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                  <text>This collection holds videos that do not fall under specific collections in the digital archive, and are more apart of a LHA video library than part of a larger collection. These include performance, documentaries, and interviews.</text>
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                <text>It Can Be Done: Chicago Women's Graphic Collective</text>
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                <text>A video about the relationships and bonds among members of the Women's Graphics Collective. The Collective produced posters addressing the struggles of the women's movement and other political movements, including the United Farm Workers organized a boycott on non-union lettuce and grape farmers.</text>
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            <description>The topic of the resource</description>
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                <text>Women's Graphics Collective, Women's Movement, Feminism</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Shirlee Blumenthal and Barbara Bejna, directors</text>
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                <text>School of Education, University of Wisconsin - Milwaukee, producer</text>
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                <text>c. 1973 (date created)</text>
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                <text>11/2023 (date digitized)</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>All rights reserved to the Chicago Women's Graphic Collective.&lt;br /&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;</text>
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                <text>It_Can_Be_Done</text>
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                <text>Baked Tape</text>
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            <description>A language of the resource</description>
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            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
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                <text>1/2 inch videotape</text>
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        <name>Identity</name>
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                  <text>This assortment of digitized tapes from the DOB Video Project includes interviews, musical and comedy performances, and reminiscences from a memorial service. The audio collection also includes a set of recordings of feminist activist Ti Grace Atkinson, which are collected under "DOB Atkinson Tapes."</text>
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                <text>Shirley Willer, Tape 2 of 4, Side A, July 11, 1987</text>
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            <description>The topic of the resource</description>
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                <text>Autobiography, Homosexuality, Coming Out, Women, Men, Discrimination, Women's Political Organizations, Queer Activism</text>
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            <description>An account of the resource</description>
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                <text>This is a recording of Shirley Willer talking about her life. She talks about her experience with men, her experience as being labeled a lesbian, coming out to family and friends, how she discovered the existence of homosexual organizations through ONE Magazine, discrimination, the DOB, her initial expectations when first joining the organization, becoming chapter president, duties and achievements as president, conflicts surrounding the DOB, her decision to step down as chapter president, and the dissolution of DOB.&#13;
Marion Glass is recorded as well. She talks about her relationship with women, joining the Mattachine Society, and about DOB’s activist approach. &#13;
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Shirley Willer, Marion Glass</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Lesbian Herstory Archive</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>&lt;a href="/omeka/rights-statement" target="_blank" rel="noopener"&gt; See the LHA Copyright Statement &lt;/a&gt;&#13;
&lt;p&gt;Licensed under CC BY-NC-ND&lt;/p&gt;</text>
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            <description>A language of the resource</description>
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            <description>The nature or genre of the resource</description>
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            <description>A person or organization owning or managing rights over the resource.</description>
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                <text>Lesbian Herstory Archive</text>
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            <description>The size or duration of the resource.</description>
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            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
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                <text>Audio cassette</text>
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        <name>Activism</name>
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        <name>Discrimination</name>
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        <name>Heterosexuality</name>
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        <name>Publications</name>
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        <name>Shirley Willer</name>
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                  <text>Sidney Abbott video recordings, 1995</text>
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                  <text>&lt;span&gt;&lt;span style="font-weight: 400;"&gt;Sidney Abbott was a lesbian, feminist author and activist. She was a member of the Gay Liberation Front (GLF) and the National Organization for Women (NOW), and was a former member–as many of the GLF and NOW membership were–of the lesbian radical feminist group Lavender Menace. Abbott co-authored the groundbreaking &lt;em&gt;Sappho Was A Right-On Woman: A Liberated View of Lesbianism&lt;/em&gt; (1971) with her partner, Barbara Love. In 2007, she created the non-profit organization Women’s Rights Are Human Rights and in 2008 launched the &lt;em&gt;In Our Shoes&lt;/em&gt; newsletter which examined issues of class, poverty, and politics. Abbott tragically passed away in a house fire in Southold, New York on April 15, 2015.&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Audio recordings of Abbott can be found in the &lt;a href="http://herstories.prattinfoschool.nyc/omeka/exhibits/show/lesbian-nation/lesbian-nation-interviewees" target="_blank" rel="noopener"&gt;Lesbian Nation digital exhibition.&amp;nbsp;&lt;/a&gt;</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Sidney Abbott at Lesbian Herstory Archives "The Good Old/Bad Old Days: Lesbian-Feminism, Its Origins—What's Helpful to Us Now?" Part 1 of 2</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Lesbian feminism, LGBTQ rights organizations, Lesbian separatism</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Sidney Abbott reflects on earlier years of the gay and lesbian movements; audience participation turns the presentation into a discussion on turning tides in the movements. </text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Sidney Abbott</text>
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                <text>May 19, 1995</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Lesbian Herstory Archives&lt;br /&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;</text>
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                <text>Lesbian Herstory Archives</text>
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            <description>The size or duration of the resource.</description>
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                <text>Contact LHA at dyv.lha@gmail.com </text>
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                  <text>Part-ethnography and part-history, &lt;em&gt;Boots of Leather, Slippers of Gold&lt;/em&gt; by Madeline Davis and Elizabeth Kennedy is an intimate history of a lesbian community in Buffalo, New York. It combines the ethnographic method of a rigorous study of a single community’s culture and identity, along with the historian’s urge to analyze the specific forces that shape these communities over time. In terms of primary sources, this historical analysis relied on the Buffalo Women’s Oral History Project. This extensive oral history project began in 1978 and extended through the next 13 years. Interview subjects were working-class lesbian women from Buffalo, New York who described their experiences during the period from the mid-1930s to the early 1960s. &lt;br /&gt;&lt;br /&gt;These recordings of interviews with working-class lesbians are rich with wisdom, insight and emotion. Interviews discuss a wide range of topics including butch/femme roles, gendered sexuality, relationships, family dynamics, the bar scene, religion, realization of homosexuality, coming out, lesbian mothers, oppression, police brutality, race, gay rights movements, women in the military, youth, and identity. They offer dynamic first-person perspectives of the place and time before the emergence of the gay and lesbian liberation movements. From these stories surface the personal struggles and triumphs of the lesbian community during an intensely oppressive time.&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight: 400;"&gt;For recordings related to the publication of Boots of Leather, Slippers of Gold, see &lt;a href="http://herstories.prattinfoschool.nyc/omeka/collections/show/54"&gt;Boots of Leather, Slippers of Gold: Related Audio Recordings, 1977-1990&lt;/a&gt;.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;The recordings were donated to the archives by Madeline Davis and Elizabeth Kennedy and were subsequently digitized by students from the Pratt Institute, Projects in Digital Archives class, LIS-665.</text>
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                <text>Not to be used for publication without the express written consent of Liza Cowan. Contact the Lesbian Herstory Archive for Liza Cowan’s contact information.&lt;br /&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;</text>
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                  <text>Part-ethnography and part-history, &lt;em&gt;Boots of Leather, Slippers of Gold&lt;/em&gt; by Madeline Davis and Elizabeth Kennedy is an intimate history of a lesbian community in Buffalo, New York. It combines the ethnographic method of a rigorous study of a single community’s culture and identity, along with the historian’s urge to analyze the specific forces that shape these communities over time. In terms of primary sources, this historical analysis relied on the Buffalo Women’s Oral History Project. This extensive oral history project began in 1978 and extended through the next 13 years. Interview subjects were working-class lesbian women from Buffalo, New York who described their experiences during the period from the mid-1930s to the early 1960s. &lt;br /&gt;&lt;br /&gt;These recordings of interviews with working-class lesbians are rich with wisdom, insight and emotion. Interviews discuss a wide range of topics including butch/femme roles, gendered sexuality, relationships, family dynamics, the bar scene, religion, realization of homosexuality, coming out, lesbian mothers, oppression, police brutality, race, gay rights movements, women in the military, youth, and identity. They offer dynamic first-person perspectives of the place and time before the emergence of the gay and lesbian liberation movements. From these stories surface the personal struggles and triumphs of the lesbian community during an intensely oppressive time.&lt;br /&gt;&lt;br /&gt;&lt;span style="font-weight: 400;"&gt;For recordings related to the publication of Boots of Leather, Slippers of Gold, see &lt;a href="http://herstories.prattinfoschool.nyc/omeka/collections/show/54"&gt;Boots of Leather, Slippers of Gold: Related Audio Recordings, 1977-1990&lt;/a&gt;.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;The recordings were donated to the archives by Madeline Davis and Elizabeth Kennedy and were subsequently digitized by students from the Pratt Institute, Projects in Digital Archives class, LIS-665.</text>
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                <text>&lt;a href="/omeka/rights-statement" target="_blank"&gt; See the LHA Copyright Statement &lt;/a&gt;</text>
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&#13;
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&#13;
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&#13;
Mabel was also a vital, enduring element in the gay rights movement-she participated in every gay pride march that occurred during her lifespan, including the first, historic march and demonstration for gay rights in Washington, D.C., which took place in 1979. In 1985, Mabel was named the grand marshal of the New York City Gay Pride March. That same year, Mabel was awarded a lifetime achievement award by the National Coalition of Black Lesbians and Gays.&#13;
&#13;
After the Lesbian Herstory Archives were founded, Mabel carried the LHA banner in many marches. She also worked tirelessly for SAGE, an organization devoted to promoting advocacy and developing services for elderly members of the gay, lesbian, bisexual, and transgender communities. Interviews with Mabel are featured in "Before Stonewall" and "Silent Pioneers"; both movies document the struggle for gay rights and the efforts made to obtain equality.&#13;
&#13;
Joan Nestle started recording Mabel's oral histories in the late seventies, realizing the importance of documenting Mabel's life story as an example of racial and sexual freedom. In these histories--many of which are featured on this website--Mabel discusses her relationships with women, her struggles with racism, and her identity as an African-American lesbian in the twentieth century. Mabel died of pneumonia in 1989 at the age of eighty-seven. Her life as an advocate, activist, performer, and storyteller lives on in the images and oral histories collected by the Lesbian Herstory Archives. Many of the resources below, as well as additional subject files, biographical information, images, and media about Mabel, lesbian history, and gay pride are available by visiting the LHA in person.&#13;
&#13;
Resources&#13;
&#13;
City University of New York. (2003). Queer ideas: The David R. Kessler lectures in lesbian and gay studies. New York: Feminist Press at the City University of New York.&#13;
&#13;
DuPlessis, R. B., &amp; Snitow, A. B. (1998). The feminist memoir project: Voices from women's liberation. New York: Three Rivers Press.&#13;
&#13;
Hampton, M. (1979) "I didn't go back there anymore: Mabel Hampton talks about the south." In Feminary 10, 7-16.&#13;
&#13;
Hogan, S., &amp; Hudson, L. (1998). Completely queer: The Gay and Lesbian encyclopedia. New York: Henry Holt.&#13;
&#13;
Lesbian Herstory Archives. Mabel Hampton special collection, including transcripts of oral history. Lesbian Herstory Archives, Brooklyn, NY.&#13;
&#13;
Nestle, J. (1993). Excerpts from the Oral History of Mabel Hampton. Signs, 18, 4, 925-935.&#13;
&#13;
Nestle, J. (1998). "I Lift My Eyes to the Hill: the Life of Mabel Hampton as told by a White Woman." In A fragile union: New &amp; selected writings. San Francisco: Cleis Press.&#13;
&#13;
Nestle, J. (1991). "Surviving and More: Interview with Mabel Hampton". In Sinister Wisdom 43/44, Summer. Berkeley, CA.</text>
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&#13;
As a young woman, Mabel gravitated toward the lively scene in Harlem. In 1920, when she was seventeen, Mabel was wrongfully arrested during a prostitution sting and sentenced to time in Bedford Hills Correctional Facility for Women. Upon her release, she danced at clubs like "The Garden of Joy", sang as a member of the Lafayette Theater Chorus, and performed with Harlem Renaissance stars such as Gladys Bentley. Mabel engaged in several relationships with women and lived openly as a lesbian.&#13;
&#13;
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&#13;
Mabel was also a vital, enduring element in the gay rights movement-she participated in every gay pride march that occurred during her lifespan, including the first, historic march and demonstration for gay rights in Washington, D.C., which took place in 1979. In 1985, Mabel was named the grand marshal of the New York City Gay Pride March. That same year, Mabel was awarded a lifetime achievement award by the National Coalition of Black Lesbians and Gays.&#13;
&#13;
After the Lesbian Herstory Archives were founded, Mabel carried the LHA banner in many marches. She also worked tirelessly for SAGE, an organization devoted to promoting advocacy and developing services for elderly members of the gay, lesbian, bisexual, and transgender communities. Interviews with Mabel are featured in "Before Stonewall" and "Silent Pioneers"; both movies document the struggle for gay rights and the efforts made to obtain equality.&#13;
&#13;
