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<v Speaker>This is our space, this is our time.

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<v Silke>We sitting down with one of Australia's most loved and celebrated country artists, Beccy Cole, with over 30 years in the industry, 11 golden guitars, multiple Aria charting albums, and a reputation for her humor, honesty, and powerhouse storytelling.

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<v Silke>Becky has long been a defining voice in Australia's country music.

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<v Silke>She's now entering a bold new chapter with Through the Haze, her first solo album in seven years.

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<v Silke>Recorded on the New South Wales Central Coast and created alongside her closest friends and longtime collaborators, including the Sisters of Twang, the album is raw, diaristic, and deeply personal.

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<v Silke>Beccy explores heartbreak, resilience, therapy, self-discovery, and the humor that has carried her through life, all while delivering the warmth and truth fans adore.

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<v Silke>With new singles like The Gardener and the Flower and fan favorites, Shit Magnet, plus a national run-of-tour diets across New South Wales, Queensland, Victoria, and major festivals, Becky is back doing what she loves most, connecting with audiences and telling stories that make people laugh, cry, and feel seen.

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<v Silke>Today we talk about the making of the album, the joy of surrendering herself with her favorite people, the upcoming tour, and the life lessons that shaped this new

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<v Speaker 1>era.

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<v Speaker 1>Welcome, Beccy, to the Lotl Lounge.

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<v Speaker 1>I'm so happy to have you here and to chat with you today.

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<v Speaker 1>Thank you.

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<v Speaker 11>It's lovely to be on this platform with you.

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<v Speaker 1>I was so happy to see that you brought out a new EP through the Haze and your touring till the end of the year.

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<v Speaker 1>Got a million questions.

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<v Speaker 1>Been very open about your last few years that you've gone through some hardship through the haze.

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<v Speaker 1>The EP came out of it.

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<v Speaker 1>What influenced this EP?

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<v Speaker 11>The album came out in March, and it definitely speaks to the sort of hard time that I had after my marriage breakup.

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<v Speaker 11>For me, it's been a definite self-discovery when I thought I knew everything about relationships and how they work and human traits and what have you.

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<v Speaker 11>I've had a lot of broken hearts in my life, but this is the first time I had a broken mind.

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<v Speaker 11>And it was basically the rebuilding of me personally was like rebuilding rubble.

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<v Speaker 11>And so the songs kind of speak to that.

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<v Speaker 11>As you say, I'm in the middle of the tour and I'm so much better mentally.

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<v Speaker 11>My mental health is so much better than it was.

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<v Speaker 11>Perhaps when I was writing some of these songs, some of the songs were written from the wound and some from the scar.

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<v Speaker 11>But I think they were important, certainly for my healing, but now I'm hearing hearing from a lot of people who could relate and can relate to my stories.

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<v Speaker 1>Just really love following your journey from 20 years ago, whenever you came out.

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<v Speaker 11>Yeah, I remember when I came out publicly, it was 2012, but I came out to myself at the end of the 90s, actually, 1999.

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<v Speaker 11>I publicly came out on television in 2012.

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<v Speaker 11>It hadn't really occurred to me, and it was a part of myself that I kept quiet.

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<v Speaker 11>I suppose because I toured regional Australia and it was uncharted territory as far as queer people go.

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<v Speaker 11>And I wished that I had done it sooner when I eventually did it.

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<v Speaker 11>I was welcomed with open arms.

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<v Speaker 1>You are so straightforward and so honest and so open that after I read your book and that came out what six years ago, eight years ago or something?

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<v Speaker 1>20, yeah, twenty twenty fifteen.

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<v Speaker 1>I remember back then I was thinking, oh, poor Becky, seriously.

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<v Speaker 1>Can't you have any more disastrous relationships?

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<v Speaker 1>And oh yes.

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<v Speaker 1>I so felt for you reading the book, and then you were so public after your divorce on social media, and because I follow you, like or Lotl follows you, we see what's going on, and it was like, Jesus Christ.

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<v Speaker 1>Most artists that do talk about that one of the best writings or the best work comes through difficult times.

