a comedy duo with Mel and Sue. She has most recently won recognition presenting the ‘Great British Bake Off’.

The eldest of three siblings, Perkins was born in East Dulwich, Croydon London, where she grew up together with her parents. Her Mother Ann worked as a secretary, while her Father Burt was employed by a local car dealer. Perkins was educated at the independent school for girls in South Croydon-Croham Hurst School.

Sue Perkins has in fact been described as one of the UK’s ‘best loved’ TV presenters, and has made a successful career not only in television but also as a radio broadcaster amongst other creative endeavours. However, despite apparently being a very shy child it would appear that even from a young age Perkins has been a high achiever. It was while studying English at the University of Cambridge at New Hall, now renamed Murray Edwards College, that she first met Mel Giedroyc. A meeting that perhaps sealed their fate towards a career in the media in the and fame. Mel and Sue have in fact been friends for 27 years. Mel Giedroyc is in fact, through her father Michal, a descendant of Lithuanian Royalty that resided in Poland until 1939.

Having met at University in the 1980’s (and graduated), Perkins and Mel Giedroyc started writing material that they intended to perform at the Edinburgh Fringe Festival. This is precisely what they went on to do and they were in fact short-listed for the Daily Express ‘Best Newcomers’ award at the Festival in 1993. Also, I should briefly mention here that ‘Mel and Sue’, as a famous comedy double act was actually taken on tour for many years. After this they initially spent a few years writing for comedy household names ‘French and Saunders’, even making the occasional appearance in the TV Show. After this, they appeared and Co-Hosted the Channel 4 lunchtime show called ‘Light Lunch’ and also ‘Late Lunch’, which was an evening version in the late 1990’s.

As already mentioned Perkins is also a writer. In October 2015, she published her ‘memoir’ ‘Spectacles’. She is also the Author of an ‘autobiographical travel book ‘East of Croydon: Blunderings through India and South East Asia’. Perkins as such has been acknowledged as an accomplished author. Not only has her travel book been shortlisted in the ‘Autobiography of the Year category’ at the 2018 National Book Awards, Perkins has also acted in the capacity of Judge for the 2009 Man Booker Prize.

In 2010, Sue Perkins and Giles Cohen, who had previously appeared together on the BBC2 series ‘The Super-sizers Go and the Super-sizers Eat’ were commissioned by the BBC2 to emulate ‘Tom’ and ‘Barbara’s’ self-sufficient lifestyle in the brilliant and hilarious classic sitcom ‘The Good Life’, in a show entitled ‘Giles and Sue live the Good Life’.

Here I would like to mention the fact that Perkins has actually appeared in August 2012’s ‘Tatler’s’-‘list of high profile lesbians in London’. Perkins is currently, to the best of my knowledge, in a relationship with Anna Richardson, who is also a TV Presenter. Perkins was actually outed as a lesbian in 2002 by ex-girlfriend Rhona Cameron. In fact, Cameron revealed that Perkins was Gay during her appearance on ITV’s ‘I’m a Celebrity…Get Me Out of Here’, probably one of the worst TV shows ever created in my opinion. However, Perkins obviously having a great and philosophical sense of humour remarked in response to this:

“Being a lesbian is only about the 47^th most interesting thing about me.”

As already mentioned, Perkins has been in a relationship with TV Presenter Anna Richardson, who is known from presenting the TV Show ‘Naked Attraction’. Richardson talking about her relationship with Perkins told Lorraine Kelly, ‘We met at a party and I was recently single and we just……all I can say, there was an understanding and for me the planets aligned’, furthermore, she described Perkins as ‘absolutely extraordinary’.

Perkins, in her turn, speaking to the Guardian about her relationship stated that Richardson:

“Has done quite a lot to still the gyroscope of my whirring brain.”

Whilst doing research for this article, I was interested to find out if Perkins had ever talked about what it was like when she realised that she was Gay. Interestingly enough Perkins has talked about the fascinating fact that when she was much younger, both she and her boyfriend at the time were going through a ‘confusing time’, as both were struggling with ‘similar problems’ with their sexuality (her boyfriend was Gay as well).

In an interview with Desert Island Discs in which she talked about her own sexual orientation, Perkins courageously revealed that when she first realised that she was Gay, she had the ‘violent reaction’ of just wanting to ‘throw up’, further explaining that this was ‘so far from my frame of reference’ (this can be understood as the ‘frame’ of heteronormativity or the heteronormative binary). However, I’m glad to say Perkins obviously came to terms with her own sexuality, being intelligent and mature enough to be true to herself.

Perkins has also unfortunately been the victim of showbiz gossip or more accurately online harassment. However, Perkins claimed that the rumours in question were ‘fabricated’. This specific rumour, which was started on Twitter, was that Perkins was the favourite to become the new presenter for the TV Show ‘Top Gear’, after the departure of Jeremy Clarkson had made a vacancy available. As a result of this, Perkins temporarily quit the Twitter media site but decided to return in August 2015.

Turning now to a more positive story, Mel and Sue were revealed to be the new hosts of the very popular classic quiz show ‘The Generation Game’ in an announcement on July 2017. The BBC Show was scheduled to air the first episode in Easter 2018. Unfortunately, the show initially suffered from bad ratings; however, I’m glad to say that the Mel and Sue ‘reboot’ of the household quiz show will be given another run in the future.

In 2017, Mel and Sue’s rise to comedy fame was documented and broadcast by Channel 5’s ‘Sue Perkins Comedy Greats: The Entertainers and Funny Women: The Mel and Sue Story’. Finally, I would like to simply say that I’ve always personally found Mel and Sue very entertaining, and I hope that they both continue to be successful as a double act, and in their respective solo careers.

by Siobhan Donegan

David Hockney has been described as one of the most influential artists of the 20^th century. He is a painter, an illustrator, a photographer, a printmaker, stage set designer and draftsman. He is also gay which I will talk about slightly later in the article. Hockney is perhaps best known for a series of paintings of swimming pools rendered in striking colours using the relatively new medium, at the time, of acrylic, which were composed after he had moved to Los Angeles in 1964. However, it has been said that there is a lot more to David Hockney than just swimming pools. For example, these paintings reflect his sunny Californian lifestyle whereas when residing in England he likes to paint the seasons.

His preoccupation with light and its effects was apparently derived and inspired by the intense Californian light in L.A which became a major influence on his work. However, although his compositions have made use of vibrant colours, his paintings have also been described as having a preoccupation with ‘mundane realism’, which has derived inspiration partially from Pop art and photography.

David Hockney was the fourth child of five and was born in Bradford, West Riding of Yorkshire in 1937, his parents being Laura and Kenneth Hockney. His artwork featured in the exhibition Young Contemporaries at the Royal College of Art together with famous British Pop Artist Peter Blake. In fact, this exhibition heralded the beginnings and arrival of British Pop art. The genre of Pop art was a movement that involved many young artists, and can thus probably be seen in the wider context of the youth movement at the time, who felt that a lot of the artwork on show in galleries was a bit boring. As such Hockney has been associated with this artistic genre-movement.

From 1953 to 57, Hockney was a student at the Bradford College of Art and studied in London from 1959 to 62 at the Royal College of Art. He went to the U.S.A for the first time in 1961. Hockney also worked in America as a teacher at the Universities of Iowa, California and Colorado from the years 1964 to 67. From this point onwards, he was a regular visitor to the States-commuting back and forth from England-before he decided to permanently settle in Los Angeles in 1978.