Joan Nestle started recording Mabel's oral histories in the late seventies, realizing the importance of documenting Mabel's life story as an example of racial and sexual freedom. In these histories--many of which are featured on this website--Mabel discusses her relationships with women, her struggles with racism, and her identity as an African-American lesbian in the twentieth century. Mabel died of pneumonia in 1989 at the age of eighty-seven. Her life as an advocate, activist, performer, and storyteller lives on in the images and oral histories collected by the Lesbian Herstory Archives. Many of the resources below, as well as additional subject files, biographical information, images, and media about Mabel, lesbian history, and gay pride are available by visiting the LHA in person.&#13;
&#13;
Resources&#13;
&#13;
City University of New York. (2003). Queer ideas: The David R. Kessler lectures in lesbian and gay studies. New York: Feminist Press at the City University of New York.&#13;
&#13;
DuPlessis, R. B., &amp; Snitow, A. B. (1998). The feminist memoir project: Voices from women's liberation. New York: Three Rivers Press.&#13;
&#13;
Hampton, M. (1979) "I didn't go back there anymore: Mabel Hampton talks about the south." In Feminary 10, 7-16.&#13;
&#13;
Hogan, S., &amp; Hudson, L. (1998). Completely queer: The Gay and Lesbian encyclopedia. New York: Henry Holt.&#13;
&#13;
Lesbian Herstory Archives. Mabel Hampton special collection, including transcripts of oral history. Lesbian Herstory Archives, Brooklyn, NY.&#13;
&#13;
Nestle, J. (1993). Excerpts from the Oral History of Mabel Hampton. Signs, 18, 4, 925-935.&#13;
&#13;
Nestle, J. (1998). "I Lift My Eyes to the Hill: the Life of Mabel Hampton as told by a White Woman." In A fragile union: New &amp; selected writings. San Francisco: Cleis Press.&#13;
&#13;
Nestle, J. (1991). "Surviving and More: Interview with Mabel Hampton". In Sinister Wisdom 43/44, Summer. Berkeley, CA.</text>
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                  <text>Mabel Hampton (1902-1989) was an African-American lesbian, an activist, a domestic worker, and a dancer. Born in Winston-Salem, North Carolina, she lost her mother when she was only two years old. For the next five years, Mabel was raised by her maternal grandmother, but she too passed away. In 1909, she moved to Greenwich Village in New York City at age seven. Less than a year after moving in with her aunt, Mabel was raped by her uncle, a minister. She ran away to New Jersey, buying a bus ticket purchased with a nickel given to her by a woman on the street. Luckily, Mabel was taken in by a family that cared for her for the next several years.&#13;
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As a young woman, Mabel gravitated toward the lively scene in Harlem. In 1920, when she was seventeen, Mabel was wrongfully arrested during a prostitution sting and sentenced to time in Bedford Hills Correctional Facility for Women. Upon her release, she danced at clubs like "The Garden of Joy", sang as a member of the Lafayette Theater Chorus, and performed with Harlem Renaissance stars such as Gladys Bentley. Mabel engaged in several relationships with women and lived openly as a lesbian.&#13;
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In 1932, Mabel met Lillian Foster, who would be her partner until Lillian's death in 1978. With the Harlem Renaissance waning, Mabel sought out employment in other areas, primarily working as a domestic worker and hospital attendant. As a domestic, she worked for the family of Joan Nestle. Mabel and Joan developed a friendship that lasted for decades. When Joan started the Lesbian Herstory Archives in 1974, Mabel joined her as a founding member. Mabel donated her huge collection of lesbian pulp fiction novels and worked tirelessly with Joan and other volunteers to amass lesbian-related materials--literature, biographical information, academic publications, and ephemera--as a resource for the lesbian and gay community.&#13;
&#13;
Mabel was also a vital, enduring element in the gay rights movement-she participated in every gay pride march that occurred during her lifespan, including the first, historic march and demonstration for gay rights in Washington, D.C., which took place in 1979. In 1985, Mabel was named the grand marshal of the New York City Gay Pride March. That same year, Mabel was awarded a lifetime achievement award by the National Coalition of Black Lesbians and Gays.&#13;
&#13;
After the Lesbian Herstory Archives were founded, Mabel carried the LHA banner in many marches. She also worked tirelessly for SAGE, an organization devoted to promoting advocacy and developing services for elderly members of the gay, lesbian, bisexual, and transgender communities. Interviews with Mabel are featured in "Before Stonewall" and "Silent Pioneers"; both movies document the struggle for gay rights and the efforts made to obtain equality.&#13;
&#13;
Joan Nestle started recording Mabel's oral histories in the late seventies, realizing the importance of documenting Mabel's life story as an example of racial and sexual freedom. In these histories--many of which are featured on this website--Mabel discusses her relationships with women, her struggles with racism, and her identity as an African-American lesbian in the twentieth century. Mabel died of pneumonia in 1989 at the age of eighty-seven. Her life as an advocate, activist, performer, and storyteller lives on in the images and oral histories collected by the Lesbian Herstory Archives. Many of the resources below, as well as additional subject files, biographical information, images, and media about Mabel, lesbian history, and gay pride are available by visiting the LHA in person.&#13;
&#13;
Resources&#13;
&#13;
City University of New York. (2003). Queer ideas: The David R. Kessler lectures in lesbian and gay studies. New York: Feminist Press at the City University of New York.&#13;
&#13;
DuPlessis, R. B., &amp; Snitow, A. B. (1998). The feminist memoir project: Voices from women's liberation. New York: Three Rivers Press.&#13;
&#13;
Hampton, M. (1979) "I didn't go back there anymore: Mabel Hampton talks about the south." In Feminary 10, 7-16.&#13;
&#13;
Hogan, S., &amp; Hudson, L. (1998). Completely queer: The Gay and Lesbian encyclopedia. New York: Henry Holt.&#13;
&#13;
Lesbian Herstory Archives. Mabel Hampton special collection, including transcripts of oral history. Lesbian Herstory Archives, Brooklyn, NY.&#13;
&#13;
Nestle, J. (1993). Excerpts from the Oral History of Mabel Hampton. Signs, 18, 4, 925-935.&#13;
&#13;
Nestle, J. (1998). "I Lift My Eyes to the Hill: the Life of Mabel Hampton as told by a White Woman." In A fragile union: New &amp; selected writings. San Francisco: Cleis Press.&#13;
&#13;
Nestle, J. (1991). "Surviving and More: Interview with Mabel Hampton". In Sinister Wisdom 43/44, Summer. Berkeley, CA.</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Contact LHA at &lt;/span&gt;&lt;a href="mailto:dyv.lha@gmail.com"&gt;&lt;span style="font-weight: 400;"&gt;dyv.lha@gmail.com&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
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                <text>Lesbian Herstory Archives, Contact Designation: Maxine Wolfe, Contact Address: 484 14th Street, Brooklyn, NY 11215, Phone Number: 718-768-3953</text>
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&#13;
The cassettes in this collection were deposited at the LHA by various donors. They document various public events including the 1979 National March on Washington for Gay and Lesbian Rights, a 1982 poetry reading, and writing conferences in the late 1970s and early 1980s.&#13;
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                <text>March on Washington on October 14, 1979, which dealt with the civil rights of the gay and lesbian community. Participants included Audre Lorde (who can be heard on side A about 80% through), Allen Ginsberg, Peter Orlovsky, Ted Weiss, Gotham, Tom Robinson, Howard Wallace, Kate Millet, and Flo Kennedy. Key topics included civil and human rights, the labor movement, racism, sexism, and love.  Short technical glitches occur on Side A.</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Contact LHA at &lt;/span&gt;&lt;a href="mailto:dyv.lha@gmail.com"&gt;&lt;span style="font-weight: 400;"&gt;dyv.lha@gmail.com&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;&lt;em&gt;Boots of Leather, Slippers of Gold&lt;/em&gt; by Madeline Davis and Elizabeth Kennedy is an intimate history of a lesbian community in Buffalo, New York. Ranging from the mid-1930s through the early 1960s, this ethnography of lesbian society is narrated with the backdrop of a mid-sized American city. Davis and Kennedy’s book is the result of 13 years of research, including an extensive oral history project.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;These recordings range from conference proceedings to panel discussions to phone messages from book publishers. In each case, these related materials form an important element of the research, enriching and contextualizing the interviews conducted as part of the Buffalo Women’s Oral History Project. They discuss topics such as the publishing process and initial responses to the draft manuscript, the work of lesbian archives in researching and documenting the emergence of lesbian communities and lesbian consciousness across America, and how the research conducted into a small lesbian community in Buffalo, NY fits into a wider social narrative of establishing gay and lesbian identity and the development of gay and lesbian liberation movements.&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;For oral history recordings made as part of the research for the book, see &lt;a href="http://herstories.prattinfoschool.nyc/omeka/collections/show/22"&gt;Buffalo Women's Oral History Project, 1978-1990&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
These recordings were donated to the archives by Madeline Davis and Elizabeth Kennedy, and were subsequently digitized by students from the Pratt Institute, Projects in Digital Archives class, LIS-665.</text>
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&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Individual interviewees discuss their childhoods, sexual awakenings, personal relationships as well as their first encounters with the DOB and their perspectives on the organization.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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                <text>Footage of an event held in 1986. Both Deborah Edel and Judith Schwarz are featured sitting at a table for the Lesbian Herstory Archives and are handing out information about lesbian herstory in general and the archives more specifically. Joan Nestle and Mabel Hampton are also featured.</text>
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This collection includes videos created as part of the Daughters of Bilitis Video Project collection. The Daughters of Bilitis (DOB) was a social and activist group founded in 1955. The video project began in 1987 with the purpose of conducting interviews with the DOB founders and former members documenting their critical role in the gay and lesbian liberation and Civil Rights movement. The interviews focus on the formation and impact of the many DOB chapters around the country. Some of the issues discussed are whether the DOB was primarily a social or activist group, attitudes regarding assimilation, and the "theft" of the DOB publication &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Ladder&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Individual interviewees discuss their childhoods, sexual awakenings, personal relationships as well as their first encounters with the DOB and their perspectives on the organization.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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                <text>Lois Beeby discusses her early experiences and confusion as to recognizing she was a lesbian. She speaks about her role as a member and officer in the Daughters of Bilitis, and the eventual unrest and split in the group, leading to her leaving DOB. She speaks of unrest between gay men and lesbians and the desire for the two to join together as a united front.</text>
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This collection includes videos created as part of the Daughters of Bilitis Video Project collection. The Daughters of Bilitis (DOB) was a social and activist group founded in 1955. The video project began in 1987 with the purpose of conducting interviews with the DOB founders and former members documenting their critical role in the gay and lesbian liberation and Civil Rights movement. The interviews focus on the formation and impact of the many DOB chapters around the country. Some of the issues discussed are whether the DOB was primarily a social or activist group, attitudes regarding assimilation, and the "theft" of the DOB publication &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Ladder&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Individual interviewees discuss their childhoods, sexual awakenings, personal relationships as well as their first encounters with the DOB and their perspectives on the organization.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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                <text>Arcus Flynn discusses her early life and her struggle with isolation and depression, her eventual discovery of the Daughters of Bilitis meetings and the community and friendships she found there. Arcus talks about the early importance of roles assumed by lesbians in the community (butch/femme), her involvement with the Women’s Rights movement, her evolution from Catholicism to born-again pagan spirituality (the Irish triad: truth, knowledge, and nature), and her discovery of herbology and natural healing.</text>
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                  <text>Barbara Grier was born on November 4, 1933 in Cincinnati, OH.  Her affiliation with the Daughters of Bilitis began in 1957, when she started to subscribe to The Ladder.  Shortly thereafter she began writing book reviews for the publication, then served as poetry and fiction editor from 1966-1968, when she became the editor-in-chief.  In this role, Grier included news stories, essays, prose and poetry that focused on the burgeoning women’s movement.  When the DOB folded in 1970, she and DOB President Rita Lapore continued to publish The Ladder until this ceased in 1972, for financial reasons.&#13;
&#13;
Grier met Donna McBride, the reference librarian at the Kansas City, MO public library and Grier's eventual partner, in 1971.  McBride first knew Grier as a library patron who made frequent and numerous recommendations of books of lesbian interest that she wanted the library to buy.  In January 1973, Grier and McBride, started Naiad Press,  the “world’s largest [and foremost and longest-lived] publisher of lesbian books” -- by lesbians, about lesbians and for lesbians.  It included romance novels, histories, erotica, volumes of poetry, science fiction and self-help guides, as well as mysteries, non-fiction and classics.  Prior to Naiad, “lesbian literature was primarily written by men whose protagonists generally ended up in one of two ways: they married a man or killed themselves.”  Grier and McBride kept their day jobs until 1982, when Naiad became their full-time work.  In 1995 Grier donated her “Lesbiana" collection to the James C. Hormel Gay and Lesbian Center of the San Francisco Public Library.”  Bella Books took over when Grier closed Naiad Press in 2005.  &#13;
&#13;
Grier died of cancer on November 10, 2011 in Tallahassee, FL.&#13;
&#13;
&#13;
Barbara Grier (n.d.) In Wikipedia. Retrieved from http://en.wikipedia.org/wiki/Barbara_Grier. &#13;
&#13;
Barbara Grier Obituary (2011, November 13). Tallahassee Democrat. Retrieved from http://www.legacy.com. &#13;
&#13;
Brownsworth, V. (2011, November 11). In Remembrance: Barbara Grier. Lambda Literary. Retrieved from http://www.lambdaliterary.org. &#13;
&#13;
Gallo, M.M. (2006). Different Daughters—A History of the Daughters of Bilitis and the Rise of the Lesbian Movement. New York: Carroll &amp; Graf Publishers An Imprint of Avalon Publishing Group, Inc.&#13;
&#13;
Grier, B. (1987, November 27). [DOB transcript of tape]. DOB Oral History Project, Daughters of Bilitis. Herstory Archives, Brooklyn, New York.&#13;
&#13;
Grier, Barbara (1933-2011). (n.d.). In glbtq’s online encyclopedia. Retrieved from http://www.glbtq.com/literature/grier_b.html. &#13;
&#13;
Kallmaker, K. (2011). Barbara Grier, Reflections (blog). Retrieved from http://blog.kallmaker.com/2011/11/barbara-grier-reflections.html. &#13;
&#13;
San Francisco Public Library. Barbara Grier. Retrieved from http://sfpl.org/index.php?pg=2000134701. &#13;
&#13;
Vitello, P. (2011, November 13). Barbara Grier, Publisher of Lesbian Books, Dies at 78. The New York Times. Retrieved from http://www.nytimes.com. &#13;
&#13;
Woo, E. (2011, November 13). Barbara Grier dies at 78; co-founder of lesbian publishing house. Los Angeles Times. Retrieved from http://articles.latimes.com.</text>
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&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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                <text>Rose Jordan Transcription: May 23rd. 1993&#13;
&#13;
00:00:22 - Title card reads, “LHA, DOB Video Project, Tape # M- 66, Rose Jordan, New York City, May 23, 1993”&#13;
&#13;
00:00:30 - Second title card reads “LHA/DOB Video Project – Morgan Gwenwald, Manuela Soares, Sara Yager”&#13;
&#13;
00:00:33 - Audio begins with RJ speaking, video starts on RJ&#13;
&#13;
00:00:33 - 00:01:01- Pre-interview chatting out of context&#13;
&#13;
00:01:03 - (Interview Begins) RJ: Uh, alright, ask me a question. &#13;
&#13;
00:01:07 - Interviewer: So how did you, how did you, um, come to DOB? How did you discover it?&#13;
&#13;
