Tag: Joan Jett Blakk

My 2nd Lesbian Coloring Book

Zine of the Gay

As many of the zines we have focused on for the last three Zine of the Gays have been mostly text-based, we wanted to highlight some zines that were more art-focused, and what is more cooperative, comforting, and artistically rule-breaking than a coloring book?

My Second Lesbian Coloring Book CoverMy 2nd Lesbian Colouring Book was created by Sacred Feminine and actually comes from Toronto like our last zine, Shame on Pride!, just a year later in 2006. There is very little text in this zine, but the writing we do have is a request by the creators for completed works from the zine. They say:

We feel that the spirit of art, much like the spirit of sisterhood, is a co-operative one.

Joan Jett Coloring PageIn exchange for the reader’s Sapphic graphics, they offer a “care package including herbal tea and a mix tape” which feels so perfectly lesbian it makes us all warm inside.

The coloring pages include queer women of the past and present who were famous across multiple fields, such as basketball player Sheryl Swoopes, musicians Madonna and Melissa Etheridge (who is pictured on the front cover), comedienne Lily Tomlin, writer Virgina Woolfe, and (actually genderqueer) activist Leslie Feinberg.

The zine ends with the statements “Sisterhood is Powerful!” and “Love is tender, knows no gender.” We hope that you carry these sentiments with you, and if you’re able to print the pages out, have fun coloring!

Kit Gorton is a current intern at QZAP and graduate student at University of Wisconsin-Milwaukee in library science and English, with focuses on archives and media studies. A rather queer Hobbit, Kit is most often seen collecting things (such as leaves, rocks, books and the like) or doting on their cat, Good Omens Written in Collaboration by Neil Gaiman and Sir Terry Pratchett.

By Any Means Necessary

P-Form #23 coverIn 1992, the drag queen Joan Jett Blakk ran for presidential office with backing from Queer Nation. Using the slogan “Lick Bush in ‘92,” Blakk’s campaign brought national attention to issues impacting queer communities, particularly the AIDS epidemic that the federal government was completely ignoring1. In the midst of the campaign, Terence Smith, the activist who performs as Blakk, penned an article for the performance art zine P-Form. Smith writes that drag carries a politics of “invulnerability,” providing a means of protection for Smith on both the stage and the streets. “No one can ‘harm’ me in drag,” writes Smith, “Because part of me is hidden underneath a Maybelline shell.” The article is a beautiful illustration of drag as a queer political force—a form of gender-fuckery that according to Smith “stomps out” the signifiers of masculinity and femininity.

Smith’s article is one of many articles on drag performance in this special issue of P-Form. The Randolph Street Gallery ran the zine from 1986 to 1999 and covered the performance art scene in Chicago. (Note: Blakk also ran for mayor of Chicago in 1991.) P-Form regularly highlights the work of queer and feminist artists. In the case of this issue, the majority of the articles are written by the artists themselves, who describe their performance practice as well as the difficulty of surviving and sustaining life as a queer performer.

JJBPIn an article entitled “Every Breathing Moment,” Michael Palmer describes the institutional violence enacted against trans bodies. Palmer writes about endless visits to doctors who challenged his identity as a trans man and refused to provide top surgery. He writes that “listening” to doctors or family would have meant turning toward death. Palmer describes breathing as a radical act—an assertion of life in institutional spaces that negate trans lives.

P-Form also provides reviews of other artistic forms, including painting cinema. In accordance with the drag performance theme, this 1991 issue includes a brief review of Jennie Livingston’s documentary Paris is Burning, which had been released the previous year. The review reads like a collage of interviews and pull-quotes, featuring press statements made by Livingston as well as iconic lines from drag performers such as Dorian Corey and Venus Extravaganza. “The balls used to be about what you could create,” says Corey, “Now they’re about what you could acquire.” Corey notes that theft was not uncommon among the economically struggling performers on the ball circuit. The statement is a strong illustration of how the Harlem ball circuit served as a space of queer of color fabulosity that also gestured toward the precarity of queer life. Performance is a means of sustaining queer life, and it depends on radical forms of resistance to institutional oppression.

1 Goodman, Elyssa. “The Drag Queen Who Ran For President in 1992.” Them, 20 Apr. 2018, https://www.them.us/story/joan-jett-blakk-drag-queen-president. Accessed 13 June 2019.

Jacob Carter graduated from the University of Wisconsin-Milwaukee in 2019 with a master’s degree in English. He is interested in queer cinema and performance art and plans to apply for a PhD in performance studies later this year. He has previously presented his research at the annual conference of the Society for Cinema and Media Studies and the Midwest Interdisciplinary Graduate Conference.

Get QZAP Swag!!