Returning to the subject of his artwork, Hockney is known for using ‘autobiographical’ subject matter for his compositions of ‘incidental scenes’, referencing friends and his living quarters. Often there is a confident ‘elegance’ and a summery tranquillity to the scenes portrayed. A well-known painting in this style is ‘Portrait of an Artist (Pool with Two Figures)’ (1972).

This painting actually sold at Christies Auction House (New York) for 90 million dollars (70 million pounds), on 15 November 2018. At the time, this was the most expensive piece of artwork sold at auction ‘by a living Artist’ and broke the previous record held by Jeff Koons from 2013. Jeff Koons went on to reclaim the record in 2019 when his ‘Rabbit’ sold for 91 million dollars at Christies.

As mentioned above Hockney is also gay, which he has understandably explored as a subject matter in his artwork. For example, the theme of gay love is referenced in his work ‘We Two Boys Together Clinging’ (1961), specifically named after a poem by Walt Whitman. Another portraiture work that visually explores love between men is the painting ‘Domestic Scene, Los-Angeles’ (1963), which depicts one man showering whilst another washes his back.

Hockney met Peter Schlesinger, an Art student, in 1966 with whom he became romantically involved. He met Schlesinger while teaching at the UCLA; Schlesinger had been modelling for paintings and drawings at the time.

As mentioned at the beginning of this article, Hockney has also explored the medium of photography, most notably in the 1980’s, and is also known for his photo collages. A good example of this artistic endeavour being photo collage ‘Pear-blossom Hwy’ (1986), which is in fact one of a number of collages that have been described as ‘ambitious’.

Also, as previously mentioned Hockney has artistically expressed himself as a stage-set designer, specifically for the Opera and Ballet for which he is described as having ‘achieved international prominence’.

If the above list of artistic achievements were not already impressive, Hockney has also tried his hand at working as an illustrator, his illustrations having been published in ‘several series of graphic works in book form’. These illustrations include, ‘Six Fairy Tales of the Brothers Grimm’, 1970 and ‘The Blue Guitar’, 1977.

David Hockney has also embraced the new technology available for artists in the latter years of his life, specifically the Brushes App. With this, he has apparently produced still life compositions, landscapes and portraits. Hockney stated, ‘When I began drawing on an I-pad I loved it’. According to Artnet-which interviewed Hockney-he stated,

‘I thought it was a terrific medium. Everything is at your fingertips, there’s no cleaning up. I realised I could just reach for my I-phone and draw, even in the dark.’

Hockney has used a hearing aid since 1979 and has ‘Synaesthetic associations’-‘between’ sound and colour. Interestingly I have come across this ‘phenomena’ before, but in a completely different context; Synaesthesia can be a state of consciousness induced by drugs or states of deep meditation in which a person can ‘hear’ colours and ‘see’ sounds. I should think that with an artist of Hockney’s creative genius, this could be of benefit to his creative process.

This seems to be the case, as synaesthesia reportedly affects Hockney by allowing him to see colours as a result of ‘musical stimuli’. This has inspired the creative process of his set designs for the Ballet and Opera as he often designs his sets in colours ‘matched’ to the musical pieces that are to be performed.

David Hockney has had a sixty-year career as an artist. Ironically, considering the fact that he is famous for his artistic renditions of swimming pools, he actually keeps fit by swimming for half an hour each morning. This regime has obviously been working, as he is able to stand at his easel for six hours.

by Siobhan Donegan

The colourful and flamboyant figure of Marsha P. Johnson was an iconic African-American Gay Liberation activist who self-identified as a drag queen. Despite the fact that during my research for this article I discovered some conflicting evidence for how Johnson specifically identified, as concerns her gender identity there is nevertheless a strong possibility that she was in fact a transgender woman, which is why I have decided to describe her as such in the title.

Marsha was born on the 24 August 1945 in Elizabeth, New Jersey. She had a strict Christian upbringing, attending Mount Teman African Episcopal Church, making for what has been described as a difficult childhood. After graduating from high school, she eventually moved to Greenwich Village in New York City, unfortunately at the time being very poor and homeless with apparently only fifteen dollars and a bag of clothes to her name. Desperate to survive Martha became a sex worker, which she claimed to have been arrested for over 100 times.

Regarding Marsha’s contribution to LGBT history, and in the wake of the global Black Lives Matter antiracism protest, the significance of Marsha P. Johnson is considerable. She is in fact famous for having been a pioneer figure-‘outspoken advocate’ of the early Gay Liberation Movement that actively sought to establish gay rights. As such she is regarded as a ‘prominent figure’, amongst others, of the Stonewall riots of 1969. However, Johnson despite having been credited with having inaugurated the riots has maintained that she wasn’t actually present at the very beginning of the uprising.

It is at this juncture that I would like to return to the subject of Marsha’s gender identity. Due to the obvious prejudice of the heteronormative culture in America during this era ‘Drag Queens’ and ‘Street Queens’ were also referred to as ‘Female impersonators’. Johnson was a flamboyant character who dressed ‘extravagantly’ and as such has been described as a ‘Drag Artist’. Furthermore, Marsha claimed that the ‘P’ in her name came about as a reaction to negative comments made by people about their appearance and life style-‘life choices’-and meant ‘Pay it no mind’.

According to one source of research I discovered, Johnson apparently never in fact self-identified with the specific term transgender, however this term wasn’t part of the cultural lingua franca at the time but the term transsexual was. Johnson actually identified in numerous ways such as gay, transvestite and as a Queen, which can obviously be understood as a ‘Drag Queen’ or ‘Street Queen’. Johnson’s gender identity or gender expression according to ‘Professor of Human Gender and Sexuality Studies’ Susan Stryker of the University of Arizona could best be described as ‘gender non-conforming’.

However, as previously mentioned, during my research I found conflicting evidence as regards Marsha’s specific gender identity. Thus in complete contra-distinction to the above, the most compelling evidence that she was in fact a transgender woman was that apparently she stated that she knew from a young age that she identified as female and despite being brought up in a strict family began to dress in female attire. Furthermore, according to friends she always referred to herself with She/Her pronouns.

Returning to the subject of the Stonewall ‘uprising’ I think we should briefly mention the general cultural climate of the time. As such, America during the late 1960’s was a very homophobic environment, with homosexuality being considered at the time a form of mental illness. Hence, perhaps it should come as no surprise that the gay community was often the victim of police brutality.

Marsha was only 23 years old in June 1969, when police raided the Stonewall Inn, a gay bar in New York City. Over 200 people were forced out of the bar and onto the streets by the police and then subjected to a violent attack that has been described as ‘excessive’.

Johnson, as already mentioned has been described as one of the ‘key figures’ who made a stand against the NYPD. She has also in fact become known as one of the ‘instigators’ and recognized as such-also as the ‘vanguard’ of the Gay Liberation Movement in the U.S.A-that the Stonewall uprising acted as a catalyst to inaugurate. At the time of the riots not only did Johnson resist arrest, but also in the aftermath organized a number of protest marches with the purpose of obtaining equal rights for gay people.

These events became an inspirational catalyst for a truly ‘pivotal moment’ in LGBT history. News of these protests had spread like wildfire around the world and inspired increasing numbers to join protest groups. Thus it was a mere month after the initial protests that the first openly gay march took place in New York.