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<v Speaker 1>Did you find that with that EP?

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<v Speaker 11>Yeah, I think the best art I think comes from being able to show your vulnerabilities.

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<v Speaker 11>It's certainly something that I've always, as an admirer of all forms of art, something that really speaks to me as something that's come from a very emotional place.

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<v Speaker 11>And I think couple that with my age, you're not afraid in your 50s to say it like it is.

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<v Speaker 11>And I've learned so much about myself, but also about humans and about how they work.

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<v Speaker 11>And this is through pretty intense therapy that I've had over the last five years now.

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<v Speaker 11>I just think therapists are amazing.

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<v Speaker 11>They speak in song titles, and I keep writing it down.

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<v Speaker 11>And my therapist voice says, What are you writing down?

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<v Speaker 11>I said, You're a songwriter, you're an artist, you're incredible.

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<v Speaker 11>And I actually credited her in the liner notes to the album because she taught me so much about when your values don't align with somebody and how it could never work and all that.

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<v Speaker 11>I've never studied that before, Silka.

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<v Speaker 11>And it was just the most amazing thing.

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<v Speaker 11>And for me to rebuild myself for my mind to work properly and for my to for me to get to know how my heart works and to be pretty proud of that by the end of it was pretty cool as well.

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<v Speaker 11>But I had to write these songs to get to that point.

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<v Speaker 11>And that's not to say that the album is full of doom and gloom.

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<v Speaker 11>It's just stepping stones, I think.

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<v Speaker 11>And there's a lot of hope on the record as well, I like to think.

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<v Speaker 11>And there's moments of songs about secure attachment as well, the gardener and the flower and other songs like that.

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<v Speaker 11>And my trademark humor as well.

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<v Speaker 11>My tongue's firmly planted in my cheek.

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<v Speaker 11>I've always been able to laugh at myself.

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<v Speaker 11>I call myself a shit magnet.

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<v Speaker 11>There's a song about that.

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<v Speaker 1>I wanted to ask you about that because that was my next question.

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<v Speaker 1>It's like, why would you start an album off with shit magnet?

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<v Speaker 1>What are you trying to say?

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<v Speaker 1>I thought it had to be I love it.

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<v Speaker 1>And you've got stickles even.

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<v Speaker 11>I needed to start the album with humor because it the album is 12 or 13 songs that take the listener on a bit of a roller coaster ride.

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<v Speaker 11>So I wanted to start with some humor.

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<v Speaker 11>I formerly described myself as a lesbian.

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<v Speaker 11>I am now a do-not-disturbian.

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<v Speaker 11>And I'm retired from service, Silka.

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<v Speaker 11>I'm retired.

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<v Speaker 11>So if you ever hear I'm getting married or I'm with another partner, there's something wrong.

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<v Speaker 11>It's not true.

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<v Speaker 1>Becky, how hard was it to pick up the guitar again after the breakup?

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<v Speaker 11>Almost impossible.

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<v Speaker 11>In fact, I ended up spending some time in a facility and I was there for a few months and I didn't even take a guitar.

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<v Speaker 11>There happened to be one in this sort of common area, and I picked it up one day and I realized how much I needed music.

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<v Speaker 11>It was actually my ex-husband from a whole lifetime ago who lived not that far, who through my son heard that I would really love to have a guitar, and he dropped it in.

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<v Speaker 11>And that was incredible because it was obviously somebody from my past, but somebody who I care deeply about and vice versa.

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<v Speaker 11>And he had left a note in with the guitar saying, I love you, Collie.

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<v Speaker 11>And it was just, I needed that note as well as as much as I needed the guitar.

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<v Speaker 11>And I started writing the songs for this record in that.

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<v Speaker 11>And that's why I say that some of them are written from the wound and some from the scar.

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<v Speaker 11>But it took a long time for me to get musical again and to feel worthy enough of getting back into my art.

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<v Speaker 11>I also lost my voice, and this is going to sound crazy, but I got my voice back through equine therapy, through singing to the horses in this facility.

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<v Speaker 11>Music is powerful, animals are powerful.

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<v Speaker 11>When you realise the power of music, it's certainly something that got me out of where I was.

