Leather Archives & Museum: 25 Years (1991-2016) [digital]
The official catalog celebrating the 25th Anniversary of the Leather Archives & Museum. The catalog features essays, collection photographs, and highlights over the LA&M's institutional life.
The official catalog celebrating the 25th Anniversary of the Leather Archives & Museum. The catalog features essays, collection photographs, and highlights over the LA&M's institutional life.
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AT THE 1992 INTERNATIONAL MR.<br />
LEATHER CONTEST, I ANNOUNCED THE<br />
ESTABLISHMENT OF THE LEATHER ARCHIVES<br />
& MUSEUM. SINCE THAT TIME, WE HAVE<br />
BEEN ABLE TO START THE COLLECTION AND<br />
TO BEGIN PRESERVING OUR LEATHER<br />
HISTORY. WE ARE BEGINNING TO DEVELOP<br />
OUR MATERIALS FROM DONATIONS MADE<br />
OVER THE PAST 18 MONTHS. INDIVIDUALS<br />
HAVE SENT US MATERIAL AND MANY HAVE<br />
MADE SPECIFIC BEQUESTS TO THE LEATHER<br />
ARCHIVES & MUSEUM IN THEIR WILLS. WE<br />
HAVE BEGUN TO DEVELOP A COLLECTION OF<br />
MOTORCYCLE RUN PARAPHANALIA REPRE-<br />
SENTING THE PAST 20 YEARS. THIS<br />
COLLECTION INCLUDES RUN PINS, PATCHES,<br />
AND SEVERAL 8MM FILMS OF ACTUAL RUNS.<br />
WE HAVE ALSO RECEIVED SOME CO-<br />
LLECTIONS AND PERSONAL PAPERS FROM<br />
INDIVIDUALS, INCLUDING SUCH ITEMS AS<br />
DIARIES AND CORRESPONDENCE FROM<br />
EARLY LEADERS IN THE LEATHER<br />
COMMUNITY.<br />
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LEATHER<br />
ARCHIVES<br />
&<br />
MUSEUM:<br />
<strong>25</strong> YEARS<br />
<strong>1991</strong>-<strong>2016</strong><br />
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Copyright © <strong>2016</strong> by the <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong><br />
All rights reserved. This book or any portion thereof may not be reproduced or used in any<br />
manner whatsoever without the express written permission of the publisher except for the<br />
use of brief quotations in a book review or scholarly journal.<br />
First Printing: <strong>2016</strong><br />
ISBN 978-0-692-80656-2<br />
Edited by Jakob VanLammeren and José Santiago Pérez<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong><br />
6418 N. Greenview Ave.<br />
Chicago, Illinois 60626<br />
www.leatherarchives.org<br />
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CONTENTS<br />
Excerpt from “Report from the President.”<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> News, Vol. 1 No. 1. May 1994………..4<br />
Preface…………………………………………………………………………….12<br />
INTRODUCTION<br />
“On <strong>25</strong> <strong>Years</strong> of <strong>Leather</strong> History”<br />
by Chuck Renslow……………………………………………………….17<br />
“Twenty Five <strong>Years</strong> of <strong>Leather</strong> History as Evidence”<br />
by Rick Storer…………………………………………………………….21<br />
LOOKING BACK<br />
“The <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>:<br />
Some Pre-History” by Dr. Gayle Rubin… ………………..…………...<strong>25</strong><br />
“Foundations: Dom Orejudos,<br />
the Artist Etienne” by Dwight Skeates…………………………..……..35<br />
“From the LA&M Collections:<br />
A Photo Essay” by José Santiago Pérez ...……………………………40<br />
“Memory and the Power of Place:<br />
Meditations on <strong>Archives</strong> and Community at the LA&M”<br />
by Jakob VanLammeren………………………………………………..55<br />
LOOKING FORWARD<br />
Program Highlight: Women’s <strong>Leather</strong> History Program……………………...63<br />
Collections Highlight: Sailor Sid Piercing Collection………………………….64<br />
Exhibition Highlight: Excavating Experience:<br />
Presence of LGBTQ People of Color in Cook County, IL……………67<br />
Research Highlight:<br />
Visiting Scholar Program………………………………………………..68<br />
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“Reflections on the 2014/2015 Visiting Scholar Program”<br />
by Lily Emerson, 2014/2015 Visiting Scholar…………………………69<br />
GRATITUDE<br />
Top 10 Donors……...……………………………………………………………75<br />
Current Members and Donors……………………………….…………………76<br />
Board of Directors: <strong>25</strong> <strong>Years</strong> of Service……………………………….…..….80<br />
<strong>25</strong> <strong>Years</strong> of Staff…………………………………………………….…………...82<br />
Volunteers and Interns…………………………………………………………..83<br />
Image Credits…………………………………..………………………………...89<br />
Sponsors……………………………………………………………………….....98<br />
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PREFACE<br />
O<br />
ur collective, personal, and institutional histories and memories are material,<br />
embodied, and linguistic. Objects, however, deteriorate over time. The body eventually<br />
expires. And language is often unstable. History and memory, then, are never static or<br />
definitive.<br />
The stories we tell ourselves often shift and change depending on their context -- when their<br />
told and under what circumstances. Our histories and collective memories are always dynamic<br />
and subject to critical commentary, re/vision, and retelling.<br />
The institutional memory of the <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> is similarly complex and any<br />
attempt to encapsulate a quarter century of institutional life will always be partial, in both<br />
senses of the word. This catalog, <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>: <strong>25</strong> <strong>Years</strong>, is not intended as a<br />
comprehensive account of the archival, programmatic, and exhibition history of the LA&M. The<br />
occasion of our <strong>25</strong> th Anniversary, however, affords us an opportunity to pause and reflect on<br />
this institution’s trajectory – where it’s been, where it is, and what it might become – as well as<br />
highlight a handful of stops along its unfolding narrative.<br />
In Cruising Utopia: The Then and There of Queer Futurity (2009), the late queer and<br />
performance theorist José Esteban Muñoz suggests that in order to imagine and envision a<br />
(queer) future, we must perform the simultaneous double-optics of looking back and gazing<br />
forward in the present moment. In this catalog we attempt to do that through its form and<br />
content. We also recognize the importance of multiple ‘gazings’ and include the critical<br />
reflections and meditations of various contributors.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>: <strong>25</strong> <strong>Years</strong> is organized into four sections. The “Introduction”<br />
includes statements by Founder and President, Chuck Renslow, and Executive Director, Rick<br />
Storer. “Looking Back” is a collection of essays by cultural anthropologist and founding board<br />
member, Dr. Gayle Rubin, Toronto-based community volunteer, Dwight Skeates, and Archivist<br />
and Collections Librarian, Jakob VanLammeren. This section also includes a photo essay by<br />
Patron Services Representative, José Santiago Pérez. “Looking Forward” attempts to lay the<br />
groundwork for envisioning the LA&M’s possible futures by surveying present or recent<br />
institutional milestones and achievements. In “Gratitude” we end this ‘partial telling’ by<br />
reflecting and acknowledging the fierce commitment, passion, dedication, and contributions of<br />
those that support the LA&M’s mission to collect, preserve, maintain, and exhibit our leather<br />
histories.<br />
The sections that comprise <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>: <strong>25</strong> <strong>Years</strong> are a testament of how far<br />
we’ve come since the LA&M’s inception at the International Mr. <strong>Leather</strong> contest in 1992. What<br />
began as Chuck Renslow’s mission to preserve the legacy and memory of Dom Orejudos/<br />
Etienne and leather history amidst the AIDS crisis has now evolved into a respected and<br />
professional institution at the forefront of <strong>Leather</strong>/kink/BDSM/fetish scholarship, research, and<br />
collections. Currently these materials are comprised of artifacts, objects, letters, documents,<br />
artworks, published materials, leathers, ephemera, and stories. We can only dream what the<br />
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future holds—the continual shifts and evolutions in identity, codes, and subcultures within<br />
alternative and radical sex communities will generate collections and materials we cannot yet<br />
begin to imagine. What we are sure of is that, with your continued support, the <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong> will thrive in its mission and vision to preserve this future history for<br />
generations of kinky people to come.<br />
Jakob VanLammeren and José Santiago Pérez<br />
Editors<br />
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INTRODUCTION<br />
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FROM THE FOUNDER:<br />
ON <strong>25</strong> YEARS OF LEATHER HISTORY<br />
This year the <strong>Leather</strong> <strong>Archives</strong> and <strong>Museum</strong> celebrates its <strong>25</strong> th<br />
anniversary. Officially, LA&M began in <strong>1991</strong>, but the real story<br />
is much older. It began in the 1950's when my partner, Dom<br />
Orejudos, and I opened Kris Studios. Through Dom's artistic<br />
ingenuity and my photography skills we produced photo sets of<br />
bodybuilders – beefcake, the predecessor of gay porn. We took<br />
the best of these photos back home to our basement for<br />
packaging and fulfillment. Unfortunately, a sewer flood in the<br />
1960's destroyed the best of the negatives and left me very<br />
aware of the necessity for safe storage.<br />
As the artist Etienne, Dom continued to produce drawings and<br />
paintings starting in the 1950's and continuing until his too early<br />
death in <strong>1991</strong>. A noted erotic artist, Dom's art had been used<br />
to promote and identify a number of businesses around the<br />
world, including our own International Mr. <strong>Leather</strong>, The Gold<br />
Coast <strong>Leather</strong> Bar and Man’s Country Baths. Left with this<br />
treasure trove of sketches and finished pieces, and concerned<br />
about their preservation, I began contacting art museums in<br />
Chicago, San Francisco and New York. Each museum<br />
expressed an interest, but they all wanted to pick<br />
and choose which pieces they'd accept into their<br />
collections. I felt it better to keep the entire<br />
collection intact. I decided to create a foundation<br />
to hold Dom's art.<br />
During a conversation with my good friend and<br />
Drummer publisher, Tony DeBlase, I mentioned<br />
the foundation. Tony talked me down. He felt<br />
foundations didn't last. “What you need is a<br />
museum,” he suggested. By the time that<br />
conversation ended, the concept of LA&M was<br />
born. In addition to all of Etienne's art, I'd pledged<br />
my Gold Coast, IML and Kris Studios archives and<br />
Tony pledged his archives from Drummer<br />
Magazine.<br />
Our first museum was a storefront at 5013 N. Clark<br />
Street, next door to my bathhouse and my<br />
office. It had a small display area and larger back<br />
storage room which quickly overflowed with other<br />
collections and donations arriving every week. We<br />
were in the thick of the AIDS epidemic and with<br />
each death, families and friends were unknowingly<br />
tossing our history into dumpsters. That there was<br />
a safe place to conserve that history simply made<br />
more sense. I asked Barry Johnson to join us on<br />
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the first board of directors and we hired our<br />
first curator, Joseph Bean. In no time, the<br />
museum was useless as the archives filled<br />
every space.<br />
Both Tony and I strongly believed we<br />
needed to own the building housing the<br />
collection. If that property was owned by a<br />
tax exempt 501 c(3) non-profit, it would be<br />
free from real estate and other taxes. We<br />
eventually located the old Greenview Center<br />
for the Performing Arts which had occupied<br />
an even older Jewish synagogue. We<br />
needed $60,000 for the down payment but<br />
only had $3,000. From the IML stage,<br />
Joseph Bean made an emotional appeal for<br />
funds and we passed the baskets. Through<br />
the generosity of the leather men and<br />
women assembled that night, we raised an<br />
incredible $58,000 in cash, checks and<br />
pledges. Within a few months the building<br />
was ours.<br />
A short 5 years later we were facing a<br />
balloon payment and again turned to the<br />
leather/fetish community for assistance. I<br />
honestly don't know how we did it but when<br />
the smoke cleared it was the smoke coming<br />
from a mortgage burning ceremony. With<br />
the help of a lot of dedicated people and<br />
through the generosity of the entire<br />
community, we owned 6418 N. Greenview<br />
free and clear.<br />
While its hard to top the mortgage burning<br />
ceremony, we can be proud of the continued<br />
good work done in the name of the leather/<br />
fetish community. Day-to-day, the work of<br />
the <strong>Leather</strong> <strong>Archives</strong> and <strong>Museum</strong> continues<br />
both to save our history and make it<br />
available to the public as a whole.<br />
Chuck Renslow<br />
Founder/President<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong><br />
April <strong>2016</strong><br />
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FROM THE EXECUTIVE DIRECTOR:<br />
TWENTY FIVE YEARS OF LEATHER HISTORY AS EVIDENCE<br />
When I reflect on twenty-five years of <strong>Leather</strong> History at the LA&M, I see evidence:<br />
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Evidence that we can achieve great things when a community comes together working<br />
toward one goal<br />
Evidence that we grow by leaps and bounds when we pay attention to inclusiveness<br />
Evidence that kinky people under 35 thirst to know where they came from<br />
Evidence that people and organizations donate collections and resources with many<br />
different motivations and they are all valid.<br />
Evidence that we can fuck and care at the same time<br />
This evidence confirms what I already know about the history of the LA&M. This institution<br />
was built by a community from the ground up. More importantly, this evidence provides<br />
clues about the next twenty-five years of <strong>Leather</strong> History and the LA&M. As society<br />
demands justice for all, as kinky people continue to seek sexual freedom and<br />
enlightenment, as scholars fill their journals and lectures with leather culture, and as sexual<br />
adventurers seek acceptance of their fierce independence, evidence is always key.<br />
In the next twenty-five years, evidence will be used as a weapon against anti-sex rhetoric<br />
and hearsay. Evidence will be used as a tool to disprove harmful stereotypes. Evidence<br />
will be used as a light to illuminate beautiful people and organizations that are still hidden<br />
and concealed. Evidence will be used as a loudspeaker to amplify who we are, what we<br />
do, and the undeniable pride in ourselves. The LA&M was built to acquire, save and<br />
provide access to this evidence. I am agog to witness the amazing things we will achieve<br />
together using our evidence.<br />
Happy <strong>25</strong>th Anniversary LA&M!<br />
Rick Storer<br />
Executive Director<br />
July <strong>2016</strong><br />
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LOOKING BACK<br />
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THE LEATHER ARCHIVES & MUSEUM:<br />
SOME PRE-HISTORY<br />
T<br />
he LA&M is one of the most<br />
significant accomplishments of the<br />
late 20 th century movement for the<br />