Marsha however, is not only famous for these truly significant events. Hence if we return to the more personal biographical details of her life we can remind ourselves that when Marsha first arrived in New York she was very poor. Despite this Marsha found her true calling in the colourful, flamboyant life of a Drag Queen, becoming known for her outlandish hats and glamorous jewellery and becoming a well-known recognised figure in the ‘eccentric nightlife’ of Christopher Street. As regards this Marsha stated, ‘I was no one, nobody, from nowheresville until I became a Drag Queen’.

This new life also made Marsha so enthusiastic that it brought out her creative side, as she selected appropriate items from thrift shops and began designing her own costumes. From small beginnings Marsha  became a rising star in the nightlife of Drag, eventually becoming a respected ‘Drag Mother’ to the up and coming youth looking to make a name for themselves on the drag scene. Marsha’s efforts eventually blossomed into a successful career when she ended up touring with the Drag Group ‘Hot Peaches’, who not only performed in London but in fact went on a global tour.

Returning to the depressing subject of the excessive police violence which was the catalyst that led to the Stonewall Uprising, I thought it was important to mention towards the end of the article that although it was a long time coming, an official apology was issued by the head of New York’s Police Department in 2019 stating, ‘The actions taken by the NYPD were wrong’.

Sadly, Marsha died tragically at only 46 in mysterious circumstances in 1992. She had been missing for six days when her body was found in the Hudson River. The initial ruling for the probable cause of death was suicide. However, Marsha’s close friends weren’t convinced claiming that Marsha hadn’t really shown any suicidal tendencies. Through years of constant demands to reopen the investigation, in 2012 the case was finally reopened, the verdict for her death being “undetermined”.

Despite the fact that Marsha P. Johnson has gone, her memory and legacy lives on in the shining example of the Marsha P. Johnson Institute, which states that it ‘protects the rights of Black Transgender people’.

By Siobhan Donegan

The American actress Tommy Dorfman recently (in fact just last month in July) ‘reintroduced’ herself as Transgender, saying, ‘I’m still an actor, still a writer, still a creative, still a storyteller, and I’m a woman -a Trans Woman’. Dorfman explained that she had been ‘privately’ identifying and living as a woman for a year. Furthermore, expanding on this she also explained that for many years she had wanted to transition, but found the prospect ‘very daunting’ and ‘scary’ because she is very young and at the very beginning of her career.

Dorfman also said that she was never ‘not out’ in reaction to ‘coming out’ as transgender, declaring ‘Today is about clarity’. Fans have in fact been curious, speculating, and questioning her gender identity for about a year amid a ‘change’ in her ‘style’ on posts on Instagram. Commenting on this, she stated that she has been living in this ‘other version’ of coming out also claiming that she kept a ‘diaristic time capsule’ instead that makes clear ‘one that shows a body living in a more fluid space’. She also stated in reference to the previous speculation and her medical transition that there had/has been ‘discourse about my body’, which as an experience she claimed started to feel ‘overwhelming’.

As regards her name, I personally find it fascinating that she decided not to change this as part of her transition and subsequently found out through research why this is; she was in fact named after her maternal uncle who actually held them as he was dying, thus understandably she feels a very strong connection to this name stating ‘This is an evolution of Tommy’. In response to this, during an interview with Torrey Peters for Time Peters stated, ‘I like that idea: transition as amplification of yourself rather than a qualitative change’.

Dorfman also stated that through her transition she had to ‘recalibrate’ her intimate romantic relationships. Having been in a nine-year relationship and thought of as ‘a male-bodied person’ in a gay male relationship stated, ‘we’ve been learning that as a trans-woman what I’m interested in is not necessarily reflected in a gay man’. Furthermore, she added that the transitional experience has in fact acted as a catalyst to some ‘incredible conversations.’

In reference to transitioning in general, Dorfman stated, ‘I’m especially grateful to every single trans person who walked this path, broke down barriers, and risked their lives to live authentically and radically as themselves’.

Having written at length of Dorfmans transition, I thought this would be a suitable juncture to say something about her background. Tommy Dorfman was born to a Jewish family on May 13^th 1992 and brought up in Atlanta, Georgia. It was at the Fordham University’s Drama program that Dorfman graduated in 2015 with a B.A in Theatre Arts. Dorfman is also a photographer and director who has worked in multi-media platforms for example television, film, and performing live in theatrical stage productions, recently having performed in the ‘hit Play’ Daddy at the Signature. If these creative talents weren’t already impressive enough Dorfman is also a Dancer and has performed as a member of the Atlanta Ballet. As such, she is a young person with a brilliant career ahead of her and has already attained celebrity status. Thus it is understandable that she has been photographed for certain magazine covers, one being ‘American Studies’. She has also worked and appeared in popular ad campaigns for Calvin Klein and Fendi.

As mentioned above Dorfman had previously been in a nine-year relationship with a gay man. In other words, she has been in the recent past openly gay, however, due to her transition, she is now apparently questioning her orientation. As regards to her relationship, Dorfman in fact married their partner Peter Zurkuhlen on 12 November 2016, who is a former real estate agent and founded the tech company Chip-Chop Systems. Dorfman and partner Zurkuhlen have however now decided to just be friends. Interestingly Dorfman had previously come out in November 2017 as Non-binary changing her pronouns to they/them, having subsequently come out to ‘reintroduce’ herself as transgender, she now has updated her pronouns to she/her.

Dorfman made her acting debut in 2009 in the short movie ‘Foreign Exchange’. Her TV debut was in the series ‘i-witness’. She is apparently most famed for ‘Jeremy O’. Outside of the Netflix series ’13 Reasons Why’, she has also starred in ‘Jane the Virgin’ (2019) which is a romantic comedy, ‘American Princess’ a dark comedy drama, and appeared in two episodes of ‘Insatiable’.

The Netflix TV series ‘13 Reasons Why’ has been defined as a ‘Teen drama’ as the series explores a number of important social issues that impact the lives of modern teenagers including suicide, alcoholism, bullying, mental health, and even sexual assault. The series was centred on the character Clay Jensen and the emotional fallout after the suicide of another student character, Hannah Baker. Dorfman, who appeared in the first and second seasons, plays the character Ryan Shaver ‘who had betrayed Hannah’s trust’. They also appeared in the final season in a guest role. It should also be mentioned here that Dorfman played a character in the film ‘In my Skin’, and as mentioned above appeared in stage productions, one such being ‘The Enigma Machine’.

Dorfman also had a starring role in the series ‘Love in the Time of Corona’. Here in the part of Oscar their ‘mostly platonic’ friendship with roommate Elle is explored. The complexity of the friendship increases due to the ‘uncertainty’ of the pandemic as they begin to question if they can find love ‘under one roof’.

As regards the prospect of future performances by Dorfman, the actress confirmed-stressed that she would no longer be going to play any male roles. This is an important statement considering the fact that she will play her first female role in the film ‘Sharp Stick’, written and directed by Lena Dunham. Furthermore, in the context of her acting profession she reflected that she had been thinking about how she can ‘infuse my trans body’ into performances in film and television.

Dorfman is also an LGBT activist and also supports the Ali Forney Centre which through their programs provides help to LGBT youth. Dorfman also had the honour of accepting their first GLAAD award in recognition of the fact that she wants to raise awareness of what it’s like and her experiences as a young gender non-conforming person in Hollywood.

Tommy Dorfman who has quite rightly been described as ‘beautiful and talented’ has attracted into her orbit a large fan base through her recent activity on her Instagram profile. Together with this her official Facebook profile has also attracted many followers.