00:01:11 - RJ: I think it was purely by accident. Uh, around 1968 my lover and I went to Chicago because I quit a job that I couldn’t stand anymore. I was being harassed and-and I just couldn’t take it. So I decided, and we discussed it, and I said, we’re, we’re leaving town. So we packed up in a van and we went to Chicago because I knew someone in, uh, Carbondale and she had said to me, “Oh you come to Carbondale, you’ll be able to get a job!” and none of it was true. Ok (laughs) so we got a little screwed about that. &#13;
&#13;
00:01:40 -  RJ (cont.): Anyway, um, we were there about 9 months, or 10 months, so we came back around ‘69…I don’t remember the month, but I know it was the time when…I read in the paper about the Stonewall riots. And I said, “My god look what they’re doing!” I mean I was horrified. “How could they do this?” And then I remembered that the Stonewall bar--I had been in that place in the–’63 or ‘6–I forget the date. And when someone described the place and I passed by, I said. “Oh I was in there, I remember that place. It was very large, had a big bar...” whatever. &#13;
&#13;
00:02:18 - RJ (cont.): So then I heard that there was a group forming, but I had never belonged to a group before in my life. I was very shy, I-I couldn’t even talk. It was really very interesting. And I joined this GLF, Gay Liberation Front, uh, Lois Hart and a few other-- some men were involved with it. And I went to this huge meeting. And I forget where the devil it was. It was in a church on 28th street somewhere? Church of the Holy Apostle, or something? So there we were and-and it was huge. There must’ve been 200 people jammed into that room. So I sat in the back because I wasn’t about to talk. And I listened. And a lot of the people there were, I guess their affiliation was either socialist or communist or I don’t know…something of that sort. Which I didn’t know much about then. A lot of them had gone to Cuba. And they were giving a-a kind of-of symposium on the things they found there. A lot of them were suddenly going against Castro because they saw how they were treating homosexuals. And so that was the discussion. &#13;
&#13;
00:03:15 - RJ (cont.): Then I remember going back a second and third time. And finally, I got up the courage to ask a question. Because I thought that was--and I wrote it down so I wouldn’t forget--and I raised my hand (video skips) but he stopped and they turned and looked at me. I almost fell into a hole in the floor– I was so nervous--my hand was shaking. I asked-asked this question, I don’t remember what I asked! (laughs) And it was answered, and from that point on I was able to speak out at meetings. It was interesting. &#13;
&#13;
00:03:45 - RJ (cont.): Then, um I don’t know if it was my lover or myself, that heard about this, this, this, these initials D.O.B., and we didn’t quite know what it was, and then we found out what it was. And it was either on 38th Street or 27th Street. I, uh, think it was 38th Street. We went to this building, I took an elevator I think. Second floor? Third floor? And I went into this room and it was just a long table and it must have been 10 or 11 women. There weren’t that many. And at the end of this table this woman sat who was, I think, the president. Shirley...Shirley Willar...W-Willar, yeah, that’s it. And so she was like presiding over this meeting, the workshop and I got involved asking a couple of questions and stuff. And that was that. &#13;
&#13;
00:04:31 - RJ (cont.): I don’t think I went back to a second meeting. Then I heard that a loft would have been gotten…a-a big place where lesbians were at, y’know, I was amazed, you know I was really surprised and intrigued. So we went to this place. It was on Prince Street. And when I got there, um, there was no meeting, but there were a few women around fixing things, or painting, or something of that sort. And we looked around and I ran into two people that I knew! Ellen Povell and what was the other woman’s name? I can’t remember...another E...Elaine, something. And I had met those two women a few years before when I was with a different lover. So we renewed old acquaintances–we talked and stuff and I think I met Ruth Simpson at that time. And that was that. &#13;
&#13;
00:05:14 - RJ (cont.): Then I heard there was going to be a big meeting and there was a problem. I don’t know where I heard these things from but you know how you listen...we was going to bars and we heard things. So I went. And um, my lover and I went. And I remember, I can see it in my mind’s eye, the room was dark and there was lights or something in the--it wasn’t like a stage-- but it was a certain area of the room and then there was seats this way and I was in the back. And I heard this argument. (video skips) There were four women up there including Ruth Simpson and Ti-Grace Atkinson and (video skips) boudoirs and these women were fighting and arguing and debating in front of this big crowd about how Ruth should step down because there was gonna be a revolution or there was gonna be some changes made (laughs) of some sort. And since I didn’t know what the devil this was all about, I just listened. &#13;
&#13;
00:06:04 - RJ (cont.):  All of a sudden there was a fight broke out and some woman who I met later, Dani Covello (sp?), she picked up a chair and she threw it at someone because they had hit her. There was this melee going on--this fight (laughs) And I said to my lover “let us go home because I don’t wanna get involved in this!” (laughs) So we left. And that was that for a while. &#13;
&#13;
00:06:24- RJ (cont.):  And then I heard there was a dance there and stuff so we went. And it was very pleasant, it was nice, it was nice to see a lot of women there, y’know. Let me backtrack a minute because I forgot to tell you something about Alternate U when I mentioned the dance. There was a place called Alternate U that GLF was involved in. That was the first time there was a dance for women. And, uh, my lover and I went and it was just wonderful to see all these women together dancing! I had never seen that before except in bars, and this was so open, that it was kind of frightening in a way. And that night, three or four men came up there claiming they were police and they showed us guns. They were not police. And we stared them down and fought with them. Again, I was in the back of the room, I didn’t do much of anything. And some women jumped out the fire escape and tried to get away. And we discovered later that they were from the bars. They were trying to close us down. They didn’t like the idea that women were not going to frequent the bars, that they were going to this alternate place to be with each other, without giving money to the mafia. Cause all those bars were mafia run, especially Kooky’s. I don’t know if you remember Kooky’s on 14th street, 7th and 8th avenues. &#13;
&#13;
00:07:34- RJ (cont.):  Anyway to get back to DOB--when I went back, I started to get involved in it. We went to meetings and we sat and listened. And, um, we were social with some of the women, I got to know who they were, y’know things like that. Just on the fringes. After a while–and I can’t remember the date–I think it was ‘70 or ‘71, I don’t remember. Someone nominated me for co-chair--I almost fell through the floor–I didn’t know anything about chairing an organization! I didn’t know why they did that, y’know! But my lover said “I’m so proud of you! Do it!” or whatever she said. I said “well alright” because I didn’t expect to be elected, but I was! And again I was shocked because I had never been involved in anything like that before and I didn’t know what to do. &#13;
&#13;
&#13;
00:08:21- RJ (cont.):  After about 2 weeks I knew what to do. I learned very fast (laughs). And, so we had this structure and then there was like a school. One of the women was a therapist, um, I forgot her name. I can’t remember her name (laughs). Uh, she started a little school on Sundays, y’know. Uh, about what lesbianism is, and y’know trying to kind of workshop with people, because there was nothing like that around. Certainly NOW didn’t do it because they were really against lesbianism as destroying the movement, so we had it there. &#13;
&#13;
00:08:52- RJ (cont.):  And as the months and years went on, I learned more and more and I noticed that there was something strange going on, because there were people coming to the meetings who seemed to disrupt them. To not, to want to have the business go forward…not to want the discussions to happen. Um, we knew that some of them were from the Socialist Worker’s Party, but we didn’t know who the others were. And, um, we all talked with each other about the fact that maybe they were cops or something, y’know. But there was no proof of it. But it got worse and worse and worse. And I think at the time, all of us involved in DOB, at the organizational stage of it, were a little too quick to be judgmental, to be angry, to work against each other when we should’ve been working with each other, to point a finger at each other when it was other outside influences that were doing things. We were kind of, I don’t know what it was b--blind to the fact that it wasn’t coming from our ranks but we were being influenced by it. And a lot of women picked that influence up and used it against each other.  Started to accuse–(laughs) they accused me of being for the FBI (laughs). I mean it was very horrible. &#13;
&#13;
00:10:16- RJ (cont.): So when I said early on before we started the talk, you know it was the best of times and it was the worst of times, at the same time. Because the best of times was the outpouring of togetherness that we had. It was like sisterhood, the dances were like circle dances, I mean, Kate Millet was there, Jill Johnston, y’know we danced with our tops off. Y’know it was like, a lot of freedom. But there was also a lot of--a feeling of trying to restrict at the same time. Y’know it was like going out and then pulling back. A, a very strange combination. &#13;
&#13;
00:10:49- RJ (cont.): But I was involved in doing that too, because this is what the climate was of the times themselves. Because it was the women’s movement, there was a lot of upheaval, women wanted their rights, lesbians wanted their rights,  y’know it was a whole upheaval. And I think that what was going on behind the scenes was an early backlash…not so much a backlash but a stoppage. The people who were in power–whoever they were–saw us as a threat, which we are, to their position, patriarchal position, and they wanted to make sure that we weren’t about to blow up the White House (laughs), which we weren’t! I mean my phone was tapped--it was obvious,people’s phones were tapped. At marches, I recall there were these undercover cops, we got to know their faces after a while... I started taking photographs of them which they didn’t like. We had a roster of these people. We used to pass it around and say, “Watch out for this fellow…watch out for that guy”, (laughs) things like that…. &#13;
&#13;
00:11:47- RJ (cont.): A lot of it was done, y’know, with humor. A lot of it was done with paranoia. Some of our paranoia was correct. Some of it was not…So there was a mixture of things going on. So it was difficult, even now, to kind of sort out who are the bad guys, who are the good guys, who are the people who were scapegoated. It’s very hard. I was scapegoated but a lot of other women were, too. And uh, it’s-it’s-it’s sad that when–although it’s not always true–when a group of women take over their own movement, only women, people really work against you. The reason why NOW is so successful is they allow men in. And they use certain kinds of agendas that-that will benefit men. We didn’t do that. All our agenda was benefitting women. And there were certain factions in the city, uh, that, uh, that didn’t want us to be separatists. &#13;
&#13;
00:12:47- Interviewer: Like what factions?&#13;
&#13;
00:12:49 - RJ: Well, uh, Gay Activists Alliance, there were other women who wanted to start a different, uh, a different group…and didn’t want to compete with our group. There was many different things underlying the reasons why DOB across the country, I think, was systematically being undermined. I don’t know about the word destroy but I know it was being undermined. Very heavily. I know the Ladder went out of business…there was stuff going on there…it’s almost as if the outside influences sort of programmed the women in the movement to act a certain way. And we did, and it was wrong of us, but we didn’t know any better. &#13;
&#13;
00:13:35 - Interviewer: Act a certain way in what ways (inaudible)…?&#13;
&#13;
00:13:37 - RJ: In undermining ourselves! It’s almost like, uh, internalized homophobia would be. It’s like that type of thing. If the environment says a certain thing, it sets up a-a kind of agenda for us. We swallowed it whole and then attacked each other. All movements do this… splinter movements. &#13;
&#13;
00:13:37 - Interviewer: How would you characterize DOB when you were a member, when you were co-chair...Was it separatist? Was it lesbian? Was it feminist? &#13;
&#13;
00:13:39 - RJ: No it wasn’t quite separatist–it-it was always separatist in the fact that, uh, we wanted that space for women. And the constitution said, no men allowed. And being the co-chair, I was intent upon upholding the constitution. And when I had an argument with, um, Alma and a few other women, and they said “we want our brothers from GAA to come here”, and I said “no you can’t do that--if you wanna do that then we have to call a constitutional convention, have all the members agree, vote on it, and whatever they say, I’ll uphold”. Okay, whatever they say. But in the meantime, men are not permitted in this space. And I was told by someone….I’ll mention her name–Alma Routsong–said to me—we were walking to the subway–she said, “We’re gonna do this over your dead body, whether you like it or not”. I said, “No you're not”. We had a big fight. And they did anyway. &#13;
&#13;
00:14:58- RJ (cont.): So this, this kind of friction, pulling kind of thing, where I was trying to do one thing, which I thought was right…they were trying to do another, which they probably thought was right (laughs)...I don’t know if they thought it was right, but that’s what they wanted. And this whole, this whole thing was happening which split us apart. And I was very distressed about it, but there was, it just seemed like there was nothing I could do. The more I tried to do and the more angry I became, which was the wrong thing to do, the worse it became. And I didn’t know how to handle it. I mean if it happened today, I would know how to handle it, but then, we were so new at all of this that I didn’t know how to handle it. &#13;
&#13;
00:15:35 - Interviewer: So what happened?&#13;
&#13;
00:15:36 - RJ: So I was accused of being from the FBI, the CIA and the mafia, (laughs) and I was, it was, it was, uh, spread around town that I was the reason why DOB was destroyed. I did it. I don’t know how I did that, but I did it, all alone. It was amazing that I could’ve done that. I said to myself, “how much power do I have?” y’know, I didn’t know how exactly I-I did that alone. But that was the rumor. And I remember one evening–after this fight, this thing–I went to Bonnie &amp; Clyde’s, which was a kind of movement hangout, and some of my friends were there and as I walked in the door I said “hi” and four of them looked me up and down, folded their arms like this, and turned their backs on me. I was bad news…it was spread around that I was bad news. I didn’t know why (laughs) I was bad news. Here I thought I was trying to uphold the DOB concepts or whatever and here it was being said that I was bad news. So that-that was very distressing for a long time. &#13;
&#13;
00:16:34- RJ (cont.): Now during the interim that I was in DOB, I also was in New York Radical Feminists. And we were doing some things, y’know, education and uh demonstrations. And um, all kinds of, y’know…we were the first ones to do, uh,  rape, uh, kindof…it wasn’t a symposium but it was like a speakout about rape and it was the first people who ever did that. Uh, things like that we were doing. So I belonged to both factions. &#13;
&#13;
00:17:03- Interviewer: What kinds of things was,uh, was DOB doing? Were they less active? How did they differ from…&#13;
&#13;
00:17:07- RJ: Well, they would--I don’t know what they wou...originally, DOB was a social organization. And most of the members–there were a lot of members–most of the members either never came to the dances…they just contributed, they, y’know, got the newsletters, and stuff like that…most of them were in the closet. And at that time we were all screaming about how everyone’s gotta come out. Y’know, I don’t believe that anymore because I think it’s circumstantial. But in those days, everybody was, y’know, revolutionary, everybody has to come out…it would be nice, but it’s not always feasible. &#13;
&#13;
00:17:40 - RJ (cont.): So the thing, the thing was that when the takeover happened from Ruth Simpson, y’know it’s Ruth Simpson over to this group that I joined because that was the only group there at the time…they were speaking of revolutionary things like, uh, consensus instead of votes, uh-uh, y’know, cells o-or groups. It was very patterned, I think, after–-I didn’t know it then–but after the communist kind of thing where they had separate cells. Then we used to have things like critiques, certain evenings in the group, to critique ourselves or criticize each other, which I thought was really tacky (laughs). But doing, doing things like that–putting up, uh, uh sort of schools run by women, uh, how to print, how to, y’know, it was-it was very good, it wasn’t a bad thing. It’s just that, I think, I think their attitudes about other people were very intolerant. I was also intolerant! I’m more tolerant now. It, its, it was so new that we wanted to have our agenda there because we felt that was the way it should go. Ok? &#13;