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<v Speaker 11>And you couple that with animals and their intuition and their hearts and their ability to pick up on how you're feeling.

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<v Speaker 1>Animals can do so much for us.

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<v Speaker 1>You've got a new pet, haven't you?

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<v Speaker 11>She's a miniature grudel, and I did some research on therapy pets and therapy animals, and I've always had bigger dogs like a Kelpie or border collies or cross between them, working dogs, and they're full of love, but they're really all about working, which is often when they're not on a farm, it's about the ball, about fetch.

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<v Speaker 11>But Patsy is all about love.

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<v Speaker 11>Honestly, it's all the love I've ever needed.

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<v Speaker 11>It's helped me to give up my absolute obsession with women that I've had all my life.

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<v Speaker 11>I'm just so happy cuddling my Patsy now.

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<v Speaker 11>That's why I'm a do-not-disturbian.

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<v Speaker 11>That's why I'm former lesbian, Becky Cole.

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<v Speaker 1>I think I'm gonna cut that out of the interview because I need to keep lesbianism alive for my podcast.

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<v Speaker 11>You do what you need to do, but yeah, I was pretty girl obsessed for a long time, and now I'm girl sober, and it's probably been the making of me.

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<v Speaker 11>I'm girl sober.

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<v Speaker 1>Did you just say girl sober?

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<v Speaker 1>Okay, all right.

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<v Speaker 1>See, where do we go from here?

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<v Speaker 1>Tell me a little bit about the tour, what people can expect.

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<v Speaker 1>Been to many of your concerts, and the one that I sorely remember is the one on the Olivia cruise.

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<v Speaker 1>You bloody rocked that boat.

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<v Speaker 1>That was so amazing.

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<v Speaker 1>You'd really have the gift, Becky.

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<v Speaker 1>But what's the new tour like?

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<v Speaker 11>Oh, it's so much fun.

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<v Speaker 11>And in fact, that Olivia cruise that you're talking about was when I started really basically playing most of my gigs with an all-female band, and because that's what Olivia asked for.

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<v Speaker 11>And I was already starting to head in that direction.

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<v Speaker 11>What do I have to do?

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<v Speaker 11>Learn bass.

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<v Speaker 11>And I said, Yeah.

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<v Speaker 11>So now she's sometimes on bass.

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<v Speaker 11>Well, while Ali's on drums, and they are they're an amazing group of women.

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<v Speaker 11>Most of them are queer, some of them are not.

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<v Speaker 11>We don't discriminate, but so capable.

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<v Speaker 11>And the empowerment, not only being on stage, but getting to tour with them and what we give each other in this world of music and art in general is just so incredibly special.

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<v Speaker 11>And I rely on them a lot too for my female company because obviously I come home and I'm here by the river in South Australia with Patsy.

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<v Speaker 11>And then I get to go away with seven or eight amazing women, and some of them bring their partners.

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<v Speaker 11>So we've got photographers and merch sellers, and we sit around after the shows, and I've got so much clarity these days because I don't drink alcohol anymore either.

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<v Speaker 11>So I can remember everything, which is amazing.

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<v Speaker 11>So I'm girl sober and I'm actually alcohol sober.

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<v Speaker 1>Oh, Jesus, so funny in that I can see it.

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<v Speaker 1>You look amazing and you're and cheese through the screens.

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<v Speaker 1>It's really good, positive.

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<v Speaker 11>That's nice.

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<v Speaker 11>Yeah.

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<v Speaker 11>I honestly believe if you're trying to heal yourself from any trauma, you can't do that unless you're sober.

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<v Speaker 11>Otherwise, you're just doing it in increments that and you keep on going backwards when you don't have that clarity of mind that sobriety gives you.

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<v Speaker 11>And it doesn't mean that you have to be completely sober.

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<v Speaker 11>And I'm never saying never.

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<v Speaker 11>And at some point I might have a glass at some function or something.

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<v Speaker 11>But so far, it's working for me right now.

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<v Speaker 11>And I've done all of the things that I never thought that I could do sober, like funerals and wakes, sitting around after shows is one of my favorite things to do.