By Siobhan Donegan

The ground-breaking popular TV series Star Trek Discovery now in its third season has made Trek history in the Sci-fi franchise by introducing for the first time a Non-binary and a Transgender character. These are Non-binary actor Blu del Barrio, who plays Adira and Trans actor Ian Alexander as Gray. This latest and up to date incarnation of what is in all probability the most successful Sci-fi franchise has already broken new ground in its opening season with the introduction to the series of the first ever openly gay couple, namely Lt. Commander Paul Stamets played by actor Anthony Rapp and Dr Hugh Culber-Wilson Cruz, both of whom are members of the LGBT community in real life.

Michelle Paradise, Co-Showrunner of Discovery, explained that ‘Star Trek has always made a mission of giving visibility to unrepresented communities’, further explaining that this is because of  the faith in a ‘future without division on the basis of race, gender ,gender-identity, or sexual orientation’. Hence the moral philosophy or agenda of the show encompasses the ‘gender revolution’ of the current identity politics.

If we go back to the beginning to the original Star Trek series-we find that by pushing the boundaries of representation on television, as regards gender and ethnicity, this show was attempting to ‘boldly go where no one has gone before’. Furthermore, some episodes were used to explore political and social issues of the time using metaphor reflecting a decade which was a revolutionary one of change.

In fact the moral agenda of Star Trek has always been to celebrate ‘humanity’s potential for tolerance and understanding’ which would seem to be represented not only in its revolutionary portrayal of people from different ethnic backgrounds, but also the very foundations on which the ‘Federation’ was built. Despite this and despite the fact that Star Trek Creator Gene Roddenberry admitted that his thinking/attitude towards the LGBT community had to evolve, telling The Humanist in 1991, ‘My attitude towards homosexuality has changed-I came to the conclusion that I was wrong’. Unfortunately, it still took a whole 28 years after Roddenberry had passed away for the first gay character to appear in Star Trek.

Although the original Star Trek has been acknowledged as having stories that dealt with gender politics it never had any explicit reference to queer representation. However, through the perception of the fan community the relationship between Captain Kirk and first Officer Spock was seen to have a queer subtext and as such these two officers were portrayed as a same sex couple in a number of fanzines circulated in the 1970s. Furthermore in this context although comics, novels, ‘fan work’ showed good LGBT representation amongst its fictional Starfleet characters-this was all considered to be ‘non-canonical’. Within the official Star Trek franchise, in its various incarnations, any notion of ‘queer identity’ was cast into the limbo of ambiguous symbolism and metaphor.

In 1986 at a 20^th anniversary convention, a founding member of the Boston LGBT science fiction group The Gaylaxian Network and fan of Star Trek, pointed out that the series had taken the ground breaking step of bringing Black and Asian characters to television, and furthermore asked Gene Roddenberry himself-whether the series Star Trek-The Next Generation would introduce gay characters to the show. At the time Roddenberry agreed stating’ ‘Sooner or later, we’ll have to address the issue. We should probably have a gay character’.

The Gaylaxians by 1990 had begun to put pressure on the show’s producers with a letter writing petition. Roddenberry didn’t, it would seem, need convincing intending to make good on his promise. He wrote, ‘In the fifth season of Star Trek-The Next Generation viewers will see more of shipboard life which will include gay crew members in day-to-day circumstances.’ However, this LGBT friendly Starfleet environment never materialized due to the fact that in October 1991 Roddenberry unfortunately died.

However, there is an episode of Star Trek: The Next Generation that is definitely worth mentioning; this is episode 17-season 7-titled ‘The Outcast’-which can be and has been interpreted as allegorical of queer issues outside of the heteronormative binary. In this episode an alien species known as the J’naai-in which gender binary doesn’t exist is encountered by the crew of the Enterprise. However, as the story unfolds Commander Riker meets and works with a J’naai named Soren who reveals to him that she ‘feels’ as though she is female resulting in the two becoming romantically involved. Obviously in retrospect it is easy to see how such a fascinating episode would have ‘spoken’ to fans who were transgender and other members of the LGBT community.

Furthermore, in season 3 of Star Trek: The Next Generation an episode called ‘The Offspring’ perhaps  marked the beginning of an exploration and a willingness on the part of the writers of gender identity and ‘shifting gender’. In this episode, Data apparently wanting to embrace parenthood, creates an ‘artificially intelligent child’ who is given the option of not only choosing their race but also their gender identity-presentation, the child eventually choosing to present as Female.

The next milestone in the Star Trek franchise was Star Trek: Deep Space Nine. One of the main characters of the series was Lieutenant Commander Jadzia Dax who in all probability was the most symbolically queer character of the Sci-fi series up until the advent of S. T. Discovery. Dax is of the alien species Trills who coexist in a mutually beneficial relationship with slug like symbionts who unlike their Trill hosts have extremely long life spans. Iin fact the symbionts can live up to 700 years, whereas the Trills have a similar lifespan to the average human. Furthermore, considering the fact that the symbionts can switch from male to female bodies, their Trill hosts can thus have access not only to male and female memories, but also feelings including sexual attraction. This Science fiction premise was instrumental for the writers of Deep Space Nine being able to ‘Push the boundaries of sexuality’.

To add to the metaphorical/symbolic complexity there is a Trill law against ‘re-association’. This was explored dramatically in the episode ‘re-joined’ 1995 in which Jadzia encounters Lenara Khan, who happened to be the wife of one of  Dax’s  previous male hosts. Ultimately Jadzia and Lenaraare unable to resist their mutual attraction-leading to Star Trek’s first ever historic Gay Kiss. At the time this was one of the producer’s ways of ‘challenging taboos’.

Returning to the brilliant Star Trek Discovery Season 3, Wilson Cruz, who is a gay actor who plays Dr Hugh Culber and partner to Anthony Rapp, who plays ‘mycelial network engineer’ Lt. Commander Paul Stamets stated, ‘I’m proud to say that we are bringing you the queerest Trek in history’. As mentioned above this season introduces Non-binary actor Blu del Barrio as Adira, and it is through them that we meet their transgender alien Trill boyfriend Gray played by transgender actor Ian Alexander who is the first openly transgender Asian American to appear in an American TV series.

by Siobhan Donegan

Abigail Thorn is the innovative creator/producer of Philosophy Tube, a YouTube channel with 900,000 subscribers. It was after she made the courageous decision to come out as Transgender that she ‘made headlines’ and has since become one of the most high profile transgender individuals in Britain. Thorn actually came out to the public on her YouTube channel. As she explained in an interview with LGBT correspondent Ben Hunte, Thorn felt that if she had continued to ‘pretend’ to be a man, she felt that she would die.

As regards Thorn’s orientation she had also previously come out as Bisexual in her YouTube video ‘Queer’ in October 2019 in which she discussed her sexuality.

The YouTuber and Actress came out in a 37 minute video entitled ‘Identity’, in which she shared her thoughts about gender identity and identity politics. She also explained that in preparation for the video, she had started writing the script for it about a year ago. During the video Thorn also discussed Trans Rights, demanding new legislation and also exposing an economic element-stating that there needs to be a ‘redistribution’ of resources so that ‘Human need’ and Trans equality is served rather than profit.