&#13;
00:18:47 - RJ (cont.): And, um, I think doing that kind of blind-sided thing can destroy something, it can do that, because people are gonna fight you. And so you’re gonna use all your energy being fought against. That all the dynamic and the aura–if you wanna get psychic about it–is, is very negative and what it does is, is boomerangs toward the people doing it. So I think a lot of it was people conspiring, maybe not, in a, in a kinda legal sense, but conspiring, planning to do this this and that…cause we all did it, uh, to put our own agenda forward. Y’know that was what was happening, without cooperating with each other. And, um, I think that was, that’s what destroys people. When you don’t cooperate with each other, you know? Because everybody wants their way, and there’s gotta be, maybe there has to be a middle ground. I don’t, I don’t know exactly. But right now I’m not involved in any group, I just belong to NOW, sort of, on the fringes (laughs), I’m not even in-involved in much of anything. &#13;
&#13;
00:19:51 - Interviewer: What happened at the end of DOB after, um, the um, accusations with Alma back and forth? I mean what happened to the membership? How did that…how did that…how did DOB end? Was it lack of membership? Lack of money? What…tell us a little bit about the, about final..&#13;
&#13;
00:20:04 - RJ: Well, uh, I tried, I tried with Judy and Ingrid and a couple of other people to kind of resurrect it in a way. And we were trying to do it--my, my idea of doing it was in writing, and uh, I put together a, a kind of--I still have them at  home--a kind of book, booklet or magazine, a small magazine kind of thing done by women about lesbians with writings in it and stuff, and uh, I thought that if we could have something like that, that we would, um, kind of draw women into the group again. Into a different kind of group, maybe. Something that the women who were drawn into it could sit down and have by consensus say what they wanted the group to be. &#13;
&#13;
00:20:49 - RJ (cont.): The other women didn’t want to do that. They were fighting me all the way, believe me. They, they wanted to do something different, which…a group of us felt that, that wasn’t the way to start. But, you don’t, you don’t, you don’t put an organization together by just putting an organization together. We had no money, we had no place to go, (laughs) we had no place to be, so our contention was that if you start a, a, uh letter, or a newsletter, or a magazine, you don’t need a space. The movement could be done through mailings, and-and kind of a, um, from time to time renting a place for meetings, and things like that where you didn’t have to have a space. Until such time if we could get money to do that. And they didn’t want to do that. So it sort of fizzled out…it just did.&#13;
&#13;
00:21:35 - Interviewer: What happened to the space? Cause from the loft you went...what happened with the spaces?&#13;
&#13;
00:21:40 - RJ: We had to get out of the Prince Street place because we couldn’t afford the rent, there was no, uh–membership was falling off, there was no donations, there was no grants, it was...y’know. Nothing. And, um, since I was the only chair left--Alma quit, the other one quit, and they all said they quit because of me. Maybe they did, because I was trying to uphold the constitution the way I felt it should be, and I was adamant about it, which I shouldn’t have been perhaps. Maybe I should've been a little softer, I don’t know. But at the time that’s what I was doing. &#13;
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This collection includes videos created as part of the Daughters of Bilitis Video Project collection. The Daughters of Bilitis (DOB) was a social and activist group founded in 1955. The video project began in 1987 with the purpose of conducting interviews with the DOB founders and former members documenting their critical role in the gay and lesbian liberation and Civil Rights movement. The interviews focus on the formation and impact of the many DOB chapters around the country. Some of the issues discussed are whether the DOB was primarily a social or activist group, attitudes regarding assimilation, and the "theft" of the DOB publication &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Ladder&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Individual interviewees discuss their childhoods, sexual awakenings, personal relationships as well as their first encounters with the DOB and their perspectives on the organization.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
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&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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                  <text>&lt;strong&gt;Stella Rush&lt;br /&gt;&lt;/strong&gt;Stella Rush was born on April 30, 1925 in Los Angeles, CA. She briefly worked for Firestone Tire and Rubber and was a member of the ACLU. Stella Rush and Helen Sandoz met and fell for each other at a ONE Inc. meeting in Los Angeles in 1957. Del and Phyllis encouraged Sandoz to keep an eye on Rush and make sure she got to the Daughters of Bilitis meetings. Rush started with The Ladder in 1957. She wrote “reports of conferences, seminars and research” for both ONE Magazine and The Ladder. She eventually wrote poetry for The Ladder as well. Stella Rush and Helen Sandoz moved in with each other in 1958. Rush was the Los Angeles Daughters of Bilitis co-founder. When the Los Angeles chapter began, Rush was the first treasurer, a position she held for 6 years. She helped the Daughters of Bilitis connect with organizations ONE and Mattachine. Her final meeting was the convention in Denver in 1968. Rush became very angry when Grier continued sending Sandoz articles and assignments to Sandoz when Sandoz had already quit The Ladder. In 1969, “we had huge fights about that,” she says. “After Denver, we had promised each other that it was our time for ourselves.” That summer they retired from activism. Stella Rush survived Helen Sandoz and lives in Southern California. &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Helen Sandoz&lt;/strong&gt; &lt;br /&gt;Helen Sandoz, Stella Rush’s partner, was born on November 2, 1920 in Oregon. After receiving her Bachelor's Degree, she had a supervisory position in department stores in Washington and Oregon. She later became a sign painter because of an accident that would not let her sit for a long time. She discovered the Daughters of Bilitis when she moved to San Francisco. “Sandy” joined the Daughters of Bilitis in 1956, when she also became “Assistant to the Editor” of The Ladder.” When the Daughters of Bilitis received its charter in 1957, Sandy was one of those who signed. She worked for The Ladder and the Daughters of Bilitis for fifteen years, designing covers and reporting on conventions. She became president of the Daughters of Biltis in February 1957. She was also the first president of the Los Angeles Daughters of Bilitis Chapter. She was briefly editor of The Ladder in 1966. She helped Jaffy publicize a study of ‘Attitudes of Mental Health Professionals Toward Homosexuality and Its Treatment’. She wanted nothing to do with NOW, whose goals she applauded, but not their rhetoric. She concentrated on getting rights for both gay men and lesbians. At the end of 1968, she spoke up about supporting “civil rights for all people,” not just homosexuals. “Despite her years of experience in the homophile movement, Sandoz articulated a belief in individual and human rights that crossed generational, racial and sexual lines.” Sandoz died of lung cancer on June 7, 1987 in Anaheim. &lt;br /&gt;&lt;br /&gt;**Gallo, M.M. (2006). Different Daughters—A History of the Daughters of Bilitis and the Rise of the Lesbian Movement. New York: Carroll &amp;amp; Graf Publishers An Imprint of Avalon Publishing Group, Inc. &lt;br /&gt;&lt;br /&gt;Saunders, J.M. Stella Rush a.k.a. Sten Russell (1925- ) online. Rush, S. Helen Sandoz a.k.a. Helen Sanders a.k.a. Ben Cat (1920-1987) online</text>
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                <text>&lt;a href="/omeka/rights-statement" target="_blank" rel="noopener"&gt; See the LHA Copyright Statement &lt;br /&gt;&lt;/a&gt; Photo by Morgan Gwenwald.&#13;
&lt;p&gt;Licensed under CC BY-NC-ND&lt;/p&gt;</text>
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                <text>Lesbian Herstory Archives, Contact Designation: Maxine Wolfe, Contact Address: 484 14th Street, Brooklyn, NY 11215, Phone Number: 718-768-3953</text>
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                <text>women, bars, discrimination, domestic partnerships, families, Gay Liberation Movement, Government, hate crimes, homosexuality, incest, intergenerational relationships, job discrimination, The Ladder, Lesbian and Gay Civil Rights, mailing lists, mental health, mothers, older lesbians, parents of lesbians and gays, photography, police harassment, radical lesbians, rape, religion, Christianity, rumors, violence</text>
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                <text>Stella Rush and Helen Sandoz are interviewed in 1987. The interview mostly concerns Stella Rush, who talks about her childhood; specifically her encounters with incest and molestation. She also talks about her experiences with police discrimination in the 1950s and 1960s in L.A. Helen and Stella both talk about being editors of the Ladder and being a part of the DOB. Stella talks about workplace harassment, and fear of loser her job. They show photographs from the 1960s, including some of their cat. The video closes with the two discussing their wedding rings.</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Pratt Institute, School of Information and Library Science, LIS 668 Moving Image and Sound Archiving students. Edited by Lauren Allshouse, Kim Loconto, Rachel Smiley, and Sara White.</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>English </text>
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                <text>San Francisco</text>
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            <name>Physical Format</name>
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                <text>Transcript available upon request. Content of the transcript may differ from the content of the video.</text>
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        <name>Sexual assault</name>
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                  <text>Daughters of Bilitis Video Project, 1987-1993</text>
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This collection includes videos created as part of the Daughters of Bilitis Video Project collection. The Daughters of Bilitis (DOB) was a social and activist group founded in 1955. The video project began in 1987 with the purpose of conducting interviews with the DOB founders and former members documenting their critical role in the gay and lesbian liberation and Civil Rights movement. The interviews focus on the formation and impact of the many DOB chapters around the country. Some of the issues discussed are whether the DOB was primarily a social or activist group, attitudes regarding assimilation, and the "theft" of the DOB publication &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Ladder&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Individual interviewees discuss their childhoods, sexual awakenings, personal relationships as well as their first encounters with the DOB and their perspectives on the organization.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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                <text>&lt;a href="/omeka/rights-statement" target="_blank" rel="noopener"&gt; See the LHA Copyright Statement &lt;br /&gt;&lt;/a&gt;&#13;
&lt;p&gt;Photograph by Morgan Gwenwald&lt;/p&gt;&#13;
&lt;p&gt;Licensed under CC BY-NC-ND&lt;/p&gt;</text>
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                <text>Lesbian Herstory Archives, Contact Designation: Maxine Wolfe, Contact Address: 484 14th Street, Brooklyn, NY 11215, Phone Number: 718-768-3953</text>
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                <text>Activism, Counseling, Discrimination, The Ladder, Police Harassment, Political Movements and Community Struggles, Psychology, Religion, Conferences and Events, Voting, Well of Loneliness</text>
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            <description>An account of the resource</description>
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                <text>The Boston chapter of the Daughters of Bilitis celebrate their 20th anniversary with opening remarks by Lois Johnson. She briefly discusses the founding of the chapter in 1969 by Jan Chase before thanking committee members and individuals for their contributions to the ceremony. The video ends with the lighting and cutting of the cake.</text>
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This collection includes videos created as part of the Daughters of Bilitis Video Project collection. The Daughters of Bilitis (DOB) was a social and activist group founded in 1955. The video project began in 1987 with the purpose of conducting interviews with the DOB founders and former members documenting their critical role in the gay and lesbian liberation and Civil Rights movement. The interviews focus on the formation and impact of the many DOB chapters around the country. Some of the issues discussed are whether the DOB was primarily a social or activist group, attitudes regarding assimilation, and the "theft" of the DOB publication &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Ladder&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Individual interviewees discuss their childhoods, sexual awakenings, personal relationships as well as their first encounters with the DOB and their perspectives on the organization.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
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&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
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                <text>Judith Schwarz discusses how grateful she is the DOB exists, the way that societal attitudes towards lesbianism has changed since the founding of DOB, how many women were afraid to have mail mailed to them or used pseudonyms or “bar names” to hide their identity.&#13;
&#13;
She discusses her first lesbian relationship, which happened shortly after she moved to San Franciso, and how this introduced her to lesbian culture, specifically survival literature. She talks about how she was at first intimidated by certain aspects of lesbian culture, like powerful butch lesbians, frequent drinking in the community, and lesbian literature. &#13;
&#13;
She talks about the impact of DOB, and how there was harassment from police as well as other lesbians or women. She also talks about sharing The Ladder around her workplace in secret, and shares the story about how The Ladder was “stolen” from the DOB San Franciso offices. She says that diversity was always lacking in the DOB, and talks about some reasons why.&#13;
&#13;
DOB meetings sometimes consisted of potluck dinners and Gab and Javas, sometimes taking place at Schwarz’s house. She talks about how lesbians dressed at the time.&#13;
&#13;
Finally she discusses the differences between the DOB and the Lesbian Herstory Archives and how they met different needs for lesbians, and finally some of the special collections in the archive. Joan Nestle jumps in at the end to discuss radical politics and the FBI surveillance of the DOB.</text>
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;This collection includes videos created as part of the Daughters of Bilitis Video Project collection. The Daughters of Bilitis (DOB) was a social and activist group founded in 1955. The video project began in 1987 with the purpose of conducting interviews with the DOB founders and former members documenting their critical role in the gay and lesbian liberation and Civil Rights movement. The interviews focus on the formation and impact of the many DOB chapters around the country. Some of the issues discussed are whether the DOB was primarily a social or activist group, attitudes regarding assimilation, and the "theft" of the DOB publication &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Ladder&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Individual interviewees discuss their childhoods, sexual awakenings, personal relationships as well as their first encounters with the DOB and their perspectives on the organization.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Morgan Gwenwald suggested the project, founding DOB member Sara Yager videotaped all the interviews, and founding DOB member Manuela Soares researched and conducted all of the interviews.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The videos gathered here have been digitized from VHS tapes by students at the Pratt Institute’s Library and Information Science Program. This is a comprehensive collection of the interviews gathered for the Daughters of Bilitis Video Project. The original materials are held in off-site storage by the Lesbian Herstory Archives.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Transcriptions of many of the videotaped interviews are available, thanks to Ruth Helmich, Kelly Anderson, Trista Sordillo, Manuela Soares, and others.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Links to the the individual interviews are at the bottom of the page. Some longer interviews will be collated in subgroups of the collection tree.&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;For more on the DOB, see:&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-weight: 400;"&gt;Gallo, M. (2007). &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Different daughters: A history of the Daughters of Bilitis and the rise of the lesbian civil rights movement&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;. Berkeley, CA: Seal Press.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;i&gt;&lt;span style="font-weight: 400;"&gt;The Journal of Homosexuality&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;, “The Purloined Ladder,” Volume 34, Numbers 3/4, 1998.&lt;/span&gt;</text>