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<v Speaker 11>And the girls, some of them are drinking, some of them are doing other stuff.

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<v Speaker 11>So it's all cool.

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<v Speaker 11>Whatever works is totally fine.

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<v Speaker 11>And I'm very happy to be in their company and I feel safe.

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<v Speaker 11>I don't feel pressured to be anything other than what I am in that moment.

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<v Speaker 1>Got to make a conscious decision.

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<v Speaker 1>Bigger health comes first.

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<v Speaker 11>I totally agree with you.

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<v Speaker 11>And that's another reason I mentioned that I've been to funerals of friends, and I started to think about that as well that I was losing some dear people around that age of 70, where they should be with us for another 10 or 20 years, and they were big drinkers.

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<v Speaker 11>My mum is 82 and just incredible and has never had a drop of alcohol in her life.

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<v Speaker 11>So I used to joke that I'd have to have her share.

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<v Speaker 11>But yeah, the reality is she's 82, and she had her mum right up until three years ago.

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<v Speaker 11>We lost grandma, and grandma was almost 104.

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<v Speaker 11>Again, wasn't a big drinker.

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<v Speaker 11>She'd occasionally have a little bubbles with me, and her nose would go red and she'd start telling the truth.

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<v Speaker 11>And mum would go, Oh, don't say anything, mum.

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<v Speaker 1>Oh, that's funny.

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<v Speaker 1>I thought you would, I was hoping you would say how she liked one whiskey a day.

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<v Speaker 11>Yeah, she no, she'd have a little drink with me every now and then because I'd sneak in a little piccolo of bubbles or something like that.

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<v Speaker 11>And mum would go, She can't have that, she can't have that.

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<v Speaker 11>And I'd go, Oh, let her go.

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<v Speaker 11>And believe me, if I'm still here at 103, I think I'll probably be enjoying a bubbles with my grand something too.

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<v Speaker 11>But life's a journey and whatever works for any individual person.

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<v Speaker 1>Back to the EP, which by the way, I really am enjoying.

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<v Speaker 1>It's on my playlist, and we're going to put it on the little lounge playlist as well, of course.

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<v Speaker 1>We will put all the tour details in our show notes.

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<v Speaker 1>You've given us two songs to play on the podcast, Garden and the Flower.

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<v Speaker 1>Can you just give us a quick overview of what that song is all about?

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<v Speaker 11>The idea came to me when I was listening to a podcast between Kate Langbrook, who I love in podcast form, and Rosie O'Donnell.

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<v Speaker 11>Rosie is famously single as well, and I align myself with her a lot.

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<v Speaker 11>She's one of the most amazing daikons that we have.

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<v Speaker 11>When she spoke about how she worked out in a relationship for relationship to work, one has to be the gardener and the other the flower.

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<v Speaker 11>And the most important part about that is that you have to learn to be able to swap roles.

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<v Speaker 11>And that makes so much sense to me, Silka, in a relationship where somebody is always the gardener, providing nourishment and helping out the other person.

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<v Speaker 11>And when it's never flipped the other way, then you're going to start to have problems eventually, even though you go, No, I'm fine, I'm fine.

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<v Speaker 11>When somebody is not nurtured in the same way, it's going to become uneven at some point.

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<v Speaker 11>And when you're in that early honeymoon period that can last sometimes for five or six years, it's all great, it's all grand, but it's the same as the values not aligning.

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<v Speaker 11>It's not going to work.

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<v Speaker 11>So that is what I would call a secure attachment song on the record.

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<v Speaker 11>And it is a point when I was away writing, I was up the river at my brother's shack.

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<v Speaker 11>I would only allow myself to listen to music because that's what inspires me.

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<v Speaker 11>And I thought, oh, I'll listen to one podcast because I love podcasts.

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<v Speaker 11>So I ran myself a bath and I'm in the bath listening to Rosie O'Donnell talking about the gardener and the flower.

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<v Speaker 11>And I'm trying to get out, going, There's a song, there's a song.

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<v Speaker 11>And I'm I'm slipping and sliding and I'm bruising myself.