Abigail Thorn’s public coming out statement was on 30 January 2021 and was a video entitled ‘Coming Out As Trans-A Little Public Statement’. According to Jezebel Harron Walker, this statement was a ‘feminist, anti-capitalist appeal’, also advocating ‘physical autonomy’ and transgender people’s legal equality and ‘broader liberation’. Thorn-during her coming out statement also spoke out against journalistic ‘fearmongering’ against transgender individuals and the lack of trans representation as regards elected transgender people. She also discussed healthcare issues and the fact that homelessness can ‘disproportionately’ affect the trans community.

In the recent past what could be described as the artistic direction or style of the show has become more dramatic and theatrical-featuring costumes, makeup and creative studio sets.

In this context it is thus interesting that Thorn has also came out as transgender in a subsequent video entitled ‘Identity: A Trans Coming Out Story’ which was more dramatic and theatrical. This featured Rhys Tees playing the part of Thorn’s previous self-and drew on the work of American writer Audre Lorde presumably for dramatic inspiration in the style of the video’s presentation.

Having spoken at some length of Thorn’s coming out statement I think we should now briefly look at her educational background. Abigail Thorn is from Newcastle upon Tyne and attended the Royal Grammar School. It was whilst she was a student here, that she decided that together with Biology and Chemistry-she would take Philosophy as an A level. Thus at the University of St Andrews, Thorn went on to study Philosophy and Theology. As such in 2015 Thorn graduated with a first class Scottish Masters of Arts in Philosophy. She also completed a Master of Arts awarded by the University of Exeter in 2017-having done her dramatic training at East 15 Acting School. Having made these personal achievements in education Thorn then decided to move to London.

According to Thorn it was the ‘quiet and scholarly’ teacher of philosophy Howard Baker that invited her to take up the subject. Thorn explained that at her school-it was basically Law, Medicine-or ‘other’-Philosophy became Thorn’s third ‘other’ subject-next to Biology and Chemistry (covered by ‘Medicine’ I presume)-and Thorn discovered in the process that not only did she like Philosophy but that she also had a knack for it too. Furthermore, Thorn apparently found insight in the context of her own gender identity by studying the works of ‘Trans Philosophers’.

As regards Thorn’s innovative creation of ‘Philosophy Tube’-it was a girlfriend of the time who first suggested to her starting a YouTube Channel. Thorn had previously tried the role of Stand-up-which she described as, ‘increasingly challenging, deliberately esoteric, ‘Brechtian’, political (in a superficial way) and confrontational’. Thorn in fact wasn’t enthusiastic about having to create regular stand-up videos, however she did like the idea and challenge of creating a YouTube Channel.

Hence it was that Philosophy Tube was created and it was in May 2013 that Thorn’s first video was uploaded to her YouTube Channel. Considering the fact that she was later to publically come out as Trans on this same Channel, it was perhaps almost ‘prophetic’, in an ironic sense, that the first video was entitled ‘I Think Therefore I Am’ and was about the Philosopher Rene Descartes.

In 2018 Thorn uploaded a video to her YouTube Channel entitled, ‘Suic!de and Ment@l He@lth’ which had the agenda of examining Mental Health from the perspective of the mainstream attitudes of society. As Thorn has a ‘history of self-harm’ and has in fact attempted suicide twice, she obviously has an ‘insiders’ point of view on this important subject and thus also talked about her own personal experiences.

Emily Van-DerWerff, who writes for Vox, in a brief description of Thorn’s Philosophy Tube, stated that the Channel covers Philosophical information and ‘socio-political ideas of the current era from a Leftist point of view’-one example being a video that launched into a discussion of Brexit, but ended being an examination of democracy from a broader perspective. Philosophy Tube apart from being described as a Channel that obviously explores Philosophical issues has also generally been described as an educational Channel.

Returning to the subject of Thorn’s coming out statement, she also stated that there are no policies for equal rights as a policy goal for the Transgender Community by any of the major political parties also stating, ‘Trans people, especially trans people of colour, are hit hardest by unemployment’. She also made the more personal observation: “But I’m also scared. Things are very, very bad for trans people in the U.K and they’re getting worse.”

Thorn has also admirably managed to raise over £100,000 for the Samaritans. She did this whilst she read plays from the ‘Complete Works of Shakespeare’ hosting a livestream on ‘Twitch’ in 2019-in a stream that lasted five days-for the Mental Health Charity.

Abigail Thorn’s Philosophy Tube has been very well received and in fact praised by various sources in the media; as I like to end my articles on a positive note I would like to quote a writer for the Bay Area Reporter-Gwendolyn Ann Smith who was impressed with Thorn’s video, ‘Identity: A Trans Coming Out Story’ affirming that this statement was ‘delving deeply into the very nature of being trans in ways (she has) not typically seen’.

By Siobhan Donegan

Quentin Crisp despite the fact that he often courted controversy with his radical and somewhat incomprehensible views on Gay Liberation was, and remains, iconic in British Queer history. He has been described as an English writer, raconteur and actor. When I was very young, I think in my mid to late teens, I actually encountered Mr Crisp myself on the Kings Road, Chelsea, London. He had just gotten onto a bus and basically he was aware that I’d seen him-and knew at once that I recognized him-as such he held my gaze as his bus pulled away in a moment I can only describe as electric.

Quentin Crisp was from an ordinary suburban background and was eventually to become a famous LGBT+ icon. He is famous for having been a flamboyant character, for having worn colourful makeup and nail polish when it was obviously dangerous to have done so. Crisp’s father was a Lawyer whilst his mother had been a nursery governess. He was born in Sutton Surrey, 25 December 1908, with the rather ordinary name of Denis Charles Pratt.

Crisp described him-self as ‘effeminate’ from an early age, something that made him the target of teasing at his school-Kingswood House in Epsom. However, he did well winning a scholarship to Denstone College Uttoxeter. At King’s College London, he attempted to study journalism, but failed to graduate in 1928. He also took art classes, near to this time, at the Regent Street polytechnic.

‘Denis’ after leaving home in his twenties changed his name to Quentin Crisp. At this time he cultivated a very feminine appearance, even sometimes experimenting with ‘cross-dressing’, which was flamboyant and somewhat ‘outlandish’, especially the fact that he dyed his long hair crimson, had ‘bright’ colourful makeup and painted fingernails and toenails that he showed off with sandals. Mr Crisp’s outlandish appearance provoked various reactions amongst the Londoners of the time and obviously not all of them positive; from some people this brought admiration, respect (probably for his courage) and curiosity. However, the world generally was not ready for such a unique character as Quentin Crisp, and thus the more usual reaction from strangers was hostility, homophobia and violence. Quentin Crisp’s uniquely individualistic lifestyle, especially his effeminate and colourful self-expression insured that he had to live a life of poverty and isolation for a significant amount of time.

Crisp moved to the centre of London in 1930, and after living in various accommodations settled into a bed-sitting room in Denbigh Street. At the outbreak of World War Two Crisp felt obliged to try and join the British Army. However, his application was rejected by the Medical Board on the grounds that he was ‘Suffering from sexual perversion’. Crisp moved again this time into a ‘bed-sitting room’ in 1940, which was a first floor apartment at 129 Beaufort Street where he lived for the next 40 years. He apparently and famously claimed that he never attempted to do any housework claiming in his memoir ‘After the first four years the dirt doesn’t get any worse’. Also, Crisp variously described his flat as a ‘ward’ a ‘prison’ and even an ‘asylum’.

For six months of his life, before working as a model, Quentin worked as a ‘rent-boy’-in other words a male prostitute. Later upon reflection he stated he was ‘Looking for love, but found only degradation’. However, it was probably at this point in his life that he acquired a love for all things American as during the War he had dated some very ‘open-minded’ G.I’s.