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                  <text>Barbara Grier was born on November 4, 1933 in Cincinnati, OH.  Her affiliation with the Daughters of Bilitis began in 1957, when she started to subscribe to The Ladder.  Shortly thereafter she began writing book reviews for the publication, then served as poetry and fiction editor from 1966-1968, when she became the editor-in-chief.  In this role, Grier included news stories, essays, prose and poetry that focused on the burgeoning women’s movement.  When the DOB folded in 1970, she and DOB President Rita Lapore continued to publish The Ladder until this ceased in 1972, for financial reasons.&#13;
&#13;
Grier met Donna McBride, the reference librarian at the Kansas City, MO public library and Grier's eventual partner, in 1971.  McBride first knew Grier as a library patron who made frequent and numerous recommendations of books of lesbian interest that she wanted the library to buy.  In January 1973, Grier and McBride, started Naiad Press,  the “world’s largest [and foremost and longest-lived] publisher of lesbian books” -- by lesbians, about lesbians and for lesbians.  It included romance novels, histories, erotica, volumes of poetry, science fiction and self-help guides, as well as mysteries, non-fiction and classics.  Prior to Naiad, “lesbian literature was primarily written by men whose protagonists generally ended up in one of two ways: they married a man or killed themselves.”  Grier and McBride kept their day jobs until 1982, when Naiad became their full-time work.  In 1995 Grier donated her “Lesbiana" collection to the James C. Hormel Gay and Lesbian Center of the San Francisco Public Library.”  Bella Books took over when Grier closed Naiad Press in 2005.  &#13;
&#13;
Grier died of cancer on November 10, 2011 in Tallahassee, FL.&#13;
&#13;
&#13;
Barbara Grier (n.d.) In Wikipedia. Retrieved from http://en.wikipedia.org/wiki/Barbara_Grier. &#13;
&#13;
Barbara Grier Obituary (2011, November 13). Tallahassee Democrat. Retrieved from http://www.legacy.com. &#13;
&#13;
Brownsworth, V. (2011, November 11). In Remembrance: Barbara Grier. Lambda Literary. Retrieved from http://www.lambdaliterary.org. &#13;
&#13;
Gallo, M.M. (2006). Different Daughters—A History of the Daughters of Bilitis and the Rise of the Lesbian Movement. New York: Carroll &amp; Graf Publishers An Imprint of Avalon Publishing Group, Inc.&#13;
&#13;
Grier, B. (1987, November 27). [DOB transcript of tape]. DOB Oral History Project, Daughters of Bilitis. Herstory Archives, Brooklyn, New York.&#13;
&#13;
Grier, Barbara (1933-2011). (n.d.). In glbtq’s online encyclopedia. Retrieved from http://www.glbtq.com/literature/grier_b.html. &#13;
&#13;
Kallmaker, K. (2011). Barbara Grier, Reflections (blog). Retrieved from http://blog.kallmaker.com/2011/11/barbara-grier-reflections.html. &#13;
&#13;
San Francisco Public Library. Barbara Grier. Retrieved from http://sfpl.org/index.php?pg=2000134701. &#13;
&#13;
Vitello, P. (2011, November 13). Barbara Grier, Publisher of Lesbian Books, Dies at 78. The New York Times. Retrieved from http://www.nytimes.com. &#13;
&#13;
Woo, E. (2011, November 13). Barbara Grier dies at 78; co-founder of lesbian publishing house. Los Angeles Times. Retrieved from http://articles.latimes.com.</text>
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                <text>&lt;a href="/omeka/rights-statement" target="_blank" rel="noopener"&gt; See the LHA Copyright Statement &lt;br /&gt;&lt;/a&gt;&#13;
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                <text>The majority of this video depicts Barbara and her partner, Donna McBride, going through photo albums and images of Barbara’s childhood, her family, and then her later years with Donna. Some topics that come up include Helen Bennett, Barbara’s relationship before Donna, and Naiad Press. The last 30 minutes or so of the video focus on Barbara as she discusses The Ladder and the various women who contributed to it and how publications helped shape social change for the gay and lesbian movement.</text>
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                <text>Pratt Institute, School of Information and Library Science, LIS 668 Moving Image and Sound Archiving students. Edited by Lauren Allshouse, Kim Loconto, Rachel Smiley, and Sara White.</text>
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                  <text>Stella Rush &amp; Helen Sandoz Interview, 1987</text>
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                  <text>&lt;strong&gt;Stella Rush&lt;br /&gt;&lt;/strong&gt;Stella Rush was born on April 30, 1925 in Los Angeles, CA. She briefly worked for Firestone Tire and Rubber and was a member of the ACLU. Stella Rush and Helen Sandoz met and fell for each other at a ONE Inc. meeting in Los Angeles in 1957. Del and Phyllis encouraged Sandoz to keep an eye on Rush and make sure she got to the Daughters of Bilitis meetings. Rush started with The Ladder in 1957. She wrote “reports of conferences, seminars and research” for both ONE Magazine and The Ladder. She eventually wrote poetry for The Ladder as well. Stella Rush and Helen Sandoz moved in with each other in 1958. Rush was the Los Angeles Daughters of Bilitis co-founder. When the Los Angeles chapter began, Rush was the first treasurer, a position she held for 6 years. She helped the Daughters of Bilitis connect with organizations ONE and Mattachine. Her final meeting was the convention in Denver in 1968. Rush became very angry when Grier continued sending Sandoz articles and assignments to Sandoz when Sandoz had already quit The Ladder. In 1969, “we had huge fights about that,” she says. “After Denver, we had promised each other that it was our time for ourselves.” That summer they retired from activism. Stella Rush survived Helen Sandoz and lives in Southern California. &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Helen Sandoz&lt;/strong&gt; &lt;br /&gt;Helen Sandoz, Stella Rush’s partner, was born on November 2, 1920 in Oregon. After receiving her Bachelor's Degree, she had a supervisory position in department stores in Washington and Oregon. She later became a sign painter because of an accident that would not let her sit for a long time. She discovered the Daughters of Bilitis when she moved to San Francisco. “Sandy” joined the Daughters of Bilitis in 1956, when she also became “Assistant to the Editor” of The Ladder.” When the Daughters of Bilitis received its charter in 1957, Sandy was one of those who signed. She worked for The Ladder and the Daughters of Bilitis for fifteen years, designing covers and reporting on conventions. She became president of the Daughters of Biltis in February 1957. She was also the first president of the Los Angeles Daughters of Bilitis Chapter. She was briefly editor of The Ladder in 1966. She helped Jaffy publicize a study of ‘Attitudes of Mental Health Professionals Toward Homosexuality and Its Treatment’. She wanted nothing to do with NOW, whose goals she applauded, but not their rhetoric. She concentrated on getting rights for both gay men and lesbians. At the end of 1968, she spoke up about supporting “civil rights for all people,” not just homosexuals. “Despite her years of experience in the homophile movement, Sandoz articulated a belief in individual and human rights that crossed generational, racial and sexual lines.” Sandoz died of lung cancer on June 7, 1987 in Anaheim. &lt;br /&gt;&lt;br /&gt;**Gallo, M.M. (2006). Different Daughters—A History of the Daughters of Bilitis and the Rise of the Lesbian Movement. New York: Carroll &amp;amp; Graf Publishers An Imprint of Avalon Publishing Group, Inc. &lt;br /&gt;&lt;br /&gt;Saunders, J.M. Stella Rush a.k.a. Sten Russell (1925- ) online. Rush, S. Helen Sandoz a.k.a. Helen Sanders a.k.a. Ben Cat (1920-1987) online</text>
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                  <text>CC BY-NC-ND (Creative Commons License)</text>
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                <text>Lesbian Herstory Archives, Contact Designation: Maxine Wolfe, Contact Address: 484 14th Street Brooklyn, NY 11215, Phone Number: 718-768-3953</text>
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                <text>Stella Rush and Helen Sandoz discuss writing and printing the Ladder, and another lesbian publication, the One. They also touch on a range of topics including obscenity laws, pornography, spirituality, the Homosexual Bill of Rights, and DOB conferences. They discuss the politics of the 1980s and compare it to that of the 1950s. Stella goes into detail about her upbringing and subsequent mental health issues.</text>
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                <text>Pratt Institute, School of Information and Library Science, LIS 668 Moving Image and Sound Archiving students. Edited by Lauren Allshouse, Kim Loconto, Rachel Smiley, and Sara White.</text>
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                  <text>This series of audio recordings is from a workshop led by Ti Grace Atkinson at the New York chapter of the DOB. The ten tapes covered several different meetings in chronological order, and were donated to the Daughters of Bilitis Video Project by Ruth Simpson. Atkinson was a politically minded feminist activist who wrote pamphlets such as "The Institution of Sexual Intercourse" and "Radical Feminism" throughout the 1960s and '70s. Her best known book is &lt;em&gt;Amazon Odyssey&lt;/em&gt; (1974). She has also worked in academia.</text>
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          <element elementId="47">
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="51017">
                <text>&lt;a href="/omeka/rights-statement" target="_blank" rel="noopener"&gt; See the LHA Copyright Statement &lt;/a&gt;&#13;
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            <description>A language of the resource</description>
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              <elementText elementTextId="51023">
                <text>Audio cassette</text>
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        <name>Ti Grace Atkinson</name>
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                  <text>This series of audio recordings is from a workshop led by Ti Grace Atkinson at the New York chapter of the DOB. The ten tapes covered several different meetings in chronological order, and were donated to the Daughters of Bilitis Video Project by Ruth Simpson. Atkinson was a politically minded feminist activist who wrote pamphlets such as "The Institution of Sexual Intercourse" and "Radical Feminism" throughout the 1960s and '70s. Her best known book is &lt;em&gt;Amazon Odyssey&lt;/em&gt; (1974). She has also worked in academia.</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="51034">
                <text>&lt;a href="/omeka/rights-statement" target="_blank" rel="noopener"&gt; See the LHA Copyright Statement &lt;/a&gt;&#13;
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            <description>The size or duration of the resource.</description>
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            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
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                <text>Audio cassette</text>
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        <name>Ti Grace Atkinson</name>
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                  <text>Audio Recordings, 1971-1988</text>
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                  <text>This assortment of digitized tapes from the DOB Video Project includes interviews, musical and comedy performances, and reminiscences from a memorial service. The audio collection also includes a set of recordings of feminist activist Ti Grace Atkinson, which are collected under "DOB Atkinson Tapes."</text>
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          <description>Rate at which bits are transferred (i.e. 96 kbit/s would be FM quality audio)</description>
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                <text>Casse Live at Sagaris, Tape 1 of 1, September 15, 1981</text>
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                <text>SPW211</text>
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                <text>This sound recording captures a live music performance.  The audience sings and claps along to several traditional American folk songs including "Down in the Valley to Pray".</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>&lt;a href="/omeka/rights-statement" target="_blank" rel="noopener"&gt; See the LHA Copyright Statement &lt;/a&gt;&#13;
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                <text>Lesbian Herstory Archive</text>
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                  <text>Audre Lorde (February 18, 1934 – November 17, 1992) was a celebrated and influential Caribbean-American poet, novelist, autobiographer, and publisher whose art and life explored  issues of race, class, sexuality, gender, and illness.&#13;
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            <description>A name given to the resource</description>
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                <text>Reading from 13th Moon Series, 1982</text>
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                <text>Lesbians [sh85076160] Feminists [sh85047761] African American feminists [sh2004002861] African American women--Poetry [sh2007100767]</text>
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                <text>Side A : A poetry reading from Audre Lorde&#13;
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Contact LHA at &lt;/span&gt;&lt;a href="mailto:dyv.lha@gmail.com"&gt;&lt;span style="font-weight: 400;"&gt;dyv.lha@gmail.com&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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              <description>A name given to the resource</description>
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                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Dyke TV was a groundbreaking public access program founded in 1993 by Mary Patierno, Ana Marie Simo and Linda Chapman. An offshoot of the Lesbian Avengers, the mission of Dyke TV was to incite, provoke, and organize to create tangible change. The program sought to increase lesbian visibility and change people's attitudes towards lesbians, gay rights and women's rights. Dyke TV comprehensively documented a critical time in gay and lesbian history and shared stories important to lesbian communities that were ignored by other media outlets. Dyke TV documented many LGBTQ political actions of the early 1990s including the activities of ACT UP and the Lesbian Avengers. The Dyke TV collection at the Lesbian Herstory Archives consists largely of unedited footage that documents marches and demonstrations in New York City. Other tapes include incomplete episodes and compilations of show segments.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The program first aired in June 1993 on the Manhattan Neighborhood Network public access channel. It started off as a weekly 30-minute program created by a core of producers with help from members of the community. Following a magazine format, each program consisted of various segments such as I Was a Lesbian Child, the Arts, From the Archives, News, and Eyewitness. Areas of interest included lesbian history, daily life, activism, and international LGBTQ issues. The producers aimed to create a well-rounded program that could highlight lesbian life from as many angles as possible. According to one of the program’s co-founders and executive producer, Mary Patierno: “if anybody wanted to do a story we let them do it. We were there to let people voice whatever they wanted to, whatever issues or topics that were of interest to them.” At its peak, Dyke TV was distributed to 78 public access channels throughout the United States.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Additionally, Dyke TV had a mission to provide video production training and conducted regular workshops to enable women to tell their stories through their own means. This community oriented attitude fomented widespread contributions about lesbian issues across the United States and abroad.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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            <description>An entity responsible for making the resource available</description>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Copyright Dyke TV: Linda Chapman, Mary Patierno, Ana Maria Simo. Tapes and digital files held by the Lesbian Herstory Archives. Tapes reproduced with permission from the copyright holders.</text>
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          <element elementId="104">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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            <description>The date on which the audio was originally broadcast. Format: YYYY-MM-DD</description>