rights, dignity, improved status, and selfacceptance<br />
of the leather and kink<br />
populations. And I will be forever grateful to<br />
Chuck Renslow and Tony DeBlase for their<br />
key roles in making one of my most<br />
cherished dreams come true. I hope some<br />
of the pre-history and early history of the<br />
institution can provide a perspective on its<br />
importance. What follows is not a<br />
comprehensive account of the early history<br />
of the LA&M, but rather those aspects in<br />
which I was involved and of which I have<br />
direct knowledge.<br />
When I began collecting, compiling, and<br />
documenting leather history in the late<br />
1970s, it was a more or less unthinkable<br />
project, for several reasons. There was the<br />
pervasive stigmatization of the community<br />
and its assortment of sexual practices. In<br />
turn, this general disreputability was largely<br />
responsible for the way knowledge about<br />
these sexualities and its practitioners was<br />
produced and circulated. At the academic<br />
level, SM and fetishism were considered<br />
mental diseases, and were mainly<br />
addressed in the psychiatric literature. At<br />
the popular level, most writing about<br />
leather, SM, and fetishism was published<br />
as porn. There were exceptions, such as<br />
Terry Andrews’ Story of Harold, The Real<br />
Thing by William Carney, the fiction of Phil<br />
Andros (Sam Steward), and of course,<br />
Larry Townsend’s The <strong>Leather</strong>men’s<br />
Handbook. But these were relatively rare,<br />
and both Steward and Townsend’s books<br />
were produced and marketed as porn. So<br />
was Drummer, the most significant of the<br />
leather magazines. Pauline Reage’s Story<br />
of O, then one of the most notable works of<br />
(predominantly) heterosexual SM erotica,<br />
was published by Olympia Press, which<br />
occupied a kind of netherworld between<br />
pornography and avant-garde fiction.<br />
One of the largest impediments to<br />
developing any sort of credible leather<br />
history was the scarcity of primary source<br />
material. The kinds of research libraries<br />
and archives that make serious historical<br />
work possible did not collect leather and<br />
SM materials. Again, there were exceptions,<br />
such as the Kinsey Institute in<br />
Bloomington, Indiana, to which I soon<br />
made the first of several pilgrimages. In<br />
addition, there was a nascent interest<br />
within leather communities on their history.<br />
Some of the then-active leather organizations<br />
began to feature programs on aspects of<br />
leather history. Among the most important<br />
of these was New York’s GMSMA (Gay<br />
Male SM Activists), founded in 1980. For<br />
example, in 1982, one of GMSMA’s early<br />
programs was on SM in New York City in<br />
the 1950s. This panel discussion featured<br />
some of the founders of the New York<br />
leather scene. It was recorded, and I had it<br />
transcribed; it remains an invaluable<br />
document of early leather life in the US.<br />
Earlier in 1982, GMSMA had a program on<br />
SM art and artists. This was presented by<br />
Louis Weingarden, who ran Stompers, a<br />
boot store and leather art gallery in New<br />
York’s Greenwich Village. Weingarden and<br />
his gallery were on the leading edge of a<br />
resurrection of gay male leather art in the<br />
late 1970s and early 1980s. Stompers<br />
hosted the first Tom of Finland show in the<br />
United States, as well as shows featuring<br />
artists such as Steve Masters, Kenneth<br />
Anger, Quaintance, Blade, Colt, Rex, Olaf,<br />
Domino, Brick, Lou Rudolph, and Etienne.<br />
However, in 1978 when I rather quixotically<br />
undertook a dissertation project on the<br />
history and social organization of gay male<br />
leather and SM in San Francisco, the<br />
primary material was sparse and relatively<br />
inaccessible to researchers. Most of what<br />
<strong>25</strong>
did exist was in private hands: garages,<br />
attics, trunks, and dresser drawers. And that<br />
was just what people had kept or admitted to<br />
having. A lot of irreplaceable documentation<br />
had already been thrown away, or was<br />
considered an embarrassment.<br />
This situation was not an unfamiliar one for<br />
those of us who had already been working on<br />
gay and lesbian histories. When I came out,<br />
circa 1970, I immediately wanted to learn<br />
about lesbianism and spent a few years<br />
absorbing whatever sources I could locate.<br />
Like leather, lesbianism and male homosexuality<br />
had long been classified as psychiatric<br />
problems, so most of the scholarly literature<br />
consisted of medical texts on the diagnosis<br />
and treatment of these “diseases.” There<br />
were also pornography, pulp fiction, and<br />
some serious literature (including a handful of<br />
books such as The Price of Salt, Patricia<br />
Highsmith’s pseudonymously published novel,<br />
recently made into the feature film Carol,<br />
2015). The gay liberation and radical feminist<br />
press was in its earliest phases, producing at<br />
that point mainly leaflets, manifestos, and<br />
newspapers. In addition, there was the<br />
considerable body of research and analytic<br />
work that had been generated by the<br />
homophile movement and its press: the<br />
Mattachine Review, One, The Ladder, and<br />
The One Institute Quarterly: Homophile<br />
Studies. The homophile era researchers had<br />
also begun to assemble both bibliographies<br />
and actual libraries of gay and lesbian books<br />
and periodicals. However, even the homophile<br />
publications, despite their importance, were<br />
rarely collected by major research<br />
institutions, and the homophile era library<br />
collections were mostly in storage. Until the<br />
1970s, these gay and lesbian sources were<br />
scarce, difficult to find, and largely<br />
inaccessible.<br />
Like many of the then mostly young gay<br />
liberation era scholars, I quickly ran up<br />
against the lack of sources and the dearth of<br />
institutional repositories for the LGBT knowledges<br />
that had been accumulated by our<br />
predecessors. With the emergence of gay<br />
liberation, the older library projects enjoyed<br />
something of a renaissance, and something<br />
new emerged as well: community based<br />
collections of archival documents, art and<br />
artifacts. One of the first of these in the<br />
United States was the Lesbian Herstory<br />
<strong>Archives</strong> (LHA), inaugurated in 1974, and<br />
housed for many years in the New York City<br />
apartment of Joan Nestle and Deb Edel. I first<br />
heard about the LHA when I ran into Joan<br />
and Deb at a conference of the Gay<br />
Academic Union, also in New York City,<br />
probably in 1976. Two years later, when I<br />
moved to the San Francisco Bay Area to start<br />
my leather project, I fell in with the newly<br />
formed San Francisco Lesbian and Gay<br />
History Project. This was a loose assortment<br />
of people investigating various aspects of<br />
queer history, and almost all of us found that<br />
in order to do our research, we also had to<br />
become collectors. In contrast to most<br />
historians, who can go to established<br />
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archives maintained by entities such as<br />
governments, universities, and private foundations,<br />
we had to engage in a process of primary<br />
accumulation of sources. Many of the<br />
members of this History Project, such as<br />
Allan Berube and Eric Garber, began to haunt<br />
garage sales and used bookstores in search<br />
of evidence of San Francisco’s queer past.<br />
Berube’s project on gay men and lesbians<br />
during World War II began when someone<br />
cleaning out an apartment found a box of<br />
letters and knew enough to turn it over to<br />
Allan. This happy accident lead to Allan’s<br />
1990 book, Coming Out Under Fire.<br />
As the only person in the History Project<br />
working on leather and SM (at that time<br />
extremely controversial and severely stigmatized<br />
even in LGBT contexts), I began to collect SM<br />
and leather materials: books, periodicals,<br />
manuscripts, art work, ephemera, and<br />
artifacts. Much of the history of leather social<br />
events then was recorded in artifacts, such as<br />
commemorative pins from motorcycle runs.<br />
So I collected lots and lots of run pins.<br />
Because cigarette smoking was still<br />
ubiquitous, almost every gay bar and<br />
restaurant, including those that catered to the<br />
leather population, provided matchbooks with<br />
their logos and addresses. So I collected<br />
matchbooks. Since fisting was in its most<br />
popular heyday, almost every bar or retail<br />
outlet patronized by fisting aficionados<br />
provided emery boards, so that people could<br />
work on their manicures while having a drink<br />
or picking up their mail. So I collected emery<br />
boards. I assembled a complete run of<br />
Drummer, and began to subscribe to<br />
publications such as DungeonMaster and<br />
PFIQ. I amassed a small library of leather<br />
related books.<br />
At the time, there was really nowhere to<br />
deposit this growing collection of research<br />
materials, since neither the Gay Lesbian<br />
Bisexual Transgender Historical Society<br />
(GLBTHS) in San Francisco nor the <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong> yet existed. Much of<br />
what would become the basis of the GLBTHS<br />
periodicals collection was stored in the small<br />
apartment of Willie Walker, one of its eventual<br />
founders. My collection began to occupy an<br />
extra bedroom, then two. What is now the<br />
One <strong>Archives</strong> was still mostly in storage,<br />
although in 1979 it was opened as the Natalie<br />
Barney/Edward Carpenter Library in a<br />
Hollywood storefront. That storefront doubled<br />
as the living quarters of its custodian, Jim<br />
Kepner, who slept on a cot in the basement.<br />
When the storefront closed, the collection<br />
went back into storage. These kinds of<br />
situations were clearly unsustainable as long<br />
term arrangements. Moreover, even once the<br />
GLBTHS and the LA&M were finally<br />
established (the GLBTHS in 1985 and the<br />
LA&M in 1992), they were underfunded,<br />
poorly housed, had little or no staff, and were<br />
extremely unstable.<br />
My experience in the emerging worlds of<br />
GLBT history had taught me the importance<br />
of such institutions for sexually marginal<br />
communities. It was clear that if we did not<br />
collect and preserve our source materials, no<br />
one else would. It was equally clear that it<br />
was not enough for individuals to undertake<br />
the work of accumulation, and that durable<br />
institutions were required to guarantee the<br />
long term survival, preservation, and usability<br />
of such collections. Furthermore, for such<br />
institutions to endure, they required money:<br />
for operating funds, buildings, supplies, and<br />
staff. At some point I realized that leather<br />
peoples needed our own community based<br />
archives, similar to those that had begun to<br />
spring up for GLBT collections. So I began to<br />
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speak about the need for such a project and<br />
to pester anyone I knew about how to make it<br />
happen. One of those was Tony (Anthony F.)<br />
DeBlase.<br />
I had gotten to know Tony DeBlase in 1979,<br />
when he first began to publish<br />
DungeonMaster. I got to know him better<br />
when he and Andy Charles bought Drummer<br />
and moved to the Bay Area in 1986. Tony<br />
was a leather activist and visionary, among<br />
whose many accomplishments were the<br />
introduction of the leather pride flag and the<br />
establishment of leather pride week in San<br />
Francisco. He was also a leather intellectual,<br />
and was someone who thought deeply about<br />
leather knowledge and its transmission. Tony<br />
had a PhD in mammalogy, with a specialty in<br />
bats. He had authored A Manual of<br />
Mammalogy (2001) as well as a book on the<br />
bats of Iran. Having worked in natural history<br />
museums, including several years when he<br />
was employed at the Field <strong>Museum</strong> in<br />
Chicago, he had a great deal of experience<br />
with academic research collections.<br />
When Tony discovered his interests in SM<br />
and <strong>Leather</strong>, he turned his well honed scholarly<br />
habits to the intensive study of SM technique.<br />
And once he acquired his considerable<br />
expertise, he began a long career of teaching<br />
it. He came up with the idea of “SandMutopia<br />
University,” a fantasy college of all things<br />
kinky. He conducted and organized countless<br />
workshops and classes, and envisioned<br />
DungeonMaster as a kind of professional<br />
technical journal of sadomasochism.<br />
In 1986, a group of leather activists in Seattle<br />
founded the National <strong>Leather</strong> Association<br />
(NLA) and kicked off a new era of national<br />
leather political and social mobilization.<br />
Through its “Living in <strong>Leather</strong>” weekends, the<br />
NLA pioneered the format of the “leather<br />
conference,” with workshops, plenary<br />
sessions, and dungeon parties. Such<br />
conferences– later dubbed “leatherathons”–<br />
were something new. There were of course<br />
SM educational groups, but these generally<br />
held meetings once or twice a month. The<br />
gay motorcycle clubs sponsored weekend<br />
bike runs featuring socializing, entertainment,<br />
and plenty of partying. And there was the<br />
Chicago Hellfire Club’s legendary annual<br />
Inferno. But Inferno was by invitation only,<br />
restricted to men, and the educational<br />
workshops (of which DeBlase was also a<br />
major organizer) were adjuncts to the main<br />
event, the extensive dungeon party. By<br />
contrast, anyone could register for Living in<br />
<strong>Leather</strong>, which was open to both men and<br />
women, and whose workshops were as<br />
important as the parties.<br />
Tony and I were among those who<br />
enthusiastically welcomed the formation of<br />
NLA, and participated in most of its early<br />
events. We both attended the first Living In<br />
<strong>Leather</strong>, and the subsequent “May Day”<br />
event, in Seattle. Tony began to actively<br />
promote the NLA in the pages of Drummer.<br />
At the third Living in <strong>Leather</strong> (Portland, 1988),<br />
Tony, Geoff Mains, Sheree Rose and I did a<br />
panel on the “History of <strong>Leather</strong>/SM<br />
Organizations. The description read: “What<br />
are the historic roots of our current<br />
organizations? Who were the founders, what<br />
were the goals then, and have they been<br />
achieved?”<br />
The emergence of the NLA did not go<br />
unchallenged. Regional rivalries quickly<br />
surfaced. Some activists from New York,<br />
primarily from GMSMA, did not recognize the<br />
NLA as a legitimate vehicle for the national<br />
movement. They began working to set up a<br />
competing organization. This jockeying for<br />
leadership of the emerging national leather<br />
28
constituency led to the acrimonious and<br />
largely disastrous meeting in Dallas, Texas,<br />
in the winter of 1989.<br />
Instead of supporting either the existing NLA<br />
or the GMSMA plan, the Dallas meeting<br />
produced another organization, dubbed<br />
SSCA (Safe Sane Consensual Adults). The<br />
SSCA was doomed from the outset. Its<br />