It is at this point in his life that he began to frequent the cafés of Soho where he would meet with gay men, his favourite being ‘The Black Cat’ in Old Compton Street.

Quentin Crisp is also famous for having earned a living as a professional model in Art classes for thirty years of his life. Before working as a model amongst other things, he had worked as a book illustrator. Crisp’s life and experience as a model inspired his memoirs that he wrote in his book ‘The Naked Civil Servant’ in 1968. However, Crisp had originally wanted to call it ‘I reign Hell’, referencing the quote ‘Better to reign in Hell, than serve in Heaven’ from Milton’s Paradise Lost. Even after his agent had talked him into its eventual title Crisp had misgivings due to the coincidental publication of Desmond Morris’ book ‘The Naked Ape’.

‘The Naked Civil Servant’ was eventually made into a brilliant film for television, which was broadcast in Britain and the U.S. The success of the film turned Quentin Crisp and the actor who played him-John Hurt into Stars. In fact, John Hurt’s brilliant performance of Crisp earned the actor a BAFTA award. Hurt also apparently starred in a sequel thirty years later.

Crisp eventually moved to America New York-partly due to his already mentioned love of all things American. Whilst in the initial stages of his big move-the American Embassy asked him if he was a ‘practicing homosexual’, to which Crisp answered, ‘I didn’t practice. I was already perfect’. He later described his move to America as his proudest achievement.

Riding on the wave of the success of the film ‘The Naked Civil Servant’ and his newly acquired fame Crisp created a one-man show with which he toured the country. This was his ‘celebrated’ show ‘An Evening with Quentin Crisp’. This show consisted of two parts, the first being a monologue ‘loosely’ based on his memoirs-the second half being a question and answer session in which Crisp would choose some of the written questions of the audience at random and answer them in his unique and witty style. On the 20th December 1978, the show opened at the Players Theatre in New York City, going on to tour the U.K and North America.

As already mentioned Quentin Crisp was a flamboyant character whose unique style and very individual idiosyncratic views-on ‘social manners’ and ‘the cultivation of style’ eventually and inevitably attracted curiosity into his orbit. As such, he has been described as an individual who ‘defied convention’. His unique views were no doubt partly due to his unusual life.

What has been described as Quentin Crisp’s legacy includes a number of written works spanning a significant time of his life on various subjects, his two earliest works being manuals on design-one for typefaces used in advertising 1936, the other for colour in window displays 1938. He also wrote a second instalment to his autobiography entitled ‘How to become a Virgin’.

Sting in 1986 visited Crisp in his New York apartment-and listened with shock and fascination to Crisp recounting his unusual life and obvious experiences of homophobia in early 20th century Britain; this ultimately resulted in Sting dedicating his song ‘Englishman in New York’ in 1987 to Crisp.

Quentin Crisp sadly died on 21st November 1999, however, considering his extraordinary courage, his incredible and unique individuality, his flamboyant style, his sharp wit and his well-deserved status as an icon of British Queer history, I doubt if he will ever be forgotten.

By David Thomas

The story of Gladys Paterson falls into many chapters, most you will know better than me. I can only share here a flavour for the stories that Gladys cared to share with me. I only ever knew Gladys but she always generously acknowledged her past, in particular her beloved wife.

Gladys deeply empathised from age seven or so with a neighbour’s young girl (Gladys), inside she felt she ought to be a girl like her. Although not having the words back then for this, she was convinced she felt she had been assigned the wrong gender at birth. Early attempts to discuss this with her doctor as a teenager, (itself brave at that time); had been dismissed and Gladys explained; the doctor had said “join the army, that’ll make a man of you”. Looking back, Gladys was absolutely convinced, given the time, this had been the only real caring option the doctor probably had.

Conscripted into the army, she saw service in Africa, at one point; as bodyguard to the Hollywood film star Victor Mature whilst on film location there. From the little Gladys said of this time I took it she quite enjoyed the adventure if nothing else.

She met her wife at the Majestic Ballroom in Glasgow, they married in 1962. They had a very strong, loving marriage, and two children. For over forty years theirs was a devoted loving household. Gladys had three grandchildren of whom she had access to only one under personally difficult preconditions which she put up with to maintain a connection that she valued above all else.

Gladys was an antique dealer, auctioneer and valuer: as part of a winning team with her wife, they set up an antiques business and together, through dogged hard work; they made for a very driven, dynamic and successful career with lots of travel for Gladys all over the UK and near continent; sourcing quality antiques for export to the Americas (at its height they were shipping six Sealink style containers a week to the US). They were Lloyds Names, a high risk, rich rewards affair; effectively underwriting Lloyds Insurance losses. In a good year (with few losses) they shared rich rewards. The worst insurance disasters in living history wiped out all they had worked for and they had to start over, this time in lawn mower supply, servicing and repairs where again, they had the magic touch and knew how to get the best deals.

Gladys’ wife contracted Parkinson’s and was cared for throughout by Gladys nursing her through to the end in 2003. Gladys told me she had lost her soul mate.

Gladys now began the transition process which would fully realise Gladys as the woman she always was. The potentially life-threatening operations in her late 60s and just a few years after having heart bypass surgery didn’t faze her and as one might expect; she persuaded the doctors that it was the right thing to do.

Gladys has been quoted in the media as saying “Only I know what torment I went through for most of my life. If this opportunity (to transition) had been denied me I think I would have ended up in a psychiatric hospital and the cost of that would soon have exceeded the cost of my transition. To me, this procedure was every bit as vital as the heart surgery that saved my life.”

It was perhaps this deep understanding of struggle that made her such an LGBT community ally at the Glasgow LGBT Centre in Dixon Street. Often Gladys was the first welcoming face that greeted you in what could be a somewhat dingy, daunting reception area. Many have subsequently attested to the value they placed in Gladys making them feel less nervous and really welcome with a firm but friendly “come away in” and pointing folk on in the right direction. Safety was always uppermost in her mind back then.

Driven, focussed, successful people can often be strident, even brusque in reaching for some goal or other; Gladys was no different when she wanted the best for herself and “her girls”: as she was wont to refer to those who attended her support and social group at home in Buchlyvie.

Gladys swore by the Sandyford Transgender Group and directed folk along there as appropriate. She also promoted Lesbian & Gay Switchboard and its associated services, Crosslynx and Icebreakers. Gladys wanted to be a beacon for the support services that are available to the Trans community and her regular advocacy extended to the Glasgow City Council Community Safety Forum, the West of Scotland LGBT Forum and Crosslynx.

Gladys was especially proud of her role as a police advisor to the Tulliallan Police College at Tulliallan Castle, Alloa. She felt she impacted well on getting hate crime for the Transgender community be better recognised and understood within the police force and thus more likely reported by those suffering from it.

Gladys served on the board of the LGBT Centre at Bell Street and she maintained an ongoing connection with the Parkinsons Disease Society Scotland in Stirling.

Gladys was the least politically correct person I knew; a product of her age. Many a person was made blush by the straight from the shoulder Gladys and her blunt statements. She did work at it and over the time I knew her, she did make improvements to prevent fainting. We shared a mutual admiration of April Ashley which helped us initially bond and we both passionately believed; visibility is important for our community wellbeing and safety.

Gladys addressed the young LGBT attendees at LGBT History Month and by the end of her session I think she was happy that the kids had gotten all she could give. She wanted the young to get involved with the community to take it and its challenges through to the next generation.