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          <element elementId="166">
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          <element elementId="167">
            <name>Title</name>
            <description>The name given to the media item you are cataloging. It is the unique name everyone should use to refer to or search for a particular media item. There are situations in which no proper or given title is available, e.g., photographs or segments harvested from a longer work or program. In these situations a "supplied title" must be invented and used to name the media item. Be considerate of and sensitive to the end user who is attempting to search for your media item.</description>
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                <text>Lesbian Nation</text>
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            <name>Episode Title</name>
            <description>If applicable, the episode or piece to which a media item contributed.</description>
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            <description>If applicable, the larger series to which the episode or piece contributed.</description>
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            <name>Description</name>
            <description>Uses free-form text to report abstracts, or summaries about the intellectual content of a media item you are cataloging. The information may be in the form of a paragraph giving an individual program description or brief content reviews.</description>
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                <text>Interview: Barbara Cove + Sidney Abbot&#13;
Music (IN STEREO) -&gt; "Women Like Me" Kosse&#13;
MONO -&gt; "Heroin" - Velvet Underground&#13;
&#13;
Martha Shelley presents an interview with Barbara Cove and Sidney Abbott, author of Sappho was a Right-on Woman, on writing books and researching Sappho's life and lifestyle. The show is prefaced by a vocal performance by Women Like Me, led by Roberta Kosse.</text>
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            <name>Creator</name>
            <description>Identifies a person or organization primarily responsible for creating a media item. The creator may be considered an author and could be one or more people, a business, organization, group, project or service. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
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            <description>The person(s) being interviewed. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
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            <description>The person(s) conducting the interview. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
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            <name>Host</name>
            <description>If applicable, the person hosting the broadcast piece. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
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            <name>Rights</name>
            <description>Information about rights to the media item. Typically, rights information includes a statement about various property rights associated with the resource, including intellectual property rights.</description>
            <elementTextContainer>
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                <text>Rights to WBAI </text>
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          <element elementId="176">
            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
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          <element elementId="178">
            <name>Physical Location</name>
            <description>An address for a physical media item. For an organization or producer acting as caretaker of a media resource, this field may contain information about a specific shelf location for an item, including an organization's name, departmental name, shelf ID and contact information.</description>
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                <text>Lesbian Herstory Archive</text>
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            <description>Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS</description>
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            <description>Details on music or other sound clips that contributed to the piece. May include title, artist, album, timestamp, producer and record label information.</description>
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            <description>Any other notes or information about the media item, including bibliography/research information, contact information, and legacy metadata.</description>
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DO NOT RECYCLE;&#13;
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Press Department&#13;
S.F. Symphony Orchestra&#13;
107 War Memorial Veterans BLDG&#13;
San Francisco, Calif. 94102</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <description>A name given to the resource</description>
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            <description>A person or organization owning or managing rights over the resource.</description>
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            <name>Date Created</name>
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          <element elementId="166">
            <name>Identifier</name>
            <description>Best practice is to identify the media item (whether analog or digital) by means of an unambiguous string or number corresponding to an established or formal identification system if one exists. We recommend using the item's Omeka URL. (e.g., http://myomeka.com/items/show/1) If you are using the Internet Archive Plugin, this field will be autofilled.</description>
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          <element elementId="167">
            <name>Title</name>
            <description>The name given to the media item you are cataloging. It is the unique name everyone should use to refer to or search for a particular media item. There are situations in which no proper or given title is available, e.g., photographs or segments harvested from a longer work or program. In these situations a "supplied title" must be invented and used to name the media item. Be considerate of and sensitive to the end user who is attempting to search for your media item.</description>
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            <description>If applicable, the larger series to which the episode or piece contributed.</description>
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          <element elementId="170">
            <name>Description</name>
            <description>Uses free-form text to report abstracts, or summaries about the intellectual content of a media item you are cataloging. The information may be in the form of a paragraph giving an individual program description or brief content reviews.</description>
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              <elementText elementTextId="53759">
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                <text>Shelley, Martha</text>
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            </elementTextContainer>
          </element>
          <element elementId="172">
            <name>Interviewee</name>
            <description>The person(s) being interviewed. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53761">
                <text>Lorde, Audre</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="173">
            <name>Interviewer</name>
            <description>The person(s) conducting the interview. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53762">
                <text>"Shelley, Martha"</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="174">
            <name>Host</name>
            <description>If applicable, the person hosting the broadcast piece. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53763">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="175">
            <name>Rights</name>
            <description>Information about rights to the media item. Typically, rights information includes a statement about various property rights associated with the resource, including intellectual property rights.</description>
            <elementTextContainer>
              <elementText elementTextId="53764">
                <text>Rights to WBAI </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="176">
            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
            <elementTextContainer>
              <elementText elementTextId="53765">
                <text>Open reel audiotape</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="177">
            <name>Digital Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="53766">
                <text>MP3</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="178">
            <name>Physical Location</name>
            <description>An address for a physical media item. For an organization or producer acting as caretaker of a media resource, this field may contain information about a specific shelf location for an item, including an organization's name, departmental name, shelf ID and contact information.</description>
            <elementTextContainer>
              <elementText elementTextId="53767">
                <text>Lesbian Herstory Archive</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="180">
            <name>Duration</name>
            <description>Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS</description>
            <elementTextContainer>
              <elementText elementTextId="53768">
                <text>00:28:42</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="183">
            <name>Notes</name>
            <description>Any other notes or information about the media item, including bibliography/research information, contact information, and legacy metadata.</description>
            <elementTextContainer>
              <elementText elementTextId="53769">
                <text>Self-contained; DISCLAIMER</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="53860">
                <text>Lesbian Nation, November 20, 1972 </text>
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          </element>
        </elementContainer>
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    </elementSetContainer>
    <tagContainer>
      <tag tagId="466">
        <name>Audre Lorde</name>
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      <tag tagId="475">
        <name>Martha Shelley</name>
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      <tag tagId="187">
        <name>Poetry</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="886" public="1" featured="0">
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        <authentication>0070ca24fbfcbd17ae032aa86fbc4084</authentication>
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      <file fileId="1205" order="2">
        <src>https://www.herstories.prattinfoschool.nyc/omeka/files/original/92/886/LHA_Audio_006.mp3</src>
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    </fileContainer>
    <itemType itemTypeId="5">
      <name>Sound</name>
      <description>A resource whose content is primarily intended to be rendered as audio.</description>
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    <elementSetContainer>
      <elementSet elementSetId="7">
        <name>PBCore</name>
        <description>PBCore is a metadata standard for audiovisual media developed by the public broadcasting community. See http://www.pbcore.org/documentation/</description>
        <elementContainer>
          <element elementId="164">
            <name>Date Created</name>
            <description>The original date that the media item was created. In the case of raw interviews, the date on which the interview was conducted. Format: YYYY-MM-DD</description>
            <elementTextContainer>
              <elementText elementTextId="53770">
                <text>1973-06-26</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="165">
            <name>Date Broadcast</name>
            <description>The date on which the audio was originally broadcast. Format: YYYY-MM-DD</description>
            <elementTextContainer>
              <elementText elementTextId="53771">
                <text>1973-06-26</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="166">
            <name>Identifier</name>
            <description>Best practice is to identify the media item (whether analog or digital) by means of an unambiguous string or number corresponding to an established or formal identification system if one exists. We recommend using the item's Omeka URL. (e.g., http://myomeka.com/items/show/1) If you are using the Internet Archive Plugin, this field will be autofilled.</description>
            <elementTextContainer>
              <elementText elementTextId="53772">
                <text>LHA_Audio_006</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="167">
            <name>Title</name>
            <description>The name given to the media item you are cataloging. It is the unique name everyone should use to refer to or search for a particular media item. There are situations in which no proper or given title is available, e.g., photographs or segments harvested from a longer work or program. In these situations a "supplied title" must be invented and used to name the media item. Be considerate of and sensitive to the end user who is attempting to search for your media item.</description>
            <elementTextContainer>
              <elementText elementTextId="53773">
                <text>Lesbian Nation</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="168">
            <name>Episode Title</name>
            <description>If applicable, the episode or piece to which a media item contributed.</description>
            <elementTextContainer>
              <elementText elementTextId="53774">
                <text>Lesbian Nation</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="169">
            <name>Series Title</name>
            <description>If applicable, the larger series to which the episode or piece contributed.</description>
            <elementTextContainer>
              <elementText elementTextId="53775">
                <text>Lesbian Nation, wbai-fm 99.5</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="170">
            <name>Description</name>
            <description>Uses free-form text to report abstracts, or summaries about the intellectual content of a media item you are cataloging. The information may be in the form of a paragraph giving an individual program description or brief content reviews.</description>
            <elementTextContainer>
              <elementText elementTextId="53776">
                <text>Letter from Jane Alpert, Pt. 2  Miscellanea (abbreviated LN shows)&#13;
Shelley reads from Jane Alpert's Mother Right, a new feminist theory, part two of a three part series. WBAI had received the letter from the underground a week prior to taping.  </text>
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            </elementTextContainer>
          </element>
          <element elementId="171">
            <name>Creator</name>
            <description>Identifies a person or organization primarily responsible for creating a media item. The creator may be considered an author and could be one or more people, a business, organization, group, project or service. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53777">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="173">
            <name>Interviewer</name>
            <description>The person(s) conducting the interview. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53778">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="174">
            <name>Host</name>
            <description>If applicable, the person hosting the broadcast piece. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53779">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="175">
            <name>Rights</name>
            <description>Information about rights to the media item. Typically, rights information includes a statement about various property rights associated with the resource, including intellectual property rights.</description>
            <elementTextContainer>
              <elementText elementTextId="53780">
                <text>Rights to WBAI </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="176">
            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
            <elementTextContainer>
              <elementText elementTextId="53781">
                <text>Open reel audiotape</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="177">
            <name>Digital Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="53782">
                <text>MP3</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="178">
            <name>Physical Location</name>
            <description>An address for a physical media item. For an organization or producer acting as caretaker of a media resource, this field may contain information about a specific shelf location for an item, including an organization's name, departmental name, shelf ID and contact information.</description>
            <elementTextContainer>
              <elementText elementTextId="53783">
                <text>Lesbian Herstory Archive</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="180">
            <name>Duration</name>