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<v Speaker 11>And I'm I've got the original bit of paper, it's still got blotches on it from when I was still dripping, writing down you be the gardener, I'll be the flower.

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<v Speaker 11>For me, the song wrote itself, and I was in writing mode, I was in that waiting for inspiration.

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<v Speaker 11>I always wait for the songwriting fairy to tap my shoulder and go, here it is, here it is.

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<v Speaker 11>It was through the medium of Rosie O'Donnell.

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<v Speaker 11>So I was very pleased.

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<v Speaker 1>Do you actually think that applies to both type of relationships?

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<v Speaker 1>Women to women and men and women?

00:18:01.599 --> 00:18:08.960
<v Speaker 11>Yeah, I think it's a racial song, although this is probably the whole album as a whole has probably been the most gender-specific that I've ever been.

00:18:08.960 --> 00:18:11.920
<v Speaker 11>I'm more out and proud than I ever was, even when I first came out.

00:18:11.920 --> 00:18:12.960
<v Speaker 11>It was such a relief.

00:18:12.960 --> 00:18:19.119
<v Speaker 11>But at the same time, I think you you become more satisfied and happy within yourself as you get older.

00:18:19.119 --> 00:18:25.839
<v Speaker 11>There used to be certain situations on stage where I wouldn't mention it if I was in a certain venue that I didn't think could handle it.

00:18:25.839 --> 00:18:30.319
<v Speaker 11>But now I'm just, you have to handle because you've bought a ticket to see a lesbian.

00:18:30.319 --> 00:18:32.400
<v Speaker 11>So I'm going to talk about it basically.

00:18:32.720 --> 00:18:34.480
<v Speaker 1>I did want to ask you one last thing.

00:18:34.480 --> 00:18:38.640
<v Speaker 1>I saw you posted a photo of you and Dolly Parton just after she passed away.

00:18:38.640 --> 00:18:43.359
<v Speaker 1>You met her when you were younger, and then you met her again when you were an established artist.

00:18:43.680 --> 00:18:53.200
<v Speaker 11>Yeah, three, three times along 1986, 2011, and 2017, I think, the three times that I met her.

00:18:53.200 --> 00:18:57.519
<v Speaker 11>And when I was a little girl, I had 286 pictures of Dolly on my wall.

00:18:57.519 --> 00:19:02.160
<v Speaker 11>Up until that when I was 13, and in that photo of Dolly, and I've got a mullet.

00:19:02.160 --> 00:19:03.279
<v Speaker 11>It was 1986.

00:19:03.279 --> 00:19:09.119
<v Speaker 11>And I felt like that day she waved a wand over me because she said to me, What do you want to do?

00:19:09.119 --> 00:19:10.319
<v Speaker 11>And I said, I want to be a singer.

00:19:10.319 --> 00:19:11.680
<v Speaker 11>And she said, What songs do you sing?

00:19:11.680 --> 00:19:12.880
<v Speaker 11>And I said, Yours.

00:19:12.880 --> 00:19:16.079
<v Speaker 11>And she called me her namesake because her middle name was Rebecca.

00:19:16.079 --> 00:19:23.680
<v Speaker 11>And I never modelled myself on Dolly, per se, as far as an actual performer goes, but I modelled my behaviors on her.

00:19:23.680 --> 00:19:28.960
<v Speaker 11>It was always what would Dolly do, and just her heart and her generosity that everybody got to know.

00:19:28.960 --> 00:19:35.279
<v Speaker 11>Because I it's something that I felt like I knew at three years old, listening to Code of Many Colours and me and Little Andy and all of her songs.

00:19:35.279 --> 00:19:40.400
<v Speaker 11>And I just knew that she was just this larger than life, more generous than anybody.

00:19:40.400 --> 00:19:49.680
<v Speaker 11>And I think it's proof in the last couple of weeks since she died that everybody is remembering her philanthropy and her humanitarianism and things that she gave the world.

00:19:49.680 --> 00:20:00.000
<v Speaker 11>Try and think of anybody else who could bring people together from all sides politics and the spectrum of whether it be religion or sexuality, who else could bring them together like Dolly?

