Queer Resilience:
Self Expression
Portrait of a Femme: Dr. Marjorie J. Hill , 1995.
01
Portrait of a Femme
This photograph is entitled “Portrait of a Femme: Dr. Marjorie J. Hill”. As the title suggests, the woman in the woman in the photograph is Dr. Majorie J. Hill. She was the CEO of the Gay Men’s Health Crisis (GMHC) and a member of the Salsa Soul Sisters. The photographer, Morgan Gwenwald, was a member of a small group of openly lesbian photographers who emerged during the early days of the gay rights movement in the US. The photograph was taken and published in 1995 in a book called The Femme Mystique. In publishing this book, Lesléa Newman aimed to create a collection of stories, poems, essays
and photographs that captured femme lesbian identity. An important moment in queer history that required endless resilience to endure was the HIV/AIDS crisis. During the height of the HIV/AIDS crisis, both straight and lesbian women became fierce allies for gay men (How to Survive). They were often in crucial positions in foundations and on the front lines of protests supporting those that they shared community with. The impact of Hill’s work with the GMHC was felt by so many that people were extremely vocal in their support of her when she was allegedly fired from her position as CEO. As a black gay woman, Hill herself modeled and encouraged resilience with her work in the field of HIV and AIDS activism. Seeing a darker skinned Black woman having her femme identity be not only acknowledged but also celebrated is rare even today. Black women throughout history have been fetishized and masculinized to an absurd degree, so much so that the character of the femme lesbian has often not been shown in proximity to blackness in most media and in LGBTQ+ spaces. This does not mean that Black lesbians are content with this exclusion either. In fact, in a study done about labels amongst African American lesbians in Chicago, Bianca D.M. Wilson found that labels like ‘stud’ and ‘femme’ are used quite often. She concluded the following: “This study highlighted that femme and stud roles were a dominant norm operating within this African American lesbian community, yet there were clearly informal and less dominant sexual discourses, which included an integration of masculine and feminine forms of representation” (Wilson 310). It is important to discuss and make known the intersectionality that exists within the LGBTQ+ community. Newman recognized this which is why she made a point to include femmes from a variety of backgrounds.
02
“Mister (or is it Miss?) Weirdo”
Mister (or is it Miss?) is an article written by Judy Wade about the English musician Boy George, who caused quite a stir at the time of the article’s publication in 1982 with his non-normative look. Wade questions Boy George and his family members on what makes him choose to “look like a girl” and what other people think about his choice. His family, the O’Dowds, do not fret over how Boy George opts to express himself, rather focusing on who he is as a person. Boy George asserts that he just enjoys dressing the way he likes to and that it does not indicate anything peculiar about his sexuality; in fact, he states that he is multisexual—a queer identity falling on the bi-spectrum (Eisner)—
“Mister (or is it Miss?) Weirdo” by Judy Wade (1982).
and that he does not limit himself due to there being so much to discover. Boy George’s way of expressing himself acts as an example as to how queer individuals choose to convey their identities and personalities through their appearances. Gender identity is how one chooses to showcase their gender through their physical appearance, name, and pronouns (GLAAD). It is a misconception that one's outward appearance must align with the stereotypical manifestations of gender that are dictated by society. Boy George also challenges that misconception by dressing in a manner not expected of his gender identity, but as he states throughout the article, it is not a big deal, and the only thing special about him is that he simply dresses well, not strangely. The simple act of showcasing one’s own identity in a way that matches their internal thoughts and feelings is an everyday act of queer resilience that countless people enact every day.
03
“You Make Me Feel (Mighty Real)” (1978) by Sylvester
"You Make Me Feel (Mighty Real)" is a 1978 disco hit by Sylvester. It ranks second on Billboard's "The 100 Greatest LGBTQ+ Anthems of All Time" list, and in 2019 it was selected to be preserved in the Library of Congress' recording registry (Ross). Coming out during a time when queer identity was still heavily stigmatized, the song's unapologetic celebration of joy, sensuality, and authenticity gave queer listeners a rare
opportunity to see themselves reflected in mainstream music. Sylvester was a flamboyant and openly gay Black artist who utilized his androgynous style and falsetto to challenge rigid gender norms and stereotypes. His music brought queer energy onto the dance floor, and with the help of disco clubs-particularly in San Francisco-turning into spaces of liberation where self-expression was not only accepted but celebrated, his pulsating rhythm and empowering lyrics welcomed queer people to embrace their identities and freedom in a world trying to silence them (Banner). Not only did Sylvester create impactful music for his community, but he was also an activist. He regularly performed benefit concerts to raise money for AIDS support organizations (AIDS Emergency Fund, Project Open Hand). Speaking about how HIV/AIDS was ripping through queer Black communities in San Francisco (Harrington). Sylvester was among the first musicians to publicly state he had AIDS and died from the disease. The San Francisco queer community loved Sylvester so much that at one point they gave him a standing ovation that lasted over 10 minutes long at the Castro Street Fair. He was too ill to attend the event but greeted the fans from his balcony. “You Make Me Feel (Mighty Real)” is a historically important song because it is a symbol of pride and resilience in the queer community. The presence of this song on charts represents visibility and power for queer artists in the late 1970s, thus helping to open doors for other queer musicians to come (Bannister). Sylvester challenged societal expectations and became a forerunner of queer representation (Ross). He continues to serve as an inspiration for artists such as RuPaul, Lady Gaga, and Janelle Monáe. Today, the song remains both a celebration of queer joy and a testament to the power of authenticity-an anthem that reminds generations of listeners that being "mighty real" means living one's truth unapologetically (Ross).
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04
"Recreation" by Audre Lorde
Published in 1997, “Recreation” is a poem that was written by Audre Lorde. Lorde is a writer, activist, professor, and a proud lesbian. She is often quoted using the following words to describe herself: "Black, lesbian, feminist, socialist, mother, warrior, poet". She advocated for civil rights and published several books before her death in 1992. “Recreation” was included in one of her books of poetry, The Collected Poems of Audre Lorde. In the poem, she illustrates a physical union between two people which seems to transcend their own bodies and the world around them. She spent her adult life sharing her creative talent and using it to speak out against racism, homophobia, sexism and classism; all of which were systems that she suffered at the hands of as well. She got her bachelors degree from Hunter College and her Master of Legal Studies from Columbia University. Later on down the line, she got married and divorced before meeting Frances Clayton, the lesbian psychologist with whom she lived and had a relationship with for about 20 years. Her writing is now cited in countless college classes and intersectional feminist discussions. The way that Lorde writes about love and intimacy is captivating and brilliantly inspired by her own love of women.