            <description>Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS</description>
            <elementTextContainer>
              <elementText elementTextId="53784">
                <text>00:13:02</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="183">
            <name>Notes</name>
            <description>Any other notes or information about the media item, including bibliography/research information, contact information, and legacy metadata.</description>
            <elementTextContainer>
              <elementText elementTextId="53785">
                <text>Self Contained Do not recycle!</text>
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            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="53859">
                <text>Lesbian Nation, June 26, 1973 </text>
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            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="189">
        <name>Feminism</name>
      </tag>
      <tag tagId="453">
        <name>Jane Alpert</name>
      </tag>
      <tag tagId="475">
        <name>Martha Shelley</name>
      </tag>
    </tagContainer>
  </item>
  <item itemId="887" public="1" featured="0">
    <fileContainer>
      <file fileId="1211" order="1">
        <src>https://www.herstories.prattinfoschool.nyc/omeka/files/original/92/887/IMG_7197_LHA_Audio_007.jpg</src>
        <authentication>b45e1ab7a48257f904bcd9a90b62e02d</authentication>
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      <file fileId="1204" order="2">
        <src>https://www.herstories.prattinfoschool.nyc/omeka/files/original/92/887/LHA_Audio_007.mp3</src>
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    </fileContainer>
    <collection collectionId="92">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53729">
                  <text>Lesbian Nation radio program, 1972-1974</text>
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              </elementTextContainer>
            </element>
            <element elementId="86">
              <name>Alternative Title</name>
              <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
              <elementTextContainer>
                <elementText elementTextId="53730">
                  <text>Lesbian Nation, wbai-fm 99.5</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53731">
                  <text>Shelley, Martha</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="53732">
                  <text>wbai-fm, 99.5</text>
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              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53733">
                  <text>1972-1974</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53734">
                  <text>Shelley, Martha</text>
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              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="54575">
                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Lesbian Nation was a groundbreaking radio show produced and hosted by Martha Shelley that specifically focused and revolved around the LGBTQ community during the rise of gay and lesbian liberation movements of the 1970s.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Martha Shelley (b. 1943) is best known for her involvement in lesbian feminist activism. After college, Shelley joined the Daughters of Bilitis, a lesbian civil and political rights organization, eventually becoming president of the New York chapter. Shelley was one of the early members of the Gay Liberation Front (GLF), established immediately after the Stonewall Riots and which advocated for LGBT and minority rights. Additionally, Shelley wrote for several publications and was an avid advocate for civil rights and the pro-choice movement.&lt;br /&gt;&lt;br /&gt;&lt;a href="http://herstories.prattinfoschool.nyc/omeka/collections/show/93"&gt;Other audio recordings&lt;/a&gt; donated to the LHA and associated with Martha Shelley can also be found among this website's collections.&lt;/span&gt;&lt;/p&gt;</text>
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            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="5">
      <name>Sound</name>
      <description>A resource whose content is primarily intended to be rendered as audio.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="7">
        <name>PBCore</name>
        <description>PBCore is a metadata standard for audiovisual media developed by the public broadcasting community. See http://www.pbcore.org/documentation/</description>
        <elementContainer>
          <element elementId="164">
            <name>Date Created</name>
            <description>The original date that the media item was created. In the case of raw interviews, the date on which the interview was conducted. Format: YYYY-MM-DD</description>
            <elementTextContainer>
              <elementText elementTextId="53786">
                <text>1973-09-24</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="165">
            <name>Date Broadcast</name>
            <description>The date on which the audio was originally broadcast. Format: YYYY-MM-DD</description>
            <elementTextContainer>
              <elementText elementTextId="53787">
                <text>1973-9-24; 1973-9-25</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="166">
            <name>Identifier</name>
            <description>Best practice is to identify the media item (whether analog or digital) by means of an unambiguous string or number corresponding to an established or formal identification system if one exists. We recommend using the item's Omeka URL. (e.g., http://myomeka.com/items/show/1) If you are using the Internet Archive Plugin, this field will be autofilled.</description>
            <elementTextContainer>
              <elementText elementTextId="53788">
                <text>LHA_Audio_007</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="167">
            <name>Title</name>
            <description>The name given to the media item you are cataloging. It is the unique name everyone should use to refer to or search for a particular media item. There are situations in which no proper or given title is available, e.g., photographs or segments harvested from a longer work or program. In these situations a "supplied title" must be invented and used to name the media item. Be considerate of and sensitive to the end user who is attempting to search for your media item.</description>
            <elementTextContainer>
              <elementText elementTextId="53789">
                <text>Lesbian Nation</text>
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            </elementTextContainer>
          </element>
          <element elementId="168">
            <name>Episode Title</name>
            <description>If applicable, the episode or piece to which a media item contributed.</description>
            <elementTextContainer>
              <elementText elementTextId="53790">
                <text>Lesbian Nation - Softball Game, N. O. W. Sports, J. Rawcliffe on Track</text>
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          </element>
          <element elementId="169">
            <name>Series Title</name>
            <description>If applicable, the larger series to which the episode or piece contributed.</description>
            <elementTextContainer>
              <elementText elementTextId="53791">
                <text>Lesbian Nation, wbai-fm 99.5</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="170">
            <name>Description</name>
            <description>Uses free-form text to report abstracts, or summaries about the intellectual content of a media item you are cataloging. The information may be in the form of a paragraph giving an individual program description or brief content reviews.</description>
            <elementTextContainer>
              <elementText elementTextId="53792">
                <text>Sportscast from Feminist Softball Game; interviews with Judy Wenning on N.O.W. Taskforce on sports, and Judy Rawcliffe on her career in track + field:  The 2nd annual Feminist Fumbler Softball Game held in Prospect Park.&#13;
&#13;
Interview with Judy Wenning President of New York N.O.W and head of N.O.W Task Force on sports; Implementing sports committees in the 600 N.O.W chapters; Supporting Rep. Griffiths, Martha W. [D-MI-17]  bill to amend the act to incorporate Little League Baseball to provide that the league shall be open to girls as well as to boys; Enforce Title IX, which bars disrimination based on sex in school programming; Expand media coverage of women in sports, references Billie Jean King's tennis match with Bobby Riggs. &#13;
&#13;
Judith Rawcliffe, a competitive runner, track events coordinator at New York's women's olympics sponsored by Lesbian Feminist Liberation and N.O.W. Rawcliffe discusses her experiences in track and field; the importance of sports recreation for health. </text>
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          <element elementId="171">
            <name>Creator</name>
            <description>Identifies a person or organization primarily responsible for creating a media item. The creator may be considered an author and could be one or more people, a business, organization, group, project or service. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53793">
                <text>Shelley, Martha</text>
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          <element elementId="172">
            <name>Interviewee</name>
            <description>The person(s) being interviewed. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53794">
                <text>Wenning, Judy; Rawcliffe, Judy</text>
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          </element>
          <element elementId="173">
            <name>Interviewer</name>
            <description>The person(s) conducting the interview. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53795">
                <text>Shelley, Martha</text>
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          <element elementId="174">
            <name>Host</name>
            <description>If applicable, the person hosting the broadcast piece. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53796">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="175">
            <name>Rights</name>
            <description>Information about rights to the media item. Typically, rights information includes a statement about various property rights associated with the resource, including intellectual property rights.</description>
            <elementTextContainer>
              <elementText elementTextId="53797">
                <text>Rights to WBAI </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="176">
            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
            <elementTextContainer>
              <elementText elementTextId="53798">
                <text>Open reel audiotape</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="177">
            <name>Digital Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="53799">
                <text>MP3</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="178">
            <name>Physical Location</name>
            <description>An address for a physical media item. For an organization or producer acting as caretaker of a media resource, this field may contain information about a specific shelf location for an item, including an organization's name, departmental name, shelf ID and contact information.</description>
            <elementTextContainer>
              <elementText elementTextId="53800">
                <text>Lesbian Herstory Archive</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="180">
            <name>Duration</name>
            <description>Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS</description>
            <elementTextContainer>
              <elementText elementTextId="53801">
                <text>00:30:10</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="183">
            <name>Notes</name>
            <description>Any other notes or information about the media item, including bibliography/research information, contact information, and legacy metadata.</description>
            <elementTextContainer>
              <elementText elementTextId="53802">
                <text>Self-contained</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="53858">
                <text>Lesbian Nation, September 24-25, 1973 [Softball Game; N. O. W. Sports; J. Rawcliffe]</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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            <description>The name given to the media item you are cataloging. It is the unique name everyone should use to refer to or search for a particular media item. There are situations in which no proper or given title is available, e.g., photographs or segments harvested from a longer work or program. In these situations a "supplied title" must be invented and used to name the media item. Be considerate of and sensitive to the end user who is attempting to search for your media item.</description>
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            <description>Uses free-form text to report abstracts, or summaries about the intellectual content of a media item you are cataloging. The information may be in the form of a paragraph giving an individual program description or brief content reviews.</description>
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                <text>Interview with Esther Newton on Matriarchy, pt II;   Newton discusses Jane Alpert, women in tech as a means for freedom. How a male editor rejected her work because she referenced Elizabeth Goul Davis. Martha Shelley plays "Volunteers" by Jefferson Airplane. Newton continues , thinking of new models for women's roles, women's past and women's revolution, not dictated by Marxism or Che Guevara.&#13;
&#13;
Announcements: The Gay Pride program has a new time slot; The first meeting of the Gay Women's Alternative, a collective for women over 30; A dance at 99 Rooster st put together by Lesbian Feminist Liberation; Film and Video Festival from a group called Women Make Movies</text>
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                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Contact LHA at &lt;/span&gt;&lt;a href="mailto:dyv.lha@gmail.com"&gt;&lt;span style="font-weight: 400;"&gt;dyv.lha@gmail.com&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>"Reclaiming Ourselves" - pt. 1 &#13;
Marge Piercy + Jeriana Hilderley: &#13;
&#13;
Announcements: &#13;
Letter from student Tina Crosby from Swarthmore College, asking to be connected to people involved with the Stonewall Riots for her Special Topics in American History research paper. New phone number for Women's Alternative Group (for women over 30) where members can call to find about programs and events. &#13;
&#13;
Radio Free People tape featuring Marge Piercey and Jerian Hilderly&#13;
Marge Piercey recites her poems: "I'm Learning to Not Speak", "A Work of Artifice", "A Shadow Play of Guilt", and "Night Litter". Jerian Hilderley played 3 untitled songs. Members of Painted Women's Theatre accompanied Helderly on her final song. &#13;
&#13;
Martha Shelley closes show with Carl Orff's O Fortuna from Carmina Burana. </text>
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Piercy, Marge;&#13;
Crosby, Tina;&#13;
Painted Women's Theatre</text>
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            <name>Host</name>
            <description>If applicable, the person hosting the broadcast piece. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53830">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="175">
            <name>Rights</name>
            <description>Information about rights to the media item. Typically, rights information includes a statement about various property rights associated with the resource, including intellectual property rights.</description>
            <elementTextContainer>
              <elementText elementTextId="53831">
                <text>Rights to WBAI </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="176">
            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
            <elementTextContainer>
              <elementText elementTextId="53832">
                <text>Open reel audiotape</text>
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            </elementTextContainer>
          </element>
          <element elementId="177">
            <name>Digital Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="53833">
                <text>MP3</text>
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            </elementTextContainer>
          </element>
          <element elementId="178">
            <name>Physical Location</name>
            <description>An address for a physical media item. For an organization or producer acting as caretaker of a media resource, this field may contain information about a specific shelf location for an item, including an organization's name, departmental name, shelf ID and contact information.</description>
            <elementTextContainer>
              <elementText elementTextId="53834">
                <text>Lesbian Herstory Archive</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="180">
            <name>Duration</name>
            <description>Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS</description>
            <elementTextContainer>
              <elementText elementTextId="53835">
                <text>00:29:42</text>
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            </elementTextContainer>