00:20:00.000 --> 00:20:01.440
<v Speaker 11>Nobody is the answer.

00:20:01.440 --> 00:20:03.519
<v Speaker 11>And we've lost a really big one.

00:20:03.519 --> 00:20:07.279
<v Speaker 11>And she lives on inside those of us who loved so brilliantly.

00:20:07.279 --> 00:20:11.920
<v Speaker 11>And I've got my 1979 Dolly Parton pinball machine just behind me here.

00:20:11.920 --> 00:20:14.960
<v Speaker 11>And I've got my, I've still got my side over there.

00:20:14.960 --> 00:20:21.440
<v Speaker 11>There's no other way to say it other than I feel like she waved her wand on me in those 1986.

00:20:21.440 --> 00:20:24.960
<v Speaker 11>And I've been better for it whenever I follow her teachings.

00:20:24.960 --> 00:20:26.720
<v Speaker 11>Like she's Jesus.

00:20:26.720 --> 00:20:30.880
<v Speaker 11>When I follow the teachings of Dolly Parton, I'm a better person, right?

00:20:31.759 --> 00:20:32.960
<v Speaker 1>Becky, thank you so much.

00:20:32.960 --> 00:20:35.680
<v Speaker 1>We've taken up a lot of your time now.

00:20:35.680 --> 00:20:36.720
<v Speaker 1>I really appreciate it.

00:20:36.720 --> 00:20:38.160
<v Speaker 1>It was lovely talking to you.

00:20:38.160 --> 00:20:46.799
<v Speaker 1>And as I said, we'll put everything in the show notes so the listener can check out where you are performing next and also to download your new album.

00:20:46.960 --> 00:20:47.599
<v Speaker 11>Thanks, Silka.

00:20:47.599 --> 00:20:49.119
<v Speaker 11>Lovely to chat to you.

00:20:55.519 --> 00:20:58.640
<v Speaker 10>Lay down your bird and sing in me.

00:20:58.640 --> 00:21:04.000
<v Speaker 10>I've got your back, little Hercules.

00:21:04.000 --> 00:21:08.960
<v Speaker 10>You've got somebody you can lead upon.

00:21:08.960 --> 00:21:20.799
<v Speaker 10>I love to see you smile.

00:21:20.799 --> 00:21:26.799
<v Speaker 10>Let me just take care of you.

00:21:26.799 --> 00:21:31.680
<v Speaker 10>Love you the time.

00:21:31.680 --> 00:21:34.960
<v Speaker 10>You be the time.

00:24:30.559 --> 00:24:36.319
<v Speaker 1>Today we are exploring a remarkable and often overlooked chapter of Australian queer history.

00:24:36.319 --> 00:24:52.799
<v Speaker 1>It's the story of Sandra Wilson, a lesbian woman who spent 18 years behind bars despite never being convicted of a crime, and the extraordinary coalition of feminists, gay liberation, and prison reform activists who fought to secure her freedom.

00:24:52.799 --> 00:25:07.279
<v Speaker 1>In her latest article for LOL, historian and researcher Thomson Martin examines how discrimination, institutionalization, and the legal system shaped Santa's life and how grassroots activists refused to let her disappear.

00:25:07.279 --> 00:25:15.279
<v Speaker 1>From public rituals and protest actions to the intersection of lesbian, feminist, and prison abolition politics in the 70s.

00:25:15.279 --> 00:25:17.759
<v Speaker 1>It's a story that still resonates today.

00:25:17.759 --> 00:25:24.799
<v Speaker 1>Tempson joins us now to discuss the campaign to free Sandra Wilson and what it reveals about Australians' queer past.

00:25:24.799 --> 00:25:28.480
<v Speaker 1>Tempson, thank you for joining us on The Lot Lounge.

00:25:28.480 --> 00:25:31.920
<v Speaker 1>We are talking about Sandra Wilson.

00:25:31.920 --> 00:25:36.799
<v Speaker 1>She was one of the longest-serving female prisoners around the 60s.