Whilst she was content to speak of her journey with the media; sometimes she fretted about lacking control of the resulting articles. Already the subject of one BBC documentary some years ago, Gladys took steps to ensure a forthcoming documentary; out November 2015 and in the final stages of completion, gave her a higher degree of control of the finished product.

It was “her girls” to whom Gladys was dedicated and it was known that if someone was in need and phoned her, Gladys would talk and talk and if appropriate or necessary, jump into her car and drive through the night to Brighton just to be there for someone having the jitters about surgery the next day. To my knowledge, she never made a promise to the community or indeed anyone that she didn’t meet.

She felt passionately that we needed to get a new LGBT centre established as part of the Commonwealth Games legacy and she still had that hope alive, when she passed away. With the loss of her beloved LGBT Centre, Gladys had lost that stage from which young folk and those having it tough could see and hear her. They could witness that if Gladys could go through so much in pursuit of herself; then they may feel; hell yes “I can be me too”.

For young LGBT folk she exemplified the ethos; if it’s worth having, it’s worth working for. Gladys for me typified that view that life is all about the journey and the destination will make itself clear in time. Gladys kept on going.

She well knew she was a work in progress, I well remember the skip in her step when she hit upon a wig that suited the self-image she harboured. Electrolysis, though a necessary evil; she tolerated as best she could.

Gladys took the obstacles life put in her path as challenges to be resolved by calling on friends for help and as a team finding a way to overcome them. With a generosity of spirit, she was willing to help anyone do the same as part of their team. Gladys subsequently had her hip replaced at the Beardmore about four years ago where doctors begged her to forego high heels, at least during recovery!

Gladys was greatly encouraged by all of the legislative changes that improved things for the LGB & T Community eliminating many of the difficult hurdles she had had to endure on her path to being who she ought to have been all along. She was insistent the T remain part of the LGB for community strength it brought.

For me, I only ever knew Gladys as a distinctly positive force for the good of the LGBT community. She was keen to see young people supported in any way possible to ensure they benefitted from the progress made in terms of services available, the support of the police and in particular the access to appropriate medical support as appropriate as soon as was possible to benefit them.

She was a strong advocate of good sexual health and as a community, mutually supporting one another.

Gladys loved good tastefully feminine clothes and she was nicknamed ‘Glad Rags’ by those closest to her. ‘Fun was her game’, she enjoyed her holidays having just returned from another Cypriot break; a place she found accepting and warm towards her, she had a knack for making these trips self-financing by selling her mobility scooter there and buying a new one at auction upon her return. She was happy outgoing and for many, the very life and soul of her groups. Gladys has been characterised by many as always approachable always welcoming and a good kind soul.

I never tired of Gladys’s company especially her enthralling stories of the past. We had recently persuaded her to sit down with the folk from Our Story Scotland and their recorders to set her record down for posterity. Sadly it was the one date with us she didn’t make.

So too with Pride Glasgow this year; there will be no Gladys heading the march, her mobility scooter bedecked in rainbow pennants and her in her compulsory cowgirl hat in homage to Doris Day in Calamity Jane or sitting at the forum’s stall, taking in the spectacle whilst administering sweets, drink and condoms to wide eyed youngsters.

Gladys Paterson that force of nature who didn’t mind who knew it, part of our LGBT family, she stood for community good, being true to yourself, a trailblazer for those whom, perhaps, might be feeling; it’s too late to change.

Gladys had been cared for throughout this last short chapter by the staff at Ward A22 Acute Stroke of the Forth Valley Royal Hospital, Larbert. She was treated very well and with total respect for her dignity. Sadly her recovery was not to be and Gladys passed away on the 6th July 2015 at 05:00hrs after a short overwhelming illness.

A great many of us are proud and privileged to have known Gladys; we will find it hard coming to terms with her not being in our lives anymore.

Originally written by David Thomas in 2015.

by Siobhan Donegan

Having previously written a series of articles on the history of ‘Drag’, from the perspective of female impersonation, it has been my intention for some time to write about the less well known culture of Drag Kings. The specific term ‘Drag King’ in contradistinction to ‘Drag Queen’- is in reference to individuals who dress in the clothing that is stereotypically associated with masculinity and usually, but not always associated with the performance art of Drag. The attempt to temporarily pass as men-and individuals presenting themselves in a masculine gender role without necessarily identifying as men-is included in the usage of the term.

Drag Kings in the same manner as Drag Queens, are performing artists who attempt to parody masculinity in their presentation-performance. Methods employed by some Drag Kings can include binding breasts with binders, bandages or tight fitting sports bras, while some Drag Kings have also made an art of creating the illusion of facial hair, drawing it on with eyeliner and also applying dark eyeshadow for the unshaven look. Furthermore, Drag Kings-as part of their performance can often include ‘exaggerated macho-male characters’, or include impersonation of famous male stars such as Elvis Presley.

The popular usage of the term Drag King, which didn’t actually appear in print until 1972, emerged in the 1990’s simultaneously to the diversification of gender queer identities, in contradistinction and some would say ‘opposition’ to the heteronormative gender binary. Drag Kings have also taken on an activist role in ‘gay, lesbian and queer cultural spaces’ not just in the form of organizing Drag King contests, but also running ‘gender workshops’. It should be noted as such, that as a phenomenon Drag Kings have emerged-to a large extent-from lesbian culture. However, this does not mean that all Drag Kings are lesbians-or involved in lesbian subculture- from the perspective of politics etc.

Having partly defined the phenomenon of Drag Kings I think we should briefly look at its history. The history of women performing as male impersonators is entwined with the history of the Theatre and Opera-and this tradition was known as ‘breeches roles and ‘en travesti’’. In 1700 Susanna Centlivre who was an Actress and Playwright appeared in a breeches role. Also, it should be noted that like the history of Drag Queens-Drag Kings also have a connection with British Pantomime which had a tradition of women performing male roles. Lastly here, in the late 19^th and early 20^th centuries a number of Drag Kings became British Music Hall stars.

However, it should be noted that British Music Hall male impersonators, such as Vesta Tilley, the history of these performers dating back to the 1800’s, were obviously for the entertainment of straight audiences, something which has radically altered today.

In the U.S. Theatre the first male impersonator was Annie Hindle, who in 1867 achieved popularity with her routine in New York. In the late 19^th and early 20^th centuries the above mentioned Vesta Tilley British Music Hall performer had an act as a male impersonator. Ella Shields and Hetty King also emerged as male impersonators of the British Stage.

Returning now to the subject of Drag King culture in general; within the Drag King community, the practical utilitarian need to form ‘collectives’-performance troupes-ensembles, is based on the economic necessity of being able to book shows. As such, Drag King performing troupes are in sharp distinction to Drag Queen solo performers who have made individual names for themselves. However, as Drag Kings are finally getting more recognition this is slowly beginning to change. As such individual Drag Kings are getting bookings outside of the troupe stereotype.

It is in fact only recently that Drag Kings have become more visible in the LGBT community. This has been perceived as a Drag King ‘renaissance’ and described by ‘Sleek Magazine’ in an article on Drag King culture as a ‘revolution’.

In reference to the above mentioned diversification of gender queer identities, it should be mentioned in this context-that some individuals involved in this performance art-explain that Drag King culture is for them a starting point to transition to a ‘Transgendered identity’. As such it should come as no surprise that Drag Kings usually prefer the use of male pronouns whilst in their male persona. However, others see their Drag performance as a means to allow the outward expression of an inner part of themselves’ which is masculine. The truth is of course that Drag Kings can have diverse gender identities or forms of gender expression; such as women, transgender, genderqueer or ‘butch’.