structure was an attempt at a compromise of<br />
the competing visions, but the result was a<br />
clumsy hybrid that pleased no one. Although<br />
SSCA had been designed to appease the<br />
GMSMA contingent and maintain its<br />
involvement, GMSMA and its allied groups<br />
(mainly East Coast and predominantly gay<br />
male) almost immediately withdrew their<br />
support, and appeared to be as hostile<br />
toward SSCA as they had been toward the<br />
NLA. With the collapse of the compromise,<br />
SSCA was absorbed into the NLA.<br />
Unfortunately, the NLA was forced to<br />
incorporate the untenable structural features<br />
of SSCA that had been adopted on behalf of<br />
a partnership that no longer existed, and<br />
which NLA had neither wanted nor needed.<br />
However, along with its awkward structure,<br />
SSCA had formalized a statement of purpose<br />
that included an explicit commitment to<br />
leather history, and this goal was injected into<br />
the official agenda of the NLA. Back in Dallas,<br />
when it became evident that a new leather<br />
organization was going to be formed, a group<br />
of us was sitting in a Denny’s trying to<br />
salvage the situation and preserve the hope<br />
of national leather political unity. I do not<br />
recall the exact composition of this group,<br />
although I know Tony was part of it. In any<br />
case, we drafted a statement of principles for<br />
what became SSCA, and it read as follows:<br />
This organization is dedicated to the following<br />
purposes: To help build, strengthen and<br />
defend those groups and individuals involved<br />
in SM, <strong>Leather</strong>, and other fetishes; to<br />
promote the right of adults to engage in all<br />
safe, sane, and consensual erotic activities;<br />
to promote increased communication and<br />
cooperation among our organizations,<br />
individuals, and businesses everywhere; to<br />
promote education about safe, sane, and<br />
consensual behavior within our own<br />
communities; to convey an accurate, positive<br />
image of our interests and lifestyles; to unite<br />
against threats to our freedom of expression,<br />
our right to free association, and our right to<br />
equal protection under the law; and to<br />
preserve a record of our history, traditions,<br />
and culture (my emphasis).<br />
When SSCA was incorporated into the NLA,<br />
so was much of this language. The clause on<br />
preserving leather history was included<br />
verbatim in the NLA International statement<br />
of purpose. So much for intent. It is much<br />
easier to fantasize about new institutions than<br />
to generate them.<br />
By <strong>1991</strong>, I had been elected to the Executive<br />
Committee of the NLA, and took this as an<br />
opportunity to try to operationalize that history<br />
clause. The first job was to try to figure out<br />
what archives the NLA itself had, and secure<br />
their conservation. Most of those records<br />
were then in Seattle, in the possession of two<br />
the NLA principals. They sent me an<br />
inventory of what they had stored in their<br />
apartment. In a report to the Executive<br />
Committee, I enumerated the conservation<br />
needs of the collection and requested funds<br />
be budgeted for archival storage materials. I<br />
also noted that both my own collection and<br />
that of the NLA were “challenging the limits of<br />
available space” and needed some repository<br />
other than the residences of individuals. I<br />
concluded my report with the following:<br />
One of the most pressing needs we have as<br />
a national community is for a stable, well<br />
funded, soundly run national leather/SM/<br />
fetish archives/museum/library. Such an<br />
enterprise needs several things, most<br />
critically a suitable building and an<br />
endowment sufficient to hire staff to manage<br />
the collections and to pay for the materials<br />
needed to properly care for them....The need<br />
is urgent. Private apartments can only hold<br />
our history for a limited time, and everything<br />
other than a separate institution is a stop-gap<br />
measure.<br />
My long term recommendations are, therefore,<br />
29
that the effort to create an institutional infrastructure<br />
for the leather/kink “historical society” be given<br />
attention and energy. Once a non-profit<br />
corporation is set up and a board installed,<br />
fundraising for the “historical society” should<br />
become one of the funding priorities stressed<br />
by the NLA. We should make that a big part<br />
of our message to the leather community.<br />
Even now we should be encouraging people<br />
of history. One of the main ways material gets<br />
lost forever is when people die and do not<br />
make some kind of provision to save it. I have<br />
painful personal knowledge of many fantastic<br />
collections of artifacts that have been either<br />
deliberately destroyed by heirs, or tossed in<br />
the garbage by people who knew nothing of<br />
their value. Even before we have a perfect<br />
facility, we need to be reminding people of<br />
the need to provide for their photos, run pins,<br />
club insignia, club documents, newsletters,<br />
posters, art work, etc. And if we can also<br />
provide even a temporary repository, we will<br />
be doing a great service. If there is a nonprofit<br />
organization set up, we can also encourage<br />
people to include it in their estate planning<br />
(Report to the NLA Executive Committee,<br />
May 21. <strong>1991</strong>).<br />
Little of this ambitious agenda was<br />
accomplished by the NLA itself, and<br />
realistically, the organization was not ideally<br />
equipped to do so. In retrospect, the attempt<br />
to establish a single, general-purpose<br />
organization charged with doing everything<br />
the leather communities needed was far less<br />
viable than establishing single-purpose<br />
organizations with more specialized<br />
functions. However, NLA did play a critical<br />
role in the transition to what would become<br />
the LA&M.<br />
to donate their memorabilia either to the NLA<br />
or to someone willing to be a custodian until<br />
there is a better place to put the stuff. NLA<br />
could even do what the local San Francisco<br />
lesbian and gay historical society did for<br />
many years and rent a storage locker to store<br />
the material until there is a better place to<br />
house it. We might want to budget for such a<br />
storage locker and appoint someone to<br />
receive the material in the interim. Whoever<br />
does receive it should have some knowledge<br />
of how to store it so that it will not deteriorate<br />
while it is in the locker…<br />
In this time of so much morality, a lot of our<br />
community’s past is landing on the junk heap<br />
Tony DeBlase was also a member of that<br />
same NLA Executive Committee, and later<br />
that year, he coordinated the educational<br />
programs for Living In <strong>Leather</strong> VI, held in<br />
Chicago. He arranged a workshop called<br />
“Preserving Our <strong>Leather</strong> Past.” He appointed<br />
me as chair, and rounded out the panel with<br />
Woody Bebout, that year’s Mr. Drummer, and<br />
Chuck Renslow, whose own varied career<br />
made him one of the most consequential<br />
figures of leather in the 20 th century. The<br />
workshop description read: “A report on the<br />
need for, and the movement towards,<br />
preserving a record of our past and the<br />
establishment of a national <strong>Leather</strong> Archive.<br />
Thoughts on the preparation of wills and<br />
other methods of seeing that historically<br />
important documents, works of art, and other<br />
items are preserved.”<br />
As I recall, my own contribution focused on<br />
the kinds of storage media needed for<br />
archival preservation, and their expense. In a<br />
conversation with Chuck Renslow after the<br />
30
workshop, I was surprised and delighted to<br />
discover that Chuck knew all about acid-free<br />
folders. He told me he was the archivist for<br />
his Lodge, and was conversant with the<br />
technical issues of preservation. What I did<br />
not know then was that he and Tony had<br />
evidently been having their own discussions<br />
about the need for a leather archives. Despite<br />
not knowing about their plans, it was not<br />
exactly a shock when I heard that Chuck–<br />
with his enormous resources and vast<br />
experience in business and in community<br />
organizations– had gone ahead and<br />
incorporated a <strong>Leather</strong> <strong>Archives</strong> in the state<br />
of Illinois. It is my understanding that Chuck<br />
and Tony were primarily responsible for<br />
establishing the LA&M, and they both then<br />
played crucial roles in its development.<br />
Chuck announced its formation at the 1992<br />
IML. Shortly after, Tony asked me to join the<br />
fledgling Board of Directors, which of course,<br />
I did eagerly. I attended my first meeting of<br />
the Board in 1992, and served on it until<br />
2000. In the fall of 1993, I penned a short<br />
article for Quarterlink, an NLA publication,<br />
called “Saving <strong>Leather</strong> History: Preliminary<br />
Guidelines.”<br />
As someone wrote in the Wikipedia entry on<br />
the LA&M, at that point, in the early 1990s, it<br />
was still an “idea struggling to take form.” In<br />
the decades since, that struggle has<br />
produced a permanent building, a substantial<br />
budget, paid staff, and a full-time archivist.<br />
Many people have made this happen: first<br />
and foremost, Chuck Renslow and Tony<br />
DeBlase, as well as Joseph Bean, Rick and<br />
Jeffrey Storer, and countless volunteers,<br />
donors, board members, and fundraisers.<br />
In the earliest days, it was mainly Chuck and<br />
Tony who kept the idea afloat and helped the<br />
LA&M grow. Chuck provided most of the<br />
organizational stability, operational funding,<br />
and our first physical location: a storefront<br />
adjoining his bathhouse, Man’s Country. Tony<br />
brought his professorial training and his<br />
curatorial background to developing its<br />
collections and its knowledge base. In<br />
addition, Tony ultimately brought us Joseph<br />
Bean. Joseph was an accomplished artist<br />
and writer when Tony hired him, in 1989, to<br />
edit Drummer and its affiliated leather<br />
publications. After Tony and Andy sold<br />
Drummer, Joseph became the manager of<br />
Mr. S <strong>Leather</strong> in San Francisco. Joseph<br />
subsequently edited International <strong>Leather</strong>man<br />
and its group of leather and bear magazines.<br />
When that business foundered and Joseph<br />
became available, Tony and Chuck jumped<br />
on the chance to hire him. When he arrived at<br />
the <strong>Archives</strong> as its first executive director in<br />
1997, Joseph brought a formidable set of<br />
skills and contacts developed through nearly<br />
a decade in high-level leather managerial<br />
positions. He was later, along with Renslow<br />
and DeBlase, instrumental in moving the<br />
<strong>Archives</strong> to its current home.<br />
No one should underestimate what a<br />
stunning achievement the LA&M is. Building<br />
institutions is no small task, and building<br />
stable institutions out of marginal sexual<br />
communities is nearly impossible. Maintaining<br />
them is just as challenging. Institutions and<br />
organizations are like buildings: if they are not<br />
maintained, they fall into ruin. The roof will<br />
leak, the animals will nest, and when the<br />
plants take root the walls will crumble. The<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> will only survive<br />
if it has the resources, personnel, and<br />
community support to keep it going. And we<br />
must make certain that it has what it needs to<br />
persevere and to flourish.<br />
I hope this narrative makes clear why the<br />
LA&M is so near and dear to my own<br />
passions and priorities. But it is also a<br />
precious treasure, a crown jewel of the<br />
leather populations. It is certainly not perfect.<br />
I have noted with considerable despair a<br />
tendency within many communities– and not<br />
just the leather worlds– to gripe and carp<br />
about everything that does not flawlessly<br />
meet our desires and expectations. Our<br />
institutions are often treated as if they have<br />
the stability of major social entities: the big<br />
museums, for example, or major universities,<br />
or the government. But our institutions are<br />
much smaller, much less affluent, and far<br />
more fragile. They can and will easily fail if we<br />
31
do not ensure their survival. Sure, the LA&M<br />
needs more diversity. It needs more<br />
collections. It needs to be more accessible.<br />
But it also needs more space in which to<br />
store those collections, more staff to tend to<br />
them, more acid-free boxes and folders, and<br />
more money to pay for it all. The LA&M is still<br />
becoming what it can be. And it will be what<br />
we make it.<br />
Gayle Rubin<br />
Ann Arbor<br />
February <strong>2016</strong><br />
With warm gratitude to Gerard Koskovich and<br />
Jakob VanLammeren for their generous fact<br />
checking and excellent editorial suggestions.<br />
32
33
34
Foundations: Dom Orejudos, the artist Etienne<br />
I<br />
am an archives volunteer at the <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong>, an archivist by<br />
profession, and an unabashedly proud<br />
Etienne devotee. Some of my earliest<br />
experiences of self-acceptance and celebration<br />
as a young leatherman involved locating my<br />
desires within Etienne’s amazing artwork in<br />
the pages of Drummer, In-Touch For Men,<br />
the Storytime series and the complete<br />
Meatmen comic. I couldn’t get enough of<br />
his art! I made visits to the Glad Day<br />
Bookstore in Toronto while still a student to<br />
gobble up all I could find of his life and<br />
artwork.<br />
When I heard of Dom’s passing in the gay<br />
press, I think it was the first time I had ever<br />
cried over the loss of someone I didn’t even<br />
personally know. More than anything or<br />
anyone else, Etienne lead me to the LA&M.<br />
By the late 1990’s, I had heard that his<br />
works had been collected, preserved, and<br />
exhibited there; I knew I had to make a<br />
pilgrimage, if for no other reason than to feel<br />
his presence, thank him in spirit, and offer<br />
my own services to help preserve his legacy<br />
in any way I could.<br />
The first time I visited the LA&M and entered<br />
the Auditorium, I was overwhelmed—blown<br />
away, actually. A sense of profuse warmth<br />
washed over me and I sat down, quietly and<br />
by myself, surrounded by all these<br />
wonderful original murals. My emotions<br />
overwhelmed me and tears just started<br />
rolling down my face. I think it was so many<br />
things: the joy of being with his spirit; being<br />
in Chicago, where his leather life and lore<br />
began. And simultaneously feeling sadness,<br />
knowing that he left us far too early, like so<br />
many of his generation and those since. To<br />
be honest, those same feelings still wash<br />
over me every time I enter the LA&M.<br />
Most know and celebrate Dom Orejudos as<br />
the gay erotic artist Etienne and/or Stephen,<br />
but he was also a dancer, choreographer,<br />
humorist, voracious reader, observer,<br />
teacher, lover, storyteller and kinkster. He<br />
was a devoted and caring man to both his<br />
biological and chosen families. Dom was a<br />
man of immense talent, humility and honor.<br />