00:25:36.799 --> 00:25:40.480
<v Speaker 1>Do you want to introduce her to us to start off with?

00:25:40.799 --> 00:25:47.519
<v Speaker 2>Sandra Wilson, she was a lesbian who was the longest-serving female prisoner in New South Wales, serving a total of 18 years.

00:25:47.519 --> 00:25:55.839
<v Speaker 2>And the reason why she comes up in the history of lesbian activism is the reason she was in jail was because she was a lesbian.

00:25:55.839 --> 00:26:05.359
<v Speaker 2>She ended up at the hands of the legal system thanks to being discriminated against over her sexuality throughout her entire adolescence and young adult life.

00:26:05.359 --> 00:26:12.000
<v Speaker 2>And when she was in prison, had she denounced her sexuality, the likelihood of her being released would have been much, much higher.

00:26:12.000 --> 00:26:19.839
<v Speaker 2>So the fact that she was still an outspoken lesbian after all these years incarcerated was one of the things that was contributing to her still being held.

00:26:20.160 --> 00:26:23.440
<v Speaker 1>Did you find there was a lot of information about her?

00:26:23.440 --> 00:26:27.839
<v Speaker 1>Do you think she should be, or her case should be more known?

00:26:27.839 --> 00:26:29.839
<v Speaker 1>I would love for her to be more well known.

00:26:30.079 --> 00:26:32.079
<v Speaker 2>I don't think she is particularly well known.

00:26:32.079 --> 00:26:40.400
<v Speaker 2>Before me including her story in my master's thesis last year, there's really only been one historian who's looked at her before, and that's Dr.

00:26:40.400 --> 00:26:41.119
<v Speaker 2>Rebecca Jennings.

00:26:41.119 --> 00:26:51.680
<v Speaker 2>And Sandra's really unique in that not only did she have this life experience, but also while she was incarcerated, she wrote many, many drafts of her memoir that was eventually edited and released after her death.

00:26:51.680 --> 00:27:06.960
<v Speaker 2>So she's unique in that she's got this really detailed memoir of life as a lesbian in the 50s, in the 60s, in the 70s, including that time period where she's incarcerated and what the prison experience was like for mentally ill and queer people.

00:27:07.200 --> 00:27:09.519
<v Speaker 1>Wow, that would be super interesting to read.

00:27:09.519 --> 00:27:15.359
<v Speaker 1>And also, I did see she was actually an advisor on the TV series Prisoner.

00:27:15.519 --> 00:27:22.079
<v Speaker 2>Yeah, I think that's a really amazing thing where as soon as she gets out, she's working in feminist, gay, and prison reform activism.

00:27:22.079 --> 00:27:25.680
<v Speaker 2>And part of that prison reform activism is she was asked to be an advisor on that show.

00:27:26.000 --> 00:27:32.319
<v Speaker 1>Once you start reading into her story, so what happened was in the 60s, she was a young lesbian.

00:27:32.319 --> 00:27:37.279
<v Speaker 1>She was living with her girlfriend and she was taken into a girl's home.

00:27:37.279 --> 00:27:39.680
<v Speaker 1>Can you give us a timeline what happened?

00:27:39.920 --> 00:27:46.960
<v Speaker 2>When she was about 13, she was sent to a psychiatrist after it was noticed that she had a bit of a crush on one of her teachers at school.

00:27:46.960 --> 00:27:50.319
<v Speaker 2>I think is a pretty common experience for a lot of 13-year-old lesbians.

00:27:50.319 --> 00:27:53.200
<v Speaker 2>Not many of us are sent to psychiatrists about that anymore.

00:27:53.200 --> 00:27:56.319
<v Speaker 2>So she spent some time in a psychiatric facility after that.

00:27:56.319 --> 00:27:59.200
<v Speaker 2>Towards her late teens, I believe she was about 17.

00:27:59.200 --> 00:28:02.079
<v Speaker 2>She was living in a flat in Bondi with a girlfriend.

00:28:02.079 --> 00:28:05.599
<v Speaker 2>And she considered that relationship, they were husband and wife.