Also there have been developments in Drag King culture in the recent past. One example being in 1999 Columbus, Ohio in which was founded the International Drag King Extravaganza-IDKE which is a premiere annual conference for Drag Kings, which has since evolved into a traveling event. ‘Lesburlesque’ is another example of an organisation emerging out of Drag King Culture in general. This is a British lesbian Cabaret organisation founded by Pixie Truffle. This group has made it their goal to promote further inclusion for Drag Kings on the British Cabaret circuit. Truffle also stated her desire-during an interview-to bring Drag Kings, Queens and stand-up comedians closer together.

As for the term ‘Drag King’ itself-although most Drag Kings still traditionally refer to their performance as ‘Kinging’, other terms have more recently been adopted, such as ‘gender blurring’. However, this term also refers to a mixture of and deviation of not just gender expression but also a deviation in performance style. Furthermore the gender ambiguous term ‘Drag Thing’ has been used by Vancouver performer Rose Butch.

Just as Drag Queens parody femininity and obviously Drag Kings parody masculinity-as a comment on this one online writer described it-this ‘expose the construction and fluidity of gender’. However, critics have made the observation, generally speaking, that there are ‘disparate implications’ with often gay men performing as Drag Queens and gay women performing as Drag Kings as we still live, for the most part, in a patriarchal culture.

Finally, I didn’t really want to end on such an ambiguous note, so I just wanted to mention some famous modern Drag King performers; we have the wonderfully named Elvis Herselvis, Mildred ‘Dred’ Gerestant and Murray Hill.

by Siobhan Donegan

It has been my intention for some time to write an article on Gay Art which in a broader context has also been referred to as Queer Art. Very early examples of Gay homoerotic art, including poetry, can be found within the Greek culture of the ancient world. This culture not only considered male sexual attraction normal but even sanctioned same sex relationships. For anyone interested in this amazingly open minded culture, specifically on this subject, I can highly recommend reading Plato’s classic text ‘The Symposium’. Many homosexual images were often painted onto black background vases, many of which survive to this day as a testimony to this genre.

As hinted at above, there is also a broader definition to what I am referring to as exclusively as ‘Gay Art’ which is ‘Queer Art’ which can be categorized as LGBT and Art or even ‘Queer aesthetics’. Queer art is also an umbrella term which can refer to the art practices of LGBT individuals on an international scale. However, the term Queer being reclaimed in a positive context emerged from outside specifically artistic circles, and in fact was part of the historical developments of gender and identity politics of the USA.

Queer art as such can draw on the modern visual art practices of gay, lesbian, bi-sexual and transgender individuals. Contempory Queer art however, cannot be defined-categorized in one medium or ‘style’ as it can be expressed in multi-media outlets such as performance art, video art, mixed media and of course the more traditional drawing painting and sculpture.

Queer art has in fact manifested through multiple art ‘historical trajectories’ and Queer art can also be categorized generally in terms of ‘art and identity’. Within Gay-Queer art there has what could be termed as  dialectic between two opposing factors; the necessity for concealment-within the context of coded references, this is Gay invisibility, and the desire for visibility, this is the movement towards the creation of representations of identity and experiences-because ‘none exist’.

It is interesting to note that an artist doesn’t even have to be homosexual themselves in order to produce ‘Queer Art’. A good example of this is Henri de Toulouse Lautrec’s portrait of Oscar Wilde. Obviously Mr Wilde, who unfortunately was sent to prison in 1895 for two years, was a ‘Queer’ artist himself. Lautrec was able to produce a portrait of Wilde, as from the perspective of his disability and height he was able to sympathize with Wilde as he too was an ‘outsider’. According to Art Historian Richard Meyer this can be explained as, “Shifting constructions of desire and deviance have shaped Modern Art in ways that extend beyond sexual biography”.

Gay and sexual acts in England and Wales before 1861 were dangerous for those involved as they could lead to a conviction. As such references to homosexuality in art had to be hidden presumably in symbolism. Laura Cumming British Art critic, by successfully decoding such symbolism was able to explain it in art with classical themes, “Artists could paint Sapho embracing Erinna and David strumming Jonathan’s harp and speak surreptitiously to particular viewers”.

During the inter-war period there was a change in culture or cultural attitudes, including more acceptance of the gay community in artistic urban centres. Homosexuality was no longer perceived as wrong amongst literary groups in Paris and Berlin. The 1920’s saw ‘Speakeasies’ emerge in Harlem and Greenwich Village welcomed gay clients. There were similar developments in European Cafes and bars and also in Latin America, thus there was a step towards the integration of Gay men into mainstream culture.

From the 1950’s and 60’s a form of popular art emerged on the covers of Lesbian Pulp novels. Such novels which often had ‘lucid’ colourful’ images-involving ‘visual innuendo’-‘knowing glances’ and a fair amount of skin on display, was considered at the time a type of code. This was during an era before the feminist and gay liberation movements and was thus the only way for women to enjoy books on lesbianism. The covers of such books with this sort of artwork have now understandably become sought after collectors’ items.

It was in the aftermath of the Stonewall riots of 1969 that Gay and LGBT artists felt the confidence to create art about, for example, sexual identity. From a more objective perspective Art historians took on the task of recording-documenting-recuperating Queer LGBT Art that had previously been censored and basically written out of the history books; this intellectual movement has been referred to as the ‘politicization of sexuality’.

Having talked at some length about the subject of gay art I think it is important to mention some gay artists. A good example of Queer/Gay art is Jasper John’s ‘Monochrome encaustic’ White Flag of 1955. If one looks carefully at this painting one can see that John has ‘white washed’ the American Star Spangled Banner. This was John’s symbolic way of stating not just ‘homo-invisibility’ but also the fact that his voice would not be heard.

I thought this would be a suitable juncture whilst on the subject of ‘flags’ to mention the Rainbow Flag. The original rainbow Flag had eight colours, was hand dyed and was created by Gilbert Baker and his boyfriend Jomar Teng. Baker is optimistic and encourages the LGBT community to continue to develop the flag and in fact stated, “In my view the rainbow flag is unfinished”. Originally the different colours symbolized various concepts, such as healing, sunlight and nature. The Rainbow Flag now, having gone through many changes- being one of many versions- now has six colours, which basically symbolizes diversity and inclusiveness.

Another image that has been used at Pride festivals is the ‘Pink Triangle’. This is a symbol that has been reclaimed, but not by everyone, by the Gay community from the Nazi holocaust. During this era within the concentration camps homosexual prisoners were forced to wear the symbol of the pink triangle as a means of identifying them as gay. This symbol, as used by the Nazi’s was an inverted triangle however the symbol as used by the gay community is seen pointing upwards probably to give it a more positive aspect.

Probably one of the most famous gay artists that I have in fact previously written an article about is of course the iconic 1960’s Pop Artist Andy Warhol. He famously appropriated mainstream images such as photos of Elizabeth Taylor and Marilyn Monroe and gave them a ‘Queer twist’ by transforming them into Drag Queens.

The tradition of transforming mainstream heteronormative images into one with a queer aesthetic has been continued by contemporary artists like Alexander Glass a sculptor based in London; one example being his use of Locker rooms to explore gay male desire.