Founding Editor-in-Chief of Drummer<br />
magazine and gay historian Jack Fritscher<br />
described him as, “a sweet, gentle man.”<br />
Domingo (‘Dom’) Francisco Stephen<br />
Orejudos was a man whose life and art was<br />
intrinsically woven into the evolution of gay<br />
and <strong>Leather</strong> culture in the second half of<br />
twentieth century America. His legacy<br />
remains a beacon for <strong>Leather</strong> and Kink folk<br />
around the world, and his story opens the<br />
door to enjoying and learning all the <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong> has to offer. More than<br />
perhaps any other person, his spirit<br />
pervades the LA&M and its raison d’etre,<br />
the Etienne Artwork Collection.<br />
Dom Orejudos, the artist Etienne<br />
Born of Italian and Philippino parents in<br />
1933 Chicago, Dom Orejudos grew up with<br />
an impish and driven desire to draw, often<br />
sketching in grammar school class. As a<br />
young adult, his early influences included<br />
famed gay artist George Quaintance, whose<br />
classical style and settings were reflected in<br />
Dom’s seminal works in the 1950’s and<br />
early 1960’s. His men were often presented<br />
in period and situational settings and this<br />
would become a trademark of his<br />
renderings. Etienne, however, took gay<br />
erotic art to new levels Quaintance only<br />
dreamed of, revelling unashamedly in all<br />
the throws and ecstasies of male-dom.<br />
Dom began his drawing career in<br />
Tomorrow’s Man #8 (1953) and quickly<br />
became the artist-in-residence for Kris<br />
35
Magazine. He took on the name Etienne,<br />
French for Stephen, his middle name, for his<br />
traditional oil, acrylic and graphite panels,<br />
storylet tableaux and Stephen, for his more<br />
thematic pen and ink comics-style fetish<br />
creations. He was a great storyteller, always<br />
with a narrative, and became well known for<br />
his multi-paneled story arcs, ranging from six<br />
to over twenty panels long.<br />
As noted, Dom pushed boundaries. One of<br />
his early Kris Art storylets, “The Young<br />
Warriors,” featured full frontal nudity in mail<br />
order sets very early on. While, indicative of<br />
the time, he suggestively drew his subjects<br />
with strategic coverings, many of his original<br />
works and stories were later altered or<br />
redrawn to show full nudes. Never classically<br />
trained in life drawing, some of his works<br />
were proportioned to a less even degree than<br />
others but never exaggerated to unbelievable<br />
nor grotesque extremes. What was in<br />
evidence, was his innate ability to draw the<br />
male form from any angle, often to best effect<br />
viewing from above or below, to emphasize<br />
the power of dominance and submissiveness<br />
of certain positions, especially of captives. He<br />
exhibited an uncanny appreciation and<br />
knowledge of the body’s physiology and<br />
musculature.<br />
eroticism.<br />
By the early 1970s, Dom was splitting his<br />
time between Chicago and a back country<br />
house in Pennsylvania . Here, he had the<br />
chance to concentrate on his art over longer<br />
periods, resulting in some very masterful and<br />
long “Stephen” story series, which he<br />
completed while resident artist for friend Lou<br />
Thomas’ Target Studios. These published<br />
works included the Adventuretime series,<br />
Meatman, Star Trick, and Troopship, to name<br />
a few (many of which were re-released in the<br />
1980s as part of Falcon Studio’s Storytime<br />
books). Pen and ink drawings for most of<br />
these are found in the Original Art Collection,<br />
while published versions are in the Teri Rose<br />
Library.<br />
These drawings were accompanied by story<br />
text, written by Dom himself, as well as<br />
notable kink writers such as Jeff Kincaid. The<br />
comic series gave Dom an opportunity to<br />
introduce a high degree of dry humor. He put<br />
his men into situations entirely implausible or<br />
impossible in real life and often with<br />
excruciating degrees of BDSM, but his humor<br />
Striving for artistic perfection, some other<br />
early works were reworked and reinvented<br />
into new series (example: Jack from the<br />
unpublished “Cop Rape” series became Sgt.<br />
Mack McAllister in “Marine Training”).<br />
Throughout the 1960s and 1970s, his work<br />
quickly developed its own recognizable style,<br />
reflecting a high degree of realism and of the<br />
masculine ideal, not to mention, Dom’s own<br />
fetish leanings. His rendered chests became<br />
broader, clothing succumbed to ripping and<br />
his feet --booted, sneakered, socked, or<br />
naked, received a particular emphasis. Other<br />
fetishes given the spotlight were military<br />
(seminally, Navy) uniforms, cowboys,<br />
superheroes and, of course, <strong>Leather</strong>/Levi.<br />
Also present but rarely seen were nods to<br />
watersports and scat. From the beginning,<br />
Dom strived for meticulous, fully-rendered<br />
detail in his primary subjects. His acrylics and<br />
oils showed an intense if not brooding<br />
masculinity, with rich brushstrokes and great<br />
depth. His graphite works often took a week<br />
to build and fully shade, as Dom felt that<br />
facial expression was crucial to conveying<br />
36
ought them down to earth and made them<br />
accessible. His drawings were perversely<br />
enjoyable, especially at a time when the<br />
scourge of AIDS was making real-life<br />
hedonism less and less possible. His Trip to<br />
<strong>Leather</strong>land series, with its array of fun<br />
gadgets, is a prime example.<br />
Occasionally, he referenced friends and<br />
lovers in his works. For example, in the<br />
Garage series, he pays tribute to his friend<br />
Durk Dehner, Tom of Finland Foundation<br />
Chair and inaugural IML contestant. As<br />
another example of the importance of Dom’s<br />
masonite so they could be transported from<br />
location to location; it was this incredible<br />
foresight that allows the LA&M to preserve<br />
and exhibit these incredible murals today.<br />
chosen family as expressed in his art, the<br />
final panel of his Subway Savages series<br />
shows newspapers which, on close reading,<br />
give a nod to partners Renslow and Bob<br />
Yuhnke, amongst others.<br />
Perhaps most famously, Dom painted<br />
original murals for the Gold Coast (starting in<br />
1960 at the 1130 North Clark Street location,<br />
Man’s Country, Zolar’s, Mineshaft, and Club<br />
Baths Kansas City. After the murals at the<br />
original Gold Coast location (1130 North<br />
Clark Street) had to be painted over when<br />
the bar moved, Etienne used plywood and<br />
While a large number of Dom’s original<br />
works were destroyed in a studio flood, the<br />
LA&M has amassed much of Dom’s early<br />
oeuvre in the Periodicals in the Rose Library,<br />
the Original Art and Posters collections in the<br />
archive, and within the Dom Orejudos<br />
Collections, the Chuck Renslow Collection<br />
and the Bob Yuhnke Collection on Dom<br />
Orejudos.<br />
Chuck Renslow, Kris Studios,<br />
International Mr. <strong>Leather</strong>, LA&M<br />
Dom first encountered Chuck Renslow on<br />
Oak Street beach in Chicago in 1950.<br />
Instantly drawn to each other, Dom moved in<br />
with Chuck and in 1954. They forged the<br />
physique photography business, Kris<br />
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Studios, which they ran until 1969. Kris’<br />
photographic studio was originally set up in<br />
the back area of the Triumph Gym, also a<br />
Renslow-Orejudos collaboration, and many<br />
of the gym’s patrons found their way into the<br />
pages of Kris, the studio’s physique<br />
magazine. It was within the pages of Kris<br />
that Etienne launched his artistic career,<br />
earning a living through mail order photo<br />
prints of his drawings and art series’. Jack<br />
Fritscher experienced the gym and the<br />
scene it begat first hand early-on. In 1969,<br />
he was first introduced to Dom and later<br />
‘married’ into the Renslow clan when he met<br />
and partnered with Gold Coast bartender<br />
David Sparrow. He took many of his<br />
“Chicago values” with him when they moved<br />
to San Francisco in 1969, roots<br />
which played an important role in his<br />
association with Drummer and American<br />
leather heritage. Dom and Jack became<br />
lifelong friends.<br />
By the time they closed Kris Studios, Chuck<br />
and Dom had already become successful<br />
business managers and owners of a series<br />
of gay men’s gathering places in Chicago,<br />
from the Triumph Gym to the Hi-Lo Bar, to<br />
the various reincarnations of the Gold Coast<br />
bar (beginning in 1958), to Man’s Country<br />
bathhouse. Together, they also founded<br />
International Mr. <strong>Leather</strong> in 1979, for which<br />
Dom produced much of the contest’s<br />
promotional art and its logo, served many<br />
years as Head Judge, along with judging<br />
roles at other leather contests across the<br />
U.S.<br />
Although most know Dom through his visual<br />
art and involvement in the Chicago leather<br />
community of the 50s to the 80s, he was a<br />
passionate and talented dancer from early in<br />
life. Dom served with the Ellis-DuBoulay<br />
School, Illinois Ballet Company, New<br />
Orleans Ballet Company, Southeast<br />
Regional Ballet Association and others as a<br />
student, dancer, teacher, choreographer,<br />
composer, mentor, and judge. Orejudos<br />
danced with the Illinois Ballet from 1958, at<br />
the age of sixteen, until 1973, eventually<br />
becoming resident choreographer, principal<br />
dancer, and associate director of the<br />
company. The Dom Orejudos Dance Papers<br />
at the Newberry Library in Chicago hold<br />
correspondence, clippings, photographs,<br />
programs, sketches, and audiovisual<br />
material relating to Orejudos' dance career<br />
and to the Illinois Ballet.<br />
Fritscher commented on the relation<br />
between Dom’s dance sensibilities and his<br />
visual art, noting, “His talent for dramatic<br />
movement and story arcs, developed on<br />
stage in his choreography, informed his<br />
cartoon-strip narratives.”<br />
The Dom Orejudos Collection at the LA&M<br />
holds keys to this more personal side of<br />
Dom, ranging from photograph albums,<br />
leather clothing and vest, personal letters<br />
and business correspondence, souvenirs,<br />
buttons, an oral history recorded in 1984,<br />
and of course, his amazing oeuvre of art.<br />
Sadly, Dom passed away of AIDS in <strong>1991</strong>.<br />
Chuck Renslow, his partner of forty years by<br />
that point, had been selling off some of<br />
Dom’s work to pay for experimental medical<br />
innovations to help treat Dom’s advanced<br />
AIDS diagnosis. Upon his passing, Chuck<br />
inherited Dom’s artwork and knew he<br />
couldn’t sell it off, nor trust it to a foundation<br />
or gallery. Friend Tony DeBlase (creator of<br />
the <strong>Leather</strong> Pride Flag, early Chicago<br />
Hellfire Club member, and publisher of<br />
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DungeonMaster newsletter and Drummer<br />
magazine) and academic/historian Dr. Gayle<br />
Rubin (founding member of Samois, The<br />
Outcasts, International Ms. <strong>Leather</strong>)<br />
suggested that Chuck start a museum and<br />
use a section of it to display and preserve<br />
Dom’s art. Together, Renslow, DeBlase,<br />
Rubin, and other early LA&M Board members<br />
set the wheels in motion and the <strong>Leather</strong><br />
Dwight Skeates<br />
LA&M Volunteer<br />
August <strong>2016</strong><br />
<strong>Archives</strong> & <strong>Museum</strong> was formally launched at<br />
the 1992 International Mr. <strong>Leather</strong> contest.<br />
One large part of the LA&M’s early mission<br />
was to forever preserve the artwork, artifacts<br />
and legacy of Etienne, and to collect the<br />
materials of other leather artists and<br />
trailblazers as well. Dom Orejudos served as<br />
one of the major motivating forces for the<br />
creation of this very institution, which will<br />
continue to grow and flourish with the<br />
contributions and support of like-minded<br />
leatherfolk, kinksters, researchers,<br />
academics, and historians for generations to<br />
come.<br />
Dom helped usher the celebration of gay life<br />
into the mainstream. He and his partner<br />
Chuck Renslow were among the first to push<br />
the envelope of gay erotic photography<br />
beyond its cloaked public guise of physique<br />
posing and into the realm of leather, BDSM,<br />
kink, and fetish. He was one of the first to<br />
release to the public unabashedly ‘gay’ art<br />
and with nudity at that. He was one of the first<br />
to bring art to the burgeoning <strong>Leather</strong> Mural<br />
Movement and thanks in large part to him,<br />
gay bars became, in essence, the first gay art<br />
galleries. Dom was a true innovator in art,<br />
photography and dance. More than anything<br />
else though, Dom was a passionate family<br />
man, so evidenced by his albums, interviews<br />
and oral histories, all housed at the LA&M.<br />
He was devoted to his biological family, his<br />
mother and brother, as well as to his <strong>Leather</strong><br />
Family and all <strong>Leather</strong>folk with whom he had<br />
made a connection through his art and life.<br />
39
FROM THE LA&M COLLECTIONS: A PHOTO ESSAY<br />
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MEMORY AND THE POWER OF PLACE:<br />
MEDITATIONS ON ARCHIVES AND COMMUNITY AT THE LA&M<br />
T<br />
he collections of the <strong>Leather</strong> <strong>Archives</strong><br />
& <strong>Museum</strong> are not passive, idle.<br />
These materials are living and active.<br />
Sweat stains on the armpits of a bar vest;<br />
Etienne murals, handwritten letters of<br />
adoration and worship; newsletters about S/<br />
M technique; organizational bylaws, event<br />
ephemera, run planning documents; t-shirts,<br />
leathers, denims, uniforms; thousands of<br />
original artworks by greats such as kd<br />
diamond, Rex, Steve Masters, Jacki<br />
Randall. Mistress Mir’s corset; homemade<br />
and distributed pornographic films; oral<br />
history interviews. At the <strong>Leather</strong> <strong>Archives</strong> &<br />
<strong>Museum</strong>, these are just some of the sexual<br />
objects, memories, histories, club and<br />
organizational records, and artifacts that<br />
have become museum, library and archival<br />
materials.<br />
As a community archive, we have been on<br />
the forefront of collecting, describing,<br />
preserving, and providing access to leather<br />
history for the past <strong>25</strong> years.<br />
Andrew Flinn, Mary Stevens, and Elizabeth<br />
Shepherd are U.K.-based archival scholars,<br />
and they provide the following definition of<br />
community archives:<br />
Community <strong>Archives</strong> are ‘collections of material<br />
gathered primarily by members of a given<br />
community and over whose community members<br />
exercise some level of control. This allows both for<br />
collections that are sustained entirely independent<br />
of mainstream heritage institutions and those that<br />
receive support in some form from such<br />
organizations. Indeed, we argue that the defining<br />
characteristic of community archives is the active<br />
participation of a community in documenting and<br />
making accessible the history of their particular<br />