          </element>
          <element elementId="181">
            <name>Music/Sound Used</name>
            <description>Details on music or other sound clips that contributed to the piece. May include title, artist, album, timestamp, producer and record label information.</description>
            <elementTextContainer>
              <elementText elementTextId="53836">
                <text>Carl Orff, "O Fortuna," Carmina Burana</text>
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            </elementTextContainer>
          </element>
          <element elementId="183">
            <name>Notes</name>
            <description>Any other notes or information about the media item, including bibliography/research information, contact information, and legacy metadata.</description>
            <elementTextContainer>
              <elementText elementTextId="53837">
                <text>Self-contained</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="53856">
                <text>Lesbian Nation, November 18, 1973 </text>
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            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="53926">
                <text>Unknown</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="60358">
                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Contact LHA at &lt;/span&gt;&lt;a href="mailto:dyv.lha@gmail.com"&gt;&lt;span style="font-weight: 400;"&gt;dyv.lha@gmail.com&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="643">
        <name>Marge Piercy</name>
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      <tag tagId="475">
        <name>Martha Shelley</name>
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      <tag tagId="348">
        <name>Stonewall</name>
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    </tagContainer>
  </item>
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          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53729">
                  <text>Lesbian Nation radio program, 1972-1974</text>
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              </elementTextContainer>
            </element>
            <element elementId="86">
              <name>Alternative Title</name>
              <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
              <elementTextContainer>
                <elementText elementTextId="53730">
                  <text>Lesbian Nation, wbai-fm 99.5</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53731">
                  <text>Shelley, Martha</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="53732">
                  <text>wbai-fm, 99.5</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53733">
                  <text>1972-1974</text>
                </elementText>
              </elementTextContainer>
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            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53734">
                  <text>Shelley, Martha</text>
                </elementText>
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            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="54575">
                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Lesbian Nation was a groundbreaking radio show produced and hosted by Martha Shelley that specifically focused and revolved around the LGBTQ community during the rise of gay and lesbian liberation movements of the 1970s.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Martha Shelley (b. 1943) is best known for her involvement in lesbian feminist activism. After college, Shelley joined the Daughters of Bilitis, a lesbian civil and political rights organization, eventually becoming president of the New York chapter. Shelley was one of the early members of the Gay Liberation Front (GLF), established immediately after the Stonewall Riots and which advocated for LGBT and minority rights. Additionally, Shelley wrote for several publications and was an avid advocate for civil rights and the pro-choice movement.&lt;br /&gt;&lt;br /&gt;&lt;a href="http://herstories.prattinfoschool.nyc/omeka/collections/show/93"&gt;Other audio recordings&lt;/a&gt; donated to the LHA and associated with Martha Shelley can also be found among this website's collections.&lt;/span&gt;&lt;/p&gt;</text>
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              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="5">
      <name>Sound</name>
      <description>A resource whose content is primarily intended to be rendered as audio.</description>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="7">
        <name>PBCore</name>
        <description>PBCore is a metadata standard for audiovisual media developed by the public broadcasting community. See http://www.pbcore.org/documentation/</description>
        <elementContainer>
          <element elementId="164">
            <name>Date Created</name>
            <description>The original date that the media item was created. In the case of raw interviews, the date on which the interview was conducted. Format: YYYY-MM-DD</description>
            <elementTextContainer>
              <elementText elementTextId="53838">
                <text>1973-06-08</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="165">
            <name>Date Broadcast</name>
            <description>The date on which the audio was originally broadcast. Format: YYYY-MM-DD</description>
            <elementTextContainer>
              <elementText elementTextId="53839">
                <text>1973-06-08</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="166">
            <name>Identifier</name>
            <description>Best practice is to identify the media item (whether analog or digital) by means of an unambiguous string or number corresponding to an established or formal identification system if one exists. We recommend using the item's Omeka URL. (e.g., http://myomeka.com/items/show/1) If you are using the Internet Archive Plugin, this field will be autofilled.</description>
            <elementTextContainer>
              <elementText elementTextId="53840">
                <text>LHA_Audio_001</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="167">
            <name>Title</name>
            <description>The name given to the media item you are cataloging. It is the unique name everyone should use to refer to or search for a particular media item. There are situations in which no proper or given title is available, e.g., photographs or segments harvested from a longer work or program. In these situations a "supplied title" must be invented and used to name the media item. Be considerate of and sensitive to the end user who is attempting to search for your media item.</description>
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              <elementText elementTextId="53841">
                <text>Lesbian Nation</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="168">
            <name>Episode Title</name>
            <description>If applicable, the episode or piece to which a media item contributed.</description>
            <elementTextContainer>
              <elementText elementTextId="53842">
                <text>In Search of Sappho</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="169">
            <name>Series Title</name>
            <description>If applicable, the larger series to which the episode or piece contributed.</description>
            <elementTextContainer>
              <elementText elementTextId="53843">
                <text>Lesbian Nation, wbai-fm 99.5</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="170">
            <name>Description</name>
            <description>Uses free-form text to report abstracts, or summaries about the intellectual content of a media item you are cataloging. The information may be in the form of a paragraph giving an individual program description or brief content reviews.</description>
            <elementTextContainer>
              <elementText elementTextId="53844">
                <text>Interview with Frances Doughty on works of Sappho: produced by Martha Shelley; &#13;
Classical scholar Frances Doughty and Martha Shelley discuss the book In Search of Sappho, the echos of Sappho across ancient Greek and Roman writings, and Doughty reads and translates Sappho's poetry from the original Greek.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="171">
            <name>Creator</name>
            <description>Identifies a person or organization primarily responsible for creating a media item. The creator may be considered an author and could be one or more people, a business, organization, group, project or service. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53845">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="172">
            <name>Interviewee</name>
            <description>The person(s) being interviewed. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53846">
                <text>Doughty, Frances</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="173">
            <name>Interviewer</name>
            <description>The person(s) conducting the interview. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53847">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="174">
            <name>Host</name>
            <description>If applicable, the person hosting the broadcast piece. (For personal names use "LastName, FirstName MiddleName, Suffix").</description>
            <elementTextContainer>
              <elementText elementTextId="53848">
                <text>Shelley, Martha</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="175">
            <name>Rights</name>
            <description>Information about rights to the media item. Typically, rights information includes a statement about various property rights associated with the resource, including intellectual property rights.</description>
            <elementTextContainer>
              <elementText elementTextId="53849">
                <text>Rights to WBAI </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="176">
            <name>Physical Format</name>
            <description>The format of a particular version or rendition of a media item as it exists in an actual physical form that occupies physical space (e.g., a tape on a shelf), rather than as a digital file residing on a server or hard drive.</description>
            <elementTextContainer>
              <elementText elementTextId="53850">
                <text>Open reel audiotape</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="177">
            <name>Digital Format</name>
            <description/>
            <elementTextContainer>
              <elementText elementTextId="53851">
                <text>MP3</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="178">
            <name>Physical Location</name>
            <description>An address for a physical media item. For an organization or producer acting as caretaker of a media resource, this field may contain information about a specific shelf location for an item, including an organization's name, departmental name, shelf ID and contact information.</description>
            <elementTextContainer>
              <elementText elementTextId="53852">
                <text>Lesbian Herstory Archive</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="180">
            <name>Duration</name>
            <description>Provides a timestamp for the overall length or duration of the audio. Represents the playback time. Format: HH:MM:SS</description>
            <elementTextContainer>
              <elementText elementTextId="53853">
                <text>00:27:11</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="182">
            <name>Date Peg</name>
            <description>A holiday or other date relevant to the item (e.g., Christmas, Yom Kippur, Independence Day).</description>
            <elementTextContainer>
              <elementText elementTextId="53854">
                <text>Gay and Lesbian Pride Month 1973</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="53855">
                <text>Lesbian Nation, June 8, 1973 [In Search of Sappho] </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="97">
            <name>Access Rights</name>
            <description>Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.</description>
            <elementTextContainer>
              <elementText elementTextId="60018">
                <text>Pacific Radio Archives has given institutions permission to provide access to the digitized work online. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owner.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="125">
            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="60028">
                <text>Pacifica Radio Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="60348">
                <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Contact LHA at &lt;/span&gt;&lt;a href="mailto:dyv.lha@gmail.com"&gt;&lt;span style="font-weight: 400;"&gt;dyv.lha@gmail.com&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="https://creativecommons.org/licenses/by-nc-nd/4.0/"&gt;&lt;span style="font-weight: 400;"&gt;Licensed under CC BY-NC-ND&lt;/span&gt;&lt;/a&gt;&lt;/p&gt;</text>
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            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="213">
        <name>History</name>
      </tag>
      <tag tagId="475">
        <name>Martha Shelley</name>
      </tag>
      <tag tagId="187">
        <name>Poetry</name>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Lesbian Nation radio program, 1972-1974</text>
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            </element>
            <element elementId="86">
              <name>Alternative Title</name>
              <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
              <elementTextContainer>
                <elementText elementTextId="53730">
                  <text>Lesbian Nation, wbai-fm 99.5</text>
                </elementText>
              </elementTextContainer>
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            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53731">
                  <text>Shelley, Martha</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="53732">
                  <text>wbai-fm, 99.5</text>
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            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="53733">
                  <text>1972-1974</text>
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              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
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                  <text>Shelley, Martha</text>
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            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="54575">
                  <text>&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Lesbian Nation was a groundbreaking radio show produced and hosted by Martha Shelley that specifically focused and revolved around the LGBTQ community during the rise of gay and lesbian liberation movements of the 1970s.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Martha Shelley (b. 1943) is best known for her involvement in lesbian feminist activism. After college, Shelley joined the Daughters of Bilitis, a lesbian civil and political rights organization, eventually becoming president of the New York chapter. Shelley was one of the early members of the Gay Liberation Front (GLF), established immediately after the Stonewall Riots and which advocated for LGBT and minority rights. Additionally, Shelley wrote for several publications and was an avid advocate for civil rights and the pro-choice movement.&lt;br /&gt;&lt;br /&gt;&lt;a href="http://herstories.prattinfoschool.nyc/omeka/collections/show/93"&gt;Other audio recordings&lt;/a&gt; donated to the LHA and associated with Martha Shelley can also be found among this website's collections.&lt;/span&gt;&lt;/p&gt;</text>
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      <name>Sound</name>
      <description>A resource whose content is primarily intended to be rendered as audio.</description>
      <elementContainer>
        <element elementId="159">
          <name>File Size</name>
          <description/>
          <elementTextContainer>
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              <text>254 MB</text>
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          </elementTextContainer>
        </element>
        <element elementId="157">
          <name>Date Digitized</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="53960">
              <text>2020-09-15</text>
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          </elementTextContainer>
        </element>
        <element elementId="188">
          <name>Annotation</name>
          <description>Notes from the physical carrier of the item (as written on box, casing, etc.)</description>
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            <elementText elementTextId="53965">
              <text>Mono</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="53948">
                <text>Lesbian Nation, November 20, 1972</text>
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            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="53949">
                <text>LHA_Audio_010</text>
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          </element>
          <element elementId="112">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="53950">
                <text>00:33:25</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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