group and/or locality on their own terms’. (Source:<br />
Andrew Flinn, Mary Stevens, and Elizabeth<br />
Shepherd, ‘Whose Memories, Whose <strong>Archives</strong>?<br />
Independent Community <strong>Archives</strong>, Autonomy and<br />
the Mainstream’, Archival Science, 9 (2009), 71-<br />
86).<br />
At the LA&M, archival work is guided by<br />
principles and best practices of the<br />
professional field while simultaneously<br />
integrating the unique language,<br />
descriptors, and cultural meaning of the<br />
materials we collect. It has been incredible<br />
to apply both of these methods and<br />
practices to the LA&M collections. From<br />
preservation assessments to deacidification,<br />
rehousing to foldering, encapsulation,<br />
integrating materials into archival sleeves,<br />
metadata structures, catalog records,<br />
digitization, volunteer and intern<br />
management, completion of collectionsbased<br />
projects, exhibits, and processing—<br />
the archive at the LA&M is an active,<br />
55
academics, and alternative sex communities<br />
alike. Therefore, work with archival holdings<br />
at the LA&M means approaching every<br />
collection with respect and honor,<br />
recognizing the specific needs of those<br />
holdings on a micro level, and<br />
understanding the interrelatedness of these<br />
collections and their context on a macro<br />
level.<br />
meaningful, and crucial part of the LA&M’s<br />
mission and vision.<br />
Archival work at the LA&M is emotional,<br />
physical, and cerebral. The core values of<br />
archivists are access and use, accountability,<br />
advocacy, diversity, history and<br />
memory, preservation, professionalism,<br />
responsible custody, selection, service, and<br />
social responsibility. As the archivist at the<br />
LA&M, I feel a dual responsibility — a<br />
responsibility to you all, members of the<br />
alternative sex and culture communities, as<br />
well as a responsibility to educate and<br />
provide access to a history that has been<br />
systematically and systemically ignored and<br />
kept out of traditional repositories.<br />
Our existence as a museum, archive, and<br />
Sexuality collections are compelling many<br />
institutions to examine how certain histories<br />
have experienced archival silencing and/or<br />
erasure; the LA&M collections have<br />
furthered the conversations and reexamination<br />
of evidence, documentation,<br />
and value of historical materials. Community<br />
museums, libraries, and archives are pivotal<br />
in this shift. Digital access to these<br />
(formerly) hidden collections, including<br />
associated metadata and controlled<br />
vocabulary used to describe these<br />
materials, provide dialogue and clarity within<br />
BDSM/leather/alternative sex communities<br />
as well as history and archival communities<br />
about the importance of identity and cultural<br />
formation connected to radical sexuality.<br />
LA&M collections will continue to uncover<br />
the relevance, interdisciplinary historical<br />
impact, enduring value, and significance of<br />
alternative sexuality within scholarship,<br />
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library disrupts and challenges the notions<br />
that 1: explicit materials should not be<br />
embodied in traditional repositories, and 2:<br />
that these materials are too inappropriate to<br />
be “on display.” Through primary source<br />
represented within the collections, but for the<br />
history of American cultural and identity<br />
development in the 20th and 21st centuries. I<br />
am eager to see the cultivation of<br />
professionalism, access, and expansion of<br />
the collections over the next <strong>25</strong> years, and<br />
the impact that the LA&M will continue to<br />
have long into the future.<br />
Jakob VanLammeren, MLIS<br />
August <strong>2016</strong><br />
materials and collections, the LA&M provides<br />
evidences of how the history of alternative<br />
sex and culture can help elucidate the<br />
sociosexual history of American culture. The<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> is a sacred<br />
place that excites and enraptures. We are<br />
learning more and more that our sexual<br />
identities are pivotal to understanding<br />
ourselves and our histories, and the LA&M as<br />
an institution is poised on the forefront of<br />
providing evidence of this through our<br />
collections and exhibits.<br />
Sometimes I pace around the archives room,<br />
strategizing about the selection and<br />
processing plans for the next collections;<br />
sometimes volunteers and interns and I laugh<br />
hysterically and have to take a dance break<br />
after putting thousands of letters and<br />
drawings into archival quality sleeves. Often,<br />
we get teary at the beauty and resilience of<br />
leather communities loving, teaching, and<br />
supporting each other through history.<br />
The LA&M is a profoundly moving place: a<br />
living entity; a site of memorial; a place for<br />
collective memories to be exhibited, to live.<br />
For <strong>25</strong> years the LA&M has provided a space<br />
for both people within <strong>Leather</strong>/kink/BDSM/<br />
fetish communities, and also for those who<br />
aren’t in the community to explore the history<br />
of alternative sex and sexuality. I urge<br />
everyone to visit the LA&M, explore, and<br />
learn about why alternative sex history is<br />
important not just for the communities<br />
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LOOKING FORWARD<br />
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THE FUTURE<br />
The future of the LA&M is exhilarating. The commemoration of our <strong>25</strong>th<br />
anniversary shows the perseverance and power within the <strong>Leather</strong> / BDSM /<br />
kink / fetish communities to formalize the professional collection and<br />
documentation of this incredible and unique history.<br />
The social impact of archives is just starting to be felt on an individual and<br />
institutional level: in the development of personal and community identities,<br />
preservation of culture, historical context and significance, and representations<br />
of communities by communities. You are here, you belong here.<br />
The more direct engagement with archival materials, the more history becomes<br />
active, participatory, pertinent. To see oneself within a historical context<br />
promotes inclusion, empowerment. This is crucial to remember when we think<br />
about the history of alternative sex communities. As Gayle Rubin discusses in<br />
the essay in the previous section, it wasn’t very long ago that most, if not all of<br />
these materials were being stored in private attics and basements. The absence<br />
of physical materials created by leather communities made it very difficult to<br />
build knowledge about these subcultures and communities.<br />
The more access and research using these collections, the less<br />
misrepresentation about alternative sexuality there will be within the historic<br />
record. The more diversity within collections, the more represented and holistic<br />
leather history will be.<br />
The future of the LA&M holds more professional staff, inclusion and dynamism<br />
within collections, and more representational belonging of all alternative sex<br />
communities. In turn, these collections will demand the attention and use of<br />
scholars worldwide as we assert our historical presence and impact.<br />
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PROGRAMS HIGHLIGHT:<br />
WOMEN’S LEATHER HISTORY PROGRAM<br />
WLHP<br />
The Women’s <strong>Leather</strong> History Project continued as a multi-year project through 2015, when<br />
the LA&M decided to extend our commitment to collecting, preserving, and exhibiting women’s<br />
leather history by transforming the project into a program. Rather than continuing to focus on<br />
short term, project-based deliverables, the change to a program adds vision and scope to the<br />
WLHP.<br />
The Women’s <strong>Leather</strong> History Program (WLHP) at the <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> is an<br />
ongoing program created to generate strategic initiatives linked to programmatic vision,<br />
fundraising, collections development, facilitate exhibit updates, generate <strong>digital</strong> content related<br />
to women’s leather history, and sustain and continue to develop relationships with leather<br />
communities, organizations, and clubs who are integral in the development of dynamic<br />
women’s collections.<br />
The <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> is very excited about this change, and what it means for<br />
sustainability and long-term commitment to collecting women's leather history.<br />
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COLLECTIONS HIGHLIGHT:<br />
SAILOR SID PIERCING COLLECTION<br />
In May 2015, the LA&M and the Association<br />
of Professional Piercers (APP) launched a<br />
crowdfunding campaign through Indiegogo<br />
to support the digitization, processing,<br />
preservation, rehousing, and exhibition of<br />
the Sailor Sid Diller Piercing Collection.<br />
Additionally, at International Mr. <strong>Leather</strong> and<br />
the APP conference in 2015, awareness and<br />
funds were raised for this Collection. Paul<br />
King, Committee Chairperson and APP<br />
treasurer, played an integral role in<br />
connecting APP and LA&M for the<br />
preservation of the Sid Diller collection.<br />
Collection using archival standards and best<br />
practices. Many hours of carefully removing<br />
photographs from harmful photo pages,<br />
cataloging papers, digitization and film<br />
preservation was and is required to keep<br />
this collection available for generations to<br />
come. Additionally, the <strong>digital</strong> collection, as<br />
well as the finding aid, are now available<br />
online.<br />
The APP played a pivotal role in this project<br />
through their support, financial generosity,<br />
and sharing networks and expertise. The<br />
archival work, including digitization and<br />
exhibit creation, was completed by Archivist/<br />
Collections Librarian Jakob VanLammeren<br />
and Project Intern Julissa Gillig at the LA&M.<br />
In <strong>2016</strong>, a traveling exhibit for the Sailor Sid<br />
Diller Piercing Collection was developed and<br />
unveiled at the APP <strong>2016</strong> conference, and<br />
featured 18 six foot banners, three monitors<br />
featuring interviews with LA&M staff, Sailor<br />
Sid, and home movies from the collection;<br />
and two exhibit cases with original archival<br />
materials from the Sid Collection.<br />
Sailor Sid Piercing Collection will benefit<br />
leather and piercing aficionados alike. By<br />
joining forces, the LA&M and APP are<br />
excited to see this collection come to life.<br />
Thanks to the APP and over 100 supporters<br />
$22,477.55 was raised to fund this project.<br />
By supporting the Sailor Sid Diller Online<br />
Photograph Collection Indiegogo campaign,<br />
you helped fund the complete processing,<br />
arrangement and description of this<br />
“Sailor” Sidney Eugene Diller was born to<br />
Moris S. Diller and Daisie Diller in Chicago,<br />
Illinois on March 8, 1910. Little is known<br />
about Sid’s childhood, but an archivist at the<br />
Illinois Institute of Technology confirmed that<br />
he was a student there from c. 1941-1946.<br />
Sid also worked as an electrician at a hotel<br />
in Chicago according to the 1940 census,<br />
and served as an electrician's mate in WWII<br />
with the USCG c. 1941-1948 before moving<br />
to Miami Florida c. 1950. In a PFIQ<br />
interview, Sid revealed that he got his first<br />
piercing during the War—a ring in his left<br />
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ear. After the War, Sid traveled for a few<br />
years before settling in Miami, Florida. Sid<br />
had a career as an electrical engineer until c.<br />
1974 when he retired.<br />
In conducting research for this collection at<br />
the LA&M, it was not only uncovered that<br />
Sailor Sid was born in Chicago, but the US<br />
census revealed that he lived with his mother<br />
and father just blocks away from the current<br />
location of the <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> in<br />
Edgewater! The letters from his collection, in<br />
addition to his writings for The Theban,<br />
newsletter of Thebans MC, also discuss his<br />
visits back to Chicago. In the 1970s he most<br />
often came back to see his friend Cliff Raven<br />
before Cliff relocated to the West Coast in<br />
1976; later Sid came to celebrate<br />
anniversaries at The Gold Coast.<br />
Sailor Sid is most well known for being one of<br />
the early piercing, body modification, and<br />
tattoo innovators alongside Doug Malloy,<br />
Fakir Musafar, Cliff Raven, Jim Ward, and<br />
Bud “Viking” Navarro.<br />
He ran Silver Anchor Tattoo and Piercing<br />
Studio from his house, first in Miami and then<br />
Ft. Lauderdale, where he tattooed and<br />
pierced mainly gay men from his home. Many<br />
of the photographs from the Sailor Sid Diller<br />
Piercing Collection proudly reveal nuances<br />
about his work/living space--we see dozens<br />
of photographs in a row of genital piercings,<br />
and then suddenly we are looking at a<br />
photograph of Sid’s dachshunds, his<br />
Volkswagen Beetle in the driveway, the red<br />
white and blue anchor-themed bedspread of<br />
his bedroom.<br />
Sid was also an Honorary Member of<br />
Thebans MC (Miami) and was a Recording<br />
Secretary and on the Newsletter Committee<br />
in May/June 1976, and continued to<br />
contribute to the Thebans newsletter until late<br />
1979/1980, when he relocated to Ft.<br />
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Lauderdale. Sid and his piercings and<br />
tattoos have been featured in Piercing Fans<br />
International Quarterly (PFIQ), T.R.A.S.H.,<br />
and The Theban.<br />
Sailor Sid passed away in Fort Lauderdale,<br />
Broward County, Florida on May 24, 1990 at<br />
the age of 80.<br />
During the physical processing of the<br />
Collection, an assessment and preservation<br />
strategy was created with specific attention to<br />
inherent vice, potential and real risk, and<br />
prioritizing physical and <strong>digital</strong> access. A few<br />
strategies regarding preservation,<br />
processing, and rehousing for the Sailor Sid<br />
Diller Piercing Collection are as follows:<br />
Spotlight on Deacidification:<br />
Deacidification spray is an aerosolized<br />
solution made from magnesium oxide<br />
(MgO). MgO, commonly used as an antacid,<br />
neutralizes the acid that causes these<br />
documents to become brittle and yellow and<br />
helps significantly slow deterioration of these<br />
fragile papers. This process has stabilized<br />
letters like the one above, from Hal Hess to<br />
Sid, thanking him for his photographs and<br />
letter. Archival deacidification spray creates<br />
an alkaline buffer on paper, which can<br />
decrease the pH, slow deterioration, and<br />
helps prevent leaching.<br />
All items that comprise the Sailor Sid Diller<br />
Piercing Collection, including Piercing<br />
Volumes (scrapbooks/photo albums),<br />
correspondence, administrative and donor<br />
information, 46 film canisters, and 8 original<br />
8mm films have been digitized in their<br />
original format and will be made available<br />
online to ensure that original order,<br />
provenance, and the integrity of the<br />
construction is retained.<br />
Online access of the <strong>digital</strong> surrogates are<br />
beneficial to people who prefer to engage the<br />
collection and its contents remotely.<br />
However, the LA&M has found that users<br />
who engage our <strong>digital</strong> images and<br />
collections online actually increases the<br />
desire for people to visit and view items in<br />
person. Therefore, the Sailor Sid Diller<br />
Piercing Collection is also be available in its<br />
physical format at the <strong>Leather</strong> <strong>Archives</strong> &<br />
<strong>Museum</strong> due to its historic and evidentiary<br />
value.<br />
Access the Sailor Sid Diller Piercing<br />
Collection online at:<br />
http:www.leatherarchives.org/sailorsid/<br />
Digitization<br />
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EXHIBITIONS HIGHLIGHT:<br />
EXCAVATING EXPERIENCE:<br />
THE PRESENCE OF LGBTQ PEOPLE OF COLOR IN COOK COUNTY, IL<br />
<strong>Leather</strong> is made up of diverse members,<br />
people from a variety of backgrounds whose<br />
aggregate experiences make up community.<br />
People of color have a long history within<br />
every part of this community and their<br />
presence can be felt though it is not always<br />
recognized or highly visible. The<br />
experiences of members of a small segment<br />
of the leather community are put on view in<br />
this exhibition: LGBTQ members of color<br />
who live, celebrate, and help make <strong>Leather</strong><br />
what it is in this county.<br />
Taken from personal and organizational<br />
archives, Excavating Experience shines a<br />
light on these histories and the individuals<br />
whose stories they tell. The presence of<br />
LGBTQ people of color—Asian, Middle<br />
Eastern, African American and Latinx<br />
leathermen and leatherwomen—is brought<br />
to the fore. The photographs, ephemera,<br />
documents and interviews are from the<br />
current collections of the <strong>Leather</strong> <strong>Archives</strong><br />
and <strong>Museum</strong>.<br />
As with everything at the LA&M, this exhibit<br />
is about exploring and sharing our leather<br />
history. The histories of LGBTQ people of<br />
color in leather have often been left out of<br />
mainstream histories and extend beyond the<br />
materials included in this exhibition. If you<br />
have objects, correspondence or other<br />
physical memories related to the people,<br />
events or organizations in this exhibition<br />
please visit:<br />
http://www.leatherarchives.org/<br />
donatecollections.html<br />
Alisa Swindell<br />
Exhibition Curator<br />
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RESEARCH HIGHLIGHTS:<br />
GENERAL RESEARCH<br />
Research at the LA&M is conducted in many<br />
forms, varying scales, and by a diverse<br />
population of individuals who are thirsty for<br />
historical knowledge about our communities.<br />
In conjunction with museum exhibits and the<br />
Teri Rose Memorial Library, research at the<br />
LA&M is a key avenue through which the<br />
institution provides the public with access to<br />
its rich archival collections.<br />
We serve the research needs of community<br />
members, local undergraduate students,<br />
national and international doctoral<br />
candidates conducting dissertation<br />
research, and independent scholars and<br />
writers. There is a wide range of academic<br />
interest in the museum and its rich<br />
collections; this includes students in the<br />
fields of Gender and Women's studies,<br />
Library and Information Science, Art History,<br />
Arts Administration, Journalism, History, and<br />
<strong>Museum</strong> Studies. Since 2013 alone, the<br />
LA&M has assisted approximately 430<br />
researchers! We anticipate that in the next<br />
quarter century the need and demand for<br />
archival research and engagement with the<br />
primary resource materials at the LA&M will<br />
significantly increase.<br />
The library collections held in the Teri Rose<br />
Memorial Library are available during<br />
normal business hours without an<br />
appointment. For archival research, the<br />
LA&M requires an appointment. For more<br />
information, please visit us at:<br />
http://leatherarchives.org/archives.html<br />
In <strong>2016</strong>, The <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong><br />
announced a call for its sixth annual Visiting<br />
Scholar Program for academic year <strong>2016</strong>-<br />
2017. Scholars awarded this opportunity to<br />
conduct project-based research using the<br />
collections and receive a stipend of $1,000.<br />
This award is intended to support visiting<br />
scholars during their residency at the<br />
LA&M. In addition, a travel reimbursement<br />
allowance of up to $1,000 will also be<br />
provided to the recipients. Program<br />
participants propose a project that has the<br />
potential to enhance the institution’s mission<br />
to disseminate information to the public<br />
about the history of the leather / fetish /<br />
BDSM community and its culture. The<br />
LA&M is particularly interested in projects<br />
that may provide materials for display in its<br />
galleries, as traveling exhibit, or as an online<br />
exhibition. Three types of scholars are<br />
eligible for the Visiting Scholar Program: 1)<br />
scholars with academic appointments; 2)<br />
Graduate students pursuing an MFA or<br />
PhD; 3) Independent scholars with an<br />
established research agenda.<br />
The essay reproduced here was written by<br />
Lily Emerson, the LA&M Visiting Scholar for<br />
academic year 2014-2015. At the time of her<br />
research in the archives, Emerson was a<br />
doctoral candidate at the University of<br />
Auckland, New Zealand. Emerson’s<br />
research at the LA&M followed the<br />
development of sadomasochism in the U.S.,<br />
with a particular focus on the cities of San<br />
Francisco and Chicago. She received her<br />
MA in History in 2012.<br />
VISITING SCHOLAR PROGRAM<br />
68
REFLECTIONS ON THE 2014/2015 VISITING SCHOLAR PROGRAM<br />
By Lily Emerson, 2014/2015 Visiting Scholar<br />
*Originally Printed in “<strong>Leather</strong>ati presents From the <strong>Archives</strong>”, March, 2015<br />
Elizabeth Freeman has argued that<br />
sadomasochism is an unusual sexual<br />
technique not only because its rise and<br />
elaboration can be traced to particular<br />
historical figures (Sade, Sacher Masoch,<br />
Krafft-Ebing) and moments in time (the<br />
French Revolution, the late nineteenth<br />
century) but also because it is a<br />
‘hyperbolically historical, even way of<br />
having sex’. During my research on the<br />
history of American sadomasochism, as a<br />
part of my PhD thesis, I have become<br />
immersed in the ways that thinking about and<br />
practicing sadomasochism constantly invoke,<br />
challenge, and solidify historically constructed<br />
racial, gendered, and sexual identities.<br />
Sadomasochism offers a unique example for<br />
the historian to look not only at the ways in<br />
which identities and cultures are shaped by<br />
practices and discourses in their<br />
contemporary context, but the ways in which<br />
practitioners themselves knowingly invoke<br />
historically produced identities through their<br />
sexual practice. This thesis therefore turns its<br />
attention not only to the production of<br />
sadomasochistic identities and culture, but to<br />
the historical discourses that sadomasochists<br />
themselves appropriate through their<br />
practice.<br />
As a result, during my recent trip to the LA&M<br />
as a part of their Visiting Scholar’s Program<br />
2014/2015, I chose to place particular<br />
emphasis on material related to people of<br />
colour in the sadomasochistic community.<br />
Some sources that I found of particular use<br />
were Cain Berlinger’s self-published<br />
monograph, Black Men in <strong>Leather</strong> [1] (2000)<br />
which contains serious discussion of racial<br />
politics in the leather community; Black<br />
<strong>Leather</strong> in Color magazine (and an<br />
accompanying oral history compiled by<br />
members of the editorial staff); and Vi<br />
Johnson’s Papers, which address the<br />
intersection of race, gender, and<br />
sadomasochism.<br />
These sources (as well as others) highlight<br />
the diversity of opinion amongst people of<br />
colour in the leather/sadomasochistic<br />
community, and make it clear that there is no<br />
consensus as to what (if any) approach<br />
should be taken to approaching racial<br />
tensions that arise within it. These tensions<br />
themselves, however, are palatable. Race<br />
play can be an issue here. For instance, what<br />
does it mean, and what historical meanings<br />
are being invoked, for a person of colour to<br />
be called a ‘slave’ or a ‘n______’, even in the<br />
context of consensual sex? Should people of<br />
colour ever consent to submissive roles in biracial<br />
pairings? But Berlinger’s interviewees<br />
make clear, as do issues of Black <strong>Leather</strong> in<br />
Color, that many people of colour have<br />
experience racism within the s/m community<br />
that has very little to do with actual play of<br />
any kind.<br />
I want to preface my response with the<br />
acknowledgment and understanding that I am<br />
a white person and as such benefit from a<br />
considerable amount of white privilege. I say<br />
this because I think it would be wrong for me<br />
to speak for people of colour and the ways<br />
69
that they negotiate, play, and live a BDSM,<br />
kink, and/or <strong>Leather</strong> lifestyle.<br />
There are many ways for anyone to<br />
negotiate, with themselves and others, how to<br />
create a lifestyle and/or scene that works for<br />
them. My source material does not provide<br />
concrete answers to the questions raised in<br />
the previous paragraph, but it does provide a<br />
wide variety of perspectives from people of<br />
colour that I look forward to exploring more<br />
fully in my thesis. [2]<br />
My research at the LA&M has also led me<br />
down another somewhat controversial path –<br />
although since when has anyone been<br />
adverse to a little controversy, right? Almost<br />
by accident I came across a number of<br />
sources relating to the infamous Dallas<br />
Conference of ’88, [3] and instantly my interest<br />
was sparked. Again, I have been confronted<br />
with a number of contradictory voices in the<br />
archive, but what emerges is a number of<br />
conflicts between men and women, gays and<br />
lesbians, urban and rural, the East Coast and<br />
the West Coast, and those who belong to<br />
official leather organisations and those who<br />
do not. Newslink by the GMSMA has some<br />
particularly interesting articles on the topic,<br />
and they show how heightened emotions<br />
were following the conference. Similarly,<br />
correspondence in the Joseph Bean Papers<br />
is highly charged. My goal here is not air dirty<br />
laundry for its own sake, but to analyse how<br />
these clashes reflected and contributed to the<br />
landscape of the leather community in the<br />
late twentieth century. Occurrences such as<br />
the Dallas Conference of ’88 offer me, as an<br />
historian, an opportunity to see what various<br />
stakeholders in the community considered<br />
vital, and how these views influenced further<br />
development in the scene.<br />
I want to thank the LA&M, and especially Rick<br />
Storer and Jakob VanLammeren for their<br />
support. Resources such as the LA&M are<br />
rare, and to be treasured – thank you for<br />
making my cross-hemisphere pilgrimage<br />
possible.<br />
Yours in <strong>Leather</strong> – Lily.<br />
Notes<br />
[1] Lenius, Steve. “New Book about Black Men in <strong>Leather</strong>.” <strong>Leather</strong> Life column for Lavender Magazine,<br />
Issue #108. July 16, 1999. Accessed via the web on 2015-03-<strong>25</strong>.<br />
[2] For additional information regarding PoC in <strong>Leather</strong>, visit Dark Connections, the Carter/Johnson<br />
<strong>Leather</strong> Library, ONYX and their annual anniversary party Blackout.<br />
[3] See Joseph Bean’s article series on the Dallas Conference ’88 in issues 35, 36, 37 and 39 in The<br />
<strong>Leather</strong> Times.<br />
70
71
72
GRATITUDE<br />
73
A community archive documents, records and explores community heritage<br />
(often on a grassroots level), in which community participation, control and/or<br />
ownership of the project is essential. In the case of the LA&M, this means that<br />
we are, and remain, an independent nonprofit organization, unaffiliated with a<br />
university or institutional repository, that is primarily sustained by the <strong>Leather</strong> /<br />
BDSM / kink / fetish communities while also being guided by archival, museum,<br />
and library best practices and standards.<br />
Through our collections and exhibitions, we reflect the unique historical record<br />
regarding the formation and development of alternative sex cultures and<br />
practices, including the interests, needs, participation, and priorities of diverse<br />
<strong>Leather</strong> / BDSM / kink / fetish communities across the country and world.<br />
That said, the work we do wouldn’t be possible without all of our supporters—<br />
your memberships, financial donations, event attendance, and volunteer and<br />
internship work has truly made us the institution we are today, and we are so<br />
honored and grateful for each and every one of you. While we would like to<br />
name every supporter the LA&M has had over the past <strong>25</strong> years, here we are<br />
focusing on the last five years of the institution.<br />
Thank you<br />
74
TOP 10 DONORS<br />
International Mr. <strong>Leather</strong>, Inc.<br />
Renslow Family Enterprises<br />
CLAW<br />
Centaur MC<br />
Bear Man / <strong>Leather</strong>werks<br />
Tides Foundation<br />
Lambda Men’s Brotherhood / <strong>Leather</strong> Masked Ball<br />
<strong>Leather</strong> SINS<br />
Chicago Hellfire Club<br />
Philadelphia <strong>Leather</strong> Pride Night<br />
75
Current Members and Donors<br />
$5,000 or More<br />
Bear Man<br />
Centaur MC<br />
Chicago Hellfire Club<br />
CLAW <strong>2016</strong><br />
In loving memory of slave pluG, mike<br />
mcbride<br />
John Palatinus Charitable Trust<br />
Kinky Kollege<br />
Seattle <strong>Leather</strong> Daddies Tag sale<br />
Tides Foundation<br />
$2,500 or More<br />
Avant-Garde Piercing<br />
Lambda Men's Brotherhood<br />
<strong>Leather</strong> 64Ten<br />
<strong>Leather</strong> SINS<br />
Philadelphia <strong>Leather</strong> Pride Night 2015<br />
$1,000 or More<br />
Carnival of Madness:<br />
Exile 5 Fetish Ball<br />
Folsom Street Events<br />
Harry H. Harkins<br />
Jim Drew, Mr. Washington<br />
State <strong>Leather</strong> 2015<br />
John Birdsell<br />
Justin Herren<br />
Max M. and Carol W. Sandfield<br />
Roger Scheid<br />
Scott Philips<br />
Sir Papa Bear<br />
slavemeat chuck<br />
Tawse<br />
Touché Chicago<br />
Billy Lane and John Brook<br />
boy tyler Fong<br />
David Barnett<br />
DNA<br />
Eric Kinast<br />
Fetish Locker<br />
Frank Nowicki<br />
In Loving Memory of<br />
John Prather<br />
Leon Grossman<br />
Master slave Conference <strong>2016</strong><br />
Midwest Bootblack Roundup<br />
Mike & Rita K.<br />
Mr. Keith Truitt<br />
Mr. <strong>Leather</strong>64Ten <strong>2016</strong><br />
Mr. Michigan <strong>Leather</strong> Weekend<br />
National <strong>Leather</strong> Association : International<br />
Rangers Inc.<br />
Robert Guenther<br />
Steve Ranger<br />
Stompers Boots<br />
Tallen Bell and George Pena<br />
Tom Matt<br />
$200 or More<br />
Adam Damewood<br />
Adynaton Publishing<br />
Andrew Masterson and Ed Luisi<br />
Bamm Bamm<br />
Bill Christiansen<br />
Bob Miller<br />
Brendan McIntyre<br />
Brent Seeley & Jeff Halsey<br />
Brian Mincey<br />
Chicago <strong>Leather</strong> Club<br />
$500 or More<br />
Christina Court<br />
Club Diversity CLAW Nation Party<br />
D. DiLandro<br />
76<br />
Daddy Don
Daddy Mark and Boy Spyker<br />
Darrell Moyers<br />
David - SF<br />
David Ellis and bobby coad<br />
Donald Palmore<br />
Doug and Mike<br />
House 281<br />
Jason Zahlen<br />
Jay Hemphill<br />
Jeffrey Storer<br />
Jim Rinefierd and Dan Anderson<br />
Joe Granese<br />
John Bradford, Louis Lang,<br />
Hieu Nguyen<br />
John J. DiGilio<br />
John. E.<br />
Jon Krongaard<br />
JW Rutkowski<br />
Keith & Kyle Gearhart-Stoneking<br />
Ken Rogers<br />
Kip Hollar<br />
Kirk Hamlin<br />
Lenny Broberg and Paul Maluchnik<br />
Loki<br />
Luis Tipantasig<br />
Lyle Swallow & Jack Becker<br />
Marc Arendt<br />
Mark Frazier<br />
Mark Zubro<br />
Master Alex Keppeler<br />
Melinda Chateauvert<br />
Michael Holeman<br />
Michael Horowitz<br />
Michael Horowitz<br />
Mike Daggs & Kelley Wilt<br />
Miss Simone<br />
Neil M.<br />
Nick Elliott<br />
Norman L. Sandfield<br />
Pat Daley<br />
Patrick Grady<br />
Patrick Miska<br />
Patrick Mulcahey<br />
Paulo and Jubi Arriola-Headley<br />
Promethean Guard of NJ<br />
Ramien Pierre<br />
Ray "Piglet" Izard<br />
Richard Puller<br />
Rick Storer<br />
Rick Umbaugh<br />
Rob Anderson<br />
Robert R. Bender<br />
Robert Weber<br />
Ron Moser<br />
Ron Vogel<br />
Scott Alan Moore<br />
Steve Bell<br />
Steve Carbone<br />
Steve Lenius<br />
Team Friendly, Inc.<br />
Terry L Bucher<br />
Thomas Fincannon<br />
Tim Waterfill<br />
Timothy Hotchkin<br />
Wolfstryker <strong>Leather</strong>, LLC<br />
$100 or More<br />
Alleycat<br />
Amber R. Clifford-Napoleone<br />
Anonymous gift<br />
black the bootblack<br />
Boy Wayne M.<br />
Claw Jack<br />
clublum.com<br />
Corn Haulers L&L<br />
Daddy Dan Weiss<br />
Daddy Vick Germany<br />
Dan Marrs<br />
David Drees<br />
david stein<br />
David Wray<br />
Dean Ogren<br />
Defenders / San Francisco<br />
Doc Duhon<br />
Dr. Robert Wall<br />
Eric Kugelman<br />
Full Kit Gear<br />
G Sharp<br />
Gabe Sims<br />
Gayle Rubin<br />
77
Great Lakes <strong>Leather</strong> Alliance<br />
Jakob VanLammeren<br />
James C Jordan<br />
Jeff L Stoner and Bob Rowe<br />
Jerry Moreau<br />
Jim Barriball<br />
Jim Overhoiser<br />
Kyle Kingsbury<br />
Lady Jodi<br />
Masterlady LJ and slave tabitha<br />
Members of Low Country <strong>Leather</strong><br />
Miguel Torres<br />
Ms. Solitaire<br />
Perry Wiggins and Michael Barnes<br />
Phil Hannema<br />
Ron Volanti<br />
Scott Answer<br />
Shane Rasmussen<br />
Smokey Productions<br />
South Florida boys of <strong>Leather</strong><br />
Steve Bianchi<br />
Taylor Coleman<br />
Tom M.<br />
Torch Weisman<br />
Trooper<br />
Walter Johnson<br />
Wendell Reid<br />
$50 or More<br />
Alan Dudley<br />
Alex Ironrod<br />
Alexander Henryk Wisniowski<br />
Bootblack Meghan<br />
Brett Baldwin<br />
Broderick Rojas and Eric Gangloff<br />
Carlos Cruz<br />
Craig Rich<br />
Dan Ronneberg<br />
Darío Sánchez-González<br />
Das Janssen<br />
Domenic Sgro<br />
Douglas O'Keeffe<br />
Douglas Pamplin<br />
Douglas Van Kirk<br />
Dr. Jennifer Tyburczy<br />
Eric GUTTIEREZ<br />
G. Ronald Kastner, Ph.D.<br />
Gear Up Project<br />
GentleDom9<br />
Hagert / Wenla<br />
J. Raúl Cornier<br />
James Tyrcha<br />
Jean Hardy<br />
Jeff J.<br />
Jim Drew<br />
Joey McDonald<br />
John Rossi<br />
José Santiago Pérez<br />
Keith A Carney<br />
Kevin<br />
Lisa Lacriola<br />
Lynn Schornick<br />
Matt Zanon<br />
Michael O'Donnell<br />
Mory Martinez<br />
Mr. Bluegrass <strong>Leather</strong> 2015 & IML<br />
Class #37<br />
Mystryss Lily is proud and<br />
Nancy Lee Weinberger<br />
Paul Whitson<br />
Pete Burke<br />
Peter Thomas<br />
Peter Tupper<br />
Queerella Fistalot<br />
Race Bannon<br />
Randi Kemmler<br />
Ruth Fink-Winter<br />
Sarah Beth Landau<br />
SirRA - Eli ONYX<br />
Stephen Klein<br />
William J. Smith Trust<br />
With Gratitude For Our History<br />
Zaq<br />
Lifetime Members<br />
Andy Mangels<br />
Bear Man<br />
Black Heart Uniform Ball<br />
Centaur MC<br />
Chicago Hellfire Club<br />
78
Chuck Renslow<br />
CLAW Corporation<br />
Fort Lauderdale <strong>Leather</strong> Pride<br />
International Mr. <strong>Leather</strong><br />
International Ms. <strong>Leather</strong>, LLC<br />
Jill Carter and Family<br />
John Palatinus Charitable Trust<br />
John Pendal<br />
Jon Krongaard and Ken Rose<br />
Joseph W. Bean<br />
Lambda Men's Brotherhood<br />
<strong>Leather</strong> SINS<br />
Melinda Chateauvert<br />
Philadelphia <strong>Leather</strong> Pride Night<br />
Robert Guenther<br />
Robert M. Ridinger<br />
Seattle <strong>Leather</strong> Daddies Tag sale<br />
T. L. Gross<br />
Tawse<br />
Tides Foundation<br />
BECOME A MEMBER<br />
For <strong>25</strong> years, the <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> has been dedicated to collecting, preserving, and<br />
exhibiting the diverse cultures of <strong>Leather</strong> sex, BDSM, Fetish and Kink. The generous support of our<br />
members ensures that our programs, events, exhibits, and resources continue to reach our<br />
communities and public. By becoming a member, you help us continue protecting our heritage and<br />
unlocking our history!<br />
MEMBER BENEFITS<br />
All membership levels are valid through April 30 of the following year.<br />
Each level includes free admission to museum exhibits, is recognized on<br />
the donor page of the LA&M website, and receives all LA&M<br />
publications. The <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> is a proud member of<br />
ROAM. This national organization allows LA&M members at the<br />
Supporting Level or higher to take their benefits with them when they visit participating museum. In<br />
Chicago alone, these include: Intuit: The Center for Intuitive and Outsider Art, Loyola University<br />
<strong>Museum</strong> of Art, Oriental Institute at the University of Chicago, and the Richard H. Driehaus <strong>Museum</strong>.<br />
E-Membership ($50)<br />
MEMBERSHIP OPTIONS<br />
This is the basic individual Membership of the LA&M. Benefits include: free admission to museum<br />
exhibits, listing on donor page, and electronic delivery of all LA&M publications.<br />
Supporting Membership ($100)Supporting Membership benefits include: free admission to<br />
museum exhibits, listing on donor page, email delivery of all LA&M publications, and the reciprocal<br />
benefits of the ROAM program.<br />
To become a member of for details on individual and organizational membership options, please<br />
contact us at 773-761-9200 or visit our membership page on the LA&M website:<br />
leatherarchives.org/membership.html<br />
79
<strong>25</strong> <strong>Years</strong> of Board of Directors<br />
*Chuck Renslow<br />
(1992 - present)<br />
*Tony DeBlase<br />
(1992 - 2000)<br />
Gayle Rubin<br />
(1992 - 2000)<br />
Barry Johnson<br />
(1992 - 1998)<br />
Albert Kraus<br />
(1992 - 1996)<br />
Gary Chichester<br />
(1992 - 1994)<br />
Judy Tallwing McCarthy<br />
(1992 - 1993)<br />
*Chuck Higgins<br />
(1993 - 1996)<br />
Harold Cox<br />
(1993 - 1996)<br />
*Michael Horowitz<br />
(1994 - 2002)<br />
Joseph Bean<br />
(1996 - 2002 ex officio)<br />
Vi Johnson<br />
(1996 - 2001)<br />
*Bill Costomiris<br />
(1996 - 2000)<br />
Guy Baldwin<br />
(1996 - 1997)<br />
Diamond Mitchell<br />
(1997 - 2001)<br />
Hilton Flax<br />
(1998 - 2000; 2007 - 2009)<br />
Fluffy Swenson<br />
(1998 - 2001)<br />
*Bear Man<br />
(2000 - 2015)<br />
*Bill Stadt<br />
(2000 - 2003)<br />
*Chris Zimmerman<br />
(2000 - 2001)<br />
Randy Brown<br />
(2000 - 2001)<br />
Lord Suttle (Tori B)<br />
(2000 - 2001)<br />
*Jon Krongaard<br />
(2001 - present)<br />
*Rick Storer<br />
(2001 - present ex officio)<br />
Robert Ridinger<br />
(2001 - present)<br />
Melinda Chateauvert<br />
(2001 - 2015)<br />
Tom Stice<br />
(2001 - 2010)<br />
Joe Gallagher<br />
(2001 - 2007)<br />
*Lawrence E. A. Fox<br />
(2001 - 2007)<br />
Bob Guenther<br />
(2001 - 2004)<br />
80
Stephen Scott<br />
(2001 - 2002)<br />
Joni Perrie<br />
(2002 - 2005)<br />
Julia Keathley<br />
(2003 - 2007)<br />
*Donald Dotson<br />
(2003 - 2006)<br />
Norman Eriksen<br />
(2003 - 2005)<br />
Ms Kendra McClain<br />
(2004 - 2010)<br />
Robert Davolt<br />
(2004 - 2005)<br />
Edward M<br />
(2005 - present)<br />
Philip Rubin<br />
(2005 - 2008)<br />
*Leon Grossman<br />
(2006 - present)<br />
Matthias Peuser<br />
(2007)<br />
(2009 - 2010)<br />
Catherine Gross<br />
(2010 - present)<br />
Sarah Humble<br />
(2010 - <strong>2016</strong>)<br />
Mike Daggs<br />
(2014 - present)<br />
*Christina Court<br />
(2014 - present)<br />
Bob Miller<br />
(2014 - present)<br />
*Harry Harkins<br />
(2014 - present)<br />
Steve Ranger<br />
(2014 - present)<br />
*served as an Officer of the LA&M<br />
Ira C. Smith<br />
(2009 - 2015)<br />
Mark Frazier<br />
(2009 - 2011)<br />
Master Conrad<br />
Joseph Bean<br />
Executive Director, 1997 - 2002<br />
Rover<br />
Assistant to the Director, 1999 - 2000<br />
Mark Collier<br />
81
<strong>25</strong> YEARS OF STAFF<br />
Assistant to the Director, 2001 - 2003<br />
Rick Storer<br />
Executive Director, 2002 - present<br />
Taber<br />
Assistant to the Director, 2003<br />
Jeffrey Storer<br />
Facilities Manager / Director of Operations, 2003 - present<br />
Dave Clements<br />
Development Director, 2008<br />
Andrea Gerson<br />
Development Director, 2008 - 2009<br />
Jennifer Tyburczy<br />
Program Director, 2009 - 2010<br />
Chester Munro<br />
Director of Project Management, 2010 - 2012<br />
Jakob VanLammeren<br />
Archivist and Collections Librarian, 2013 - <strong>2016</strong><br />
José Santiago Pérez<br />
Patron Services Representative, <strong>2016</strong> - Present<br />
Luis Acoltzi<br />
Community Volunteer<br />
Leslie Anderson<br />
Community Volunteer<br />
Noah Barth<br />
DePaul University<br />
Steve Bell<br />
82
VOLUNTEERS AND INTERNS<br />
2011-<strong>2016</strong><br />
Whether answering the door for museum visitors, taking part in special events, transcribing<br />
oral histories, assisting with cataloging, acquisitions, project management, building maintenance,<br />
archival processing, social media, curation, graphic design, or PR and outreach, LA&M<br />
volunteers and interns are an integral part of the LA&M’s success over the last <strong>25</strong> years! While<br />
we would love to acknowledge every single volunteer that has made the LA&M what it is today,<br />
it is nearly impossible to name every volunteer that we have had the pleasure of working with!<br />
The following volunteers and interns have made significant contributions over the last 5 years:<br />
Community Volunteer<br />
Beatrice Collier<br />
SAIC<br />
Christina K. Court<br />
Community Volunteer<br />
Jessica DiMaio<br />
Community Volunteer<br />
Parks Dunlap<br />
Community Volunteer<br />
Russell Floyd<br />
Community Volunteer<br />
G<br />
Northwestern University<br />
Julissa Gillig<br />
SAIC<br />
Michael Guerrero<br />
Community Volunteer<br />
Liz Hamilton<br />
Community Volunteer<br />
Matthew C Hampton<br />
Community Volunteer<br />
Jean Hardy<br />
University of Michigan iSchool<br />
Adam Hart<br />
Community Volunteer<br />
Justin Oliver Hartman<br />
Community Volunteer<br />
Bianca Jarvis<br />
Community Volunteer<br />
Steve Kent<br />
Community Volunteer<br />
Kiernan Kupferer<br />
Community Volunteer<br />
Ryan Loren<br />
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Community Volunteer<br />
Scott Lyne<br />
SAIC<br />
Lorenzo El Cuero Martino<br />
Community Volunteer<br />
Amy McCoy<br />
Dominican University<br />
Keir McCoy<br />
University of Pittsburgh iSchool<br />
Brie Montoya<br />
Dominican University<br />
Chuck Morris<br />
Community Volunteer<br />
Emma Morris<br />
Newberry Library<br />
Dean Ogren<br />
Community Volunteer<br />
Michael Ojedda<br />
Community Volunteer<br />
Ellen Olker<br />
University of Illinois<br />
James Otto<br />
Community Volunteer<br />
Michael Pacas<br />
Community Volunteer<br />
John Prather<br />
Community Volunteer<br />
Shane Rassmussen<br />
Community Volunteer<br />
John Reents<br />
Community Volunteer<br />
Missy Rhodes<br />
Community Volunteer<br />
Jack Rinella<br />
Community Volunteer<br />
Bob Rogers<br />
Community Volulnteer<br />
Angelique Schuler<br />
Dominican University<br />
Gee Sharp<br />
Community Volunteer<br />
Dwight Skeates<br />
International Community Volunteer<br />
Sam Smith<br />
Newberry Library<br />
Matthew Steinbrecher<br />
SAIC<br />
Liz Stigler<br />
Community Volunteer<br />
Alisa Swindell<br />
UIC<br />
Alex Tatum<br />
Loyola University<br />
Nathan Thomas<br />
University of Pittsburgh iSchool<br />
Angel Velez<br />
Community Volunteer<br />
Alex Warner<br />
84
Community Volunteer<br />
Kevin Whiteneir<br />
SAIC<br />
Philip Wills<br />
Dominican University<br />
Doug Yellin<br />
Community Volunteer<br />
Jacqueline Yvonne-Smith<br />
Community Volunteer<br />
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IMAGE CREDITS<br />
1. Gold Coast, no.21, undated. Chuck Renslow Photograph Collection. <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Front Cover].<br />
2. Gold Coast, no.23 (Sleasy), undated. Chuck Renslow Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>,<br />
Chicago Illinois USA. [Page, 5].<br />
3. Greenview Art Center, no.4, c.1999. LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>,<br />
Chicago Illinois USA. [Page, 9].<br />
4. 15 th Anniversary poster for the Second City MC at the Gold Coast Poster, c.1975. Posters Collection.<br />
RCID#2013061610. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 14].<br />
5. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong> Mortgage Burning Weekend, 2005. Digital Resources Collection.<br />
RCID#2008012701. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 16].<br />
6. Tony DeBlase and Chuck Renslow at 5013 N Clark St., no.1. c.<strong>1991</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 17].<br />
7. Tony DeBlase and Chuck Renslow at 5013 N Clark St., no.2, c.<strong>1991</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 17].<br />
8. Untitled, no.473 (5013 N Clark St), c.<strong>1991</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 18].<br />
9. Untitled, no.472 (5013 N Clark St), c.<strong>1991</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 18].<br />
10. Untitled, no.471 (5013 N Clark St), c.<strong>1991</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 18].<br />
11. Untitled, no.769 (5013 N Clark St), c.<strong>1991</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 18].<br />
12. One Way, The Los Angeles Tom of Finland Poster, 1989. Posters Collection. RCID#2002091501.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 19].<br />
13. Rick Storer at PLPN, 2011. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 20].<br />
14. Celebration Costume Ball, undated. Jan Hall Papers. PERS0034.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA.[Page, 22].<br />
15. Samois Lesbian Hanky Code, 1980. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 24].<br />
16. Various Matchbooks (Noir, Touché, Man’s Country, The End Up, Gold Coast, The Spike, SF Eagle,<br />
The Noose), undated. Realia Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 26].<br />
17. Chicacgo Eagle and Mafia Emory Boards, undated. Realia Collection. RCID#2010024401<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 27].<br />
18. NSA Living in <strong>Leather</strong> V T-shirt, 1990. Fibers Collection. RCID#2002038101.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 28].<br />
19. GMSMA (Gay Male SM Activist), New York Silver Pin, undated. Pins Collection. RCID#2005048601.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 29].<br />
89
20. Tony DeBlase with Cigar and Microphone, undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 30].<br />
21. LA&M Display Case, 5013 N. Clark St., undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 31].<br />
22. Clark & Elm Mural, undated. Etienne (Domingo Orejudos). Chuck Renslow Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 34].<br />
23. Cop Rape, (panel 18), c.1989. Etienne (Domingo Orejudos). Original Art Collection. RCID#201302000. <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 36].<br />
24. Marine Training, pp.12-13, 1989. Etienne (Domingo Orejudos). Original Art Collection. RCID#2013038001.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 36].<br />
<strong>25</strong>. A Trip to <strong>Leather</strong>land, 1986. Etienne (Domingo Orejudos). Original Art Collection. RCID#2013040601.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 37].<br />
26. “Subway Savages”, 1986. in Storytime 2. Falcon Studios. Etienne (Domingo Orejudos). Periodical Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 37].<br />
27. Gold Coast Original Art, 1979. Etienne (Domingo Orejudos) Original Art Collection. RCID#2015009402.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 38]<br />
28. Dom Orejudos AIDS Quilt Panel, c. <strong>1991</strong>. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 39].<br />
29. Dom Orejudos (Chicago – W. Belmont), c.1970. Tom Medcalf. Photography Collection. RCID#2006045801.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 39].<br />
30. Greenview Art Center, c.1999. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 40]<br />
31. Teri Rose Library, <strong>2016</strong>. Adam Hart. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 40].<br />
32. Gold Coast Gay Pride Parade Float, 1976. Chuck Renslow Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 41].<br />
33. Gold Coast, no.13, undated. Chuck Renslow Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 42].<br />
34. Gold Coast, no. 28, undated. Chuck Renslow Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 42].<br />
35. Dom with Mural, undated. Chuck Renslow Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 43].<br />
36. Gold Coast, no.36, undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 43].<br />
37. International Mr. <strong>Leather</strong> Contest Poster, 1979. Posters Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 44].<br />
38. March on Washington <strong>Leather</strong> Contingent Poster, 1993. Posters Collection RCID#2001011539.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 44].<br />
39. Touché Bar Chicago Poster, c.1989. Poster Collection RCID#2004071701.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 44]<br />
40. Untitled, no.778 (5013 N Clark St), c.<strong>1991</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 44]<br />
41. Untitled, no.428 (5013 N Clark St), c. <strong>1991</strong> LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 44]<br />
90
42. Untitled, no.520 (5013 N Clark St), c. <strong>1991</strong> LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 44]<br />
43. Untitled, no.777 (5013 N Clark St), c. <strong>1991</strong> LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 45].<br />
44. Untitled, no.606 (First Board of Directors), undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 45].<br />
45. Untitled, no.492 (5007 N Clark St), c. <strong>1991</strong> LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA [Page, 45]<br />
46. Man’s Country Close Encounters Poster, undated. Posters Collection RCID#2002109801.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 45].<br />
47. CHC Inferno XI Poster, 1982. Posters Collection. RCID#2005131401.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 45]<br />
48. Gold Coast Sunday Nite Movie Poster, undated. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 45]<br />
49. International Ms. <strong>Leather</strong> 1990 T-shirt, 1990. Fibers Collection. RCID#2002037401.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 46].<br />
50. Black <strong>Leather</strong> In Color, No. 5, Fall 1995. Periodical Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 46].<br />
51. Brat Attack, No. 4, 1993. Periodical Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 46].<br />
52. Dungeon Master, No. 35, 1988. Periodical Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 46].<br />
53. Loading Zone Chicago T-shirt, undated. Fibers Collection. RCID#200205<strong>25</strong>01.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 46].<br />
54. Spider Webb Studio T-shirt, undated. Fibers Collection. RCID#2002055401.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 47].<br />
55. Growing Pains, Nov. 1980. Periodical Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 47].<br />
56. Bruce Kings S&M Scenes, 1977. Periodical Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 47].<br />
57. Outrageous Women, Vol. 1, No. 4, 1985. Periodical Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 47].<br />
58. Bondage T-shirt, undated. Fibers Collection. RCID#2002042601.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 47].<br />
59. Kris Studios, no.40 (Larry Harper & Billy Kidd), undated. Kris Studios. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
60. Original Artwork by Ira C Smith, 1, 1992. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
61. Untitled, undated. Molly Devon. Original Art Collection. RCID#2013009701.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
62. Untitled (Sketch), date unknown. Dom Orejudos (Stephen/Etienne). Original Art Collection. RCID#20130534.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
63. Forced Entry! (cover), 1972. Stephen (Dom Orejudos/Etienne). Kris Studio. Art Related Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
64. Sailor with Polynesian Woman on Beach, undated. Dom Orejudos (Stephen/Etienne). Original Art Collection.<br />
91
RCID#20130193. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
65. Target Studios, no.18, undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
66. R&N Los Angeles, 1997. Janet Ryan. Photography Collection. RCID#2013061704.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
67. Untitled, <strong>25</strong>, undated. Joseph Bean. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 48].<br />
68. Untitled (Female nude in sling), 1978. Molly Devon. Original Art Collection. RCID#2003017101.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
69. Tasso, no.47, 1985. Pat Daley Original Art Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
70. Kris Studio, 73 (Jay Reed), undated. Kris Studios. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
71. Sailor Dancing with Polynesian Woman and Man, undated. Dom Orejudos (Stephen/Etienne). Original Art<br />
Collection. RCID#20130192. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
72. “Star Trick” in Adventuretime No.9, 1977. Stephen (Dom Orejudos). Target Studios. Art Related Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
73. Torture Chair (study), undated. Dom Orejudos (Stephen/Etienne). Original Art Collection RCID#20130171.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
74. Untitled, 70, undated. Joseph Bean. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
75. Fantasy 1997, Omaha, 1997. Janet Ryan. Photography Collection. RCID#2013061708.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
76. Untitled (Joseph Bean and Warren West), 1992 Jim Wigler. Photography Collection. RCID#2006038801. <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 49].<br />
77. Chicago Eagle, no. 6, undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 50].<br />
78. Lesbian Sex Mafia, c. 1993. Efrain J. Gonzalez. Photography Collection. RCID#2013061309.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 50].<br />
79. Fifteen Association (Peter Fiske with Willie Brown), undated. Photography Collection. RCID#2004003901.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 50].<br />
80. Louis B., PF, Thomas, Don & Andrew, c.1992 Peter Fiske Photo Collection. RCID#PERS0028<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 50]<br />
81. Untitled, no.610, undated. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 50].<br />
82. Dykes on Bikes at The Wild Rose, undated. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 51].<br />
83. Guy Baldwin and Pat Califia, undated. LA&M Photography Collection. <strong>Leather</strong><br />
<strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 51].<br />
84. Untitled, no.434 (Joseph Bean and Peter Fiske), undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 51].<br />
85. Untitled (Rick and Jeff), no. 646, undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 51].<br />
86. Untitled, no.310, undated. Israel Wright. Israel Wright Photographs. RCID#PERS0042.<br />
92
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 51].<br />
87. 6418 N Greenview Ave.(Beth Hamedrosh Hagodol Kesser Maariv Anshe Luknik), c.1964.<br />
LA&M Photography Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Pages 52-3].<br />
88. Jakob WIR, 2015. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 54].<br />
89. Cynthia Slater Cap (with Letter of Authenticity), <strong>2016</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 55].<br />
90. Jakob Deacidifying Sailor Cid Diller Materials, <strong>2016</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 56].<br />
91. Pam Nash & Ethel Grainger, c.1975-<strong>2016</strong>. Sailor Sid Diller Piercing Collection. Piercing Vol. 5. PERS0022.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 56].<br />
92. Untitled, no.582, undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 57].<br />
93. Liz, Parks, and Angelique, 2014. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 57].<br />
94. Noah, <strong>2016</strong>. Jose Santiago Perez. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 57].<br />
95. Ellen, <strong>2016</strong>. Jose Santiago Perez. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 57].<br />
96. <strong>25</strong> th Anniversary “Inside the <strong>Archives</strong>” Tour, <strong>2016</strong>. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 57].<br />
97. Jean, 2014. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 57]<br />
98. High Shine Tour, 2015. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 58].<br />
99. Brie, <strong>2016</strong>. Jose Santiago Perez. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 58].<br />
100. <strong>Archives</strong> Room, no.4, 2009. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 58].<br />
101. Kevin and Jakob, <strong>2016</strong>. Jose Santiago Perez. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 58].<br />
102. Untitled, no. 605 (Mr. Marcus), undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 58].<br />
103. Phil and Jakob, <strong>2016</strong>. Jose Santiago Perez. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 58].<br />
104. Party (Super 8mm canister), c.1975. Sailor Cid Diller Piercing Collection (online).<br />
Subseries 5.2: Home Videos. PERS0022.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. http://www.leatherarchives.org/sailorsid/ [Page, 59]<br />
105. Untitled, no.38, undated. Israel Wright. Israel Wright Photographs. RCID#PERS0042.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 60].<br />
106. Alex Warner (Women of <strong>Leather</strong>), no. 3, undated. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 63].<br />
107. Jim Ward, Sailor Sid, unknown, undated. Sailor Sid Diller Piercing Collection. PERS0022.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 64].<br />
93
108. Letter from Hal to Sid, January 10, 1978. Sailor Sid Diller Piercing Collection. PERS0022.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 65].<br />
109. Sailor Sid Exhibit, Association of Professional Piercers Conference, no. 4, <strong>2016</strong>.<br />
LA&M Photography Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 65].<br />
110. Sailor Sid Exhibit, Association of Professional Piercers Conference, no. 7, <strong>2016</strong>.<br />
LA&M Photography Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 66].<br />
111. Excavating Experience (Black Queer Magic), no.4108. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 67].<br />
112. Lily Emerson, undated. LA&M Photography Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 70].<br />
113. Black Men in <strong>Leather</strong>, 1999. Berlinger, Cain. BDSM How To and Informational.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 71].<br />
114. <strong>Leather</strong> Pride Flag Prototype, 1989. Anthony De Blase. Drummer Magazine, Issue 131, pg. 4.<br />
Periodical Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 72].<br />
115. International Mr. <strong>Leather</strong> Contest, 1979. International Mr. <strong>Leather</strong> Collection. ORG0011.<br />
Series_Photographs <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 79].<br />
116. <strong>25</strong> th Anniversary, no.4764, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 86].<br />
117. <strong>25</strong> th Anniversary, no.4770, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 86].<br />
118. <strong>25</strong> th Anniversary, no.4897, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 86].<br />
119. <strong>25</strong> th Anniversary, no.4853, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 86].<br />
120. <strong>25</strong> th Anniversary, no.4953, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 86].<br />
121. <strong>25</strong> th Anniversary, no.4926, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 86].<br />
122. <strong>25</strong> th Anniversary, no.4954, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 86].<br />
123. <strong>25</strong> th Anniversary, no.4883, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 87].<br />
124. <strong>25</strong> th Anniversary, no.4908, <strong>2016</strong>. Lorenzo “El Cuero” Martino.<br />
LA&M Photograph Collection. <strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 87].<br />
1<strong>25</strong>. <strong>25</strong> th Anniversary, no.4875, <strong>2016</strong>. Lorenzo “El Cuero” Martino. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 87].<br />
126. <strong>25</strong> th Anniversary, no.4927, <strong>2016</strong>. Lorenzo “El Cuero” Martino. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 87].<br />
127. <strong>25</strong> th Anniversary, no.4940, <strong>2016</strong>. Lorenzo “El Cuero” Martino. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 87].<br />
128. <strong>25</strong> th Anniversary, no.4943, <strong>2016</strong>. Lorenzo “El Cuero” Martino. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 87].<br />
129. <strong>25</strong> th Anniversary, no.4931, <strong>2016</strong>. Lorenzo “El Cuero” Martino. LA&M Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 87].<br />
130. Untitled, no. 74, <strong>2016</strong>. Adam Hart. LA&M Photograph Collection.<br />
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<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Page, 88].<br />
131. Gold Coast, no.69, undated. Chuck Renslow Photograph Collection.<br />
<strong>Leather</strong> <strong>Archives</strong> & <strong>Museum</strong>, Chicago Illinois USA. [Back Cover].<br />
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