00:28:05.599 --> 00:28:09.440
<v Speaker 2>And they were sending letters to a friend where they referred to each other as husband and wife.

00:28:09.440 --> 00:28:12.240
<v Speaker 2>And that friend's mother took those letters to the police.

00:28:12.240 --> 00:28:20.079
<v Speaker 2>And the police came and knocked on the door, came to look at the way that they were living, noticed that only one bed was being slept in and arrested them for it.

00:28:20.079 --> 00:28:26.160
<v Speaker 2>Despite the fact that on a technicality, being a lesbian wasn't illegal, it was still very much persecuted again.

00:28:26.160 --> 00:28:32.480
<v Speaker 2>So because Sandra was the older of the two, she was sent to Paramatic Girls' home, which was rife with abuse.

00:28:32.480 --> 00:28:36.160
<v Speaker 2>So then she underwent aversion therapy, specifically because of her sexuality.

00:28:36.160 --> 00:28:46.720
<v Speaker 2>So throughout her entire adolescent and young adult life, she's in and out of psychiatric facilities and undergoing aversion therapy and being discriminated against because of her sexuality.

00:28:46.720 --> 00:28:54.160
<v Speaker 2>Then in 1959, she's inspired to train to become a psychiatric nurse because of all those years in those facilities.

00:28:54.160 --> 00:28:58.799
<v Speaker 2>And while she's in, while she's doing that training, she starts getting a fellow trainee nurse.

00:28:58.799 --> 00:29:06.160
<v Speaker 2>And one of the older staff notices this relationship, goes to her partner, and convinces her partner that relationships immoral.

00:29:06.160 --> 00:29:10.319
<v Speaker 2>She breaks up with Sandra and specifically uses the words, I can never see you again.

00:29:10.319 --> 00:29:13.200
<v Speaker 2>And at that point, Sandra describes that she essentially broke.

00:29:13.200 --> 00:29:16.720
<v Speaker 2>She wanted to kill herself because she realized that society wouldn't mourn her.

00:29:16.720 --> 00:29:25.359
<v Speaker 2>Thought process at the time was that if she takes, quote, one of them, then society would make you reflect and feel sorry for discriminating against her.

00:29:25.680 --> 00:29:29.839
<v Speaker 1>Her crime was she went out, ended up killing a taxi driver.

00:29:29.839 --> 00:29:31.119
<v Speaker 1>She handed herself in.

00:29:31.359 --> 00:29:38.160
<v Speaker 2>Yes, she escaped on foot, handed herself in a couple days later after consulting with one of her doctors, telling her what had happened, and they went in together.

00:29:38.400 --> 00:29:40.720
<v Speaker 1>She ended up in prison, not being convicted.

00:29:40.960 --> 00:29:44.240
<v Speaker 2>Yeah, so basically what happened was so 1959, this happened.

00:29:44.240 --> 00:29:45.920
<v Speaker 2>She hands herself in a couple days later.

00:29:45.920 --> 00:29:48.640
<v Speaker 2>While she's being held for trial, she tries to end her life.

00:29:48.640 --> 00:29:54.240
<v Speaker 2>She's unsuccessful, but that causes the trial to be pushed back by a year until they declare her fit to stand.

00:29:54.240 --> 00:29:56.400
<v Speaker 2>So she spends a year in a psychiatric facility.

00:29:56.400 --> 00:30:03.359
<v Speaker 2>Then in 1960, she's found not guilty due to insanity after a single doctor's testimony about her mental state.

00:30:03.359 --> 00:30:06.960
<v Speaker 2>So the sentence she's given is a governor's pleasure sentence.

00:30:06.960 --> 00:30:14.559
<v Speaker 2>The idea of that is that you're to be held at the governor's pleasure, at the state's pleasure, until you're declared sane and no longer a danger.

00:30:14.559 --> 00:30:27.519
<v Speaker 2>So in 1971, after an escape attempt from the psychiatric facility where she wanted to mail off a copy of her memoir to a publisher, she's declared sane because the idea is she didn't escape to go and commit another crime.

00:30:27.519 --> 00:30:36.400
<v Speaker 2>She actually escaped with quite a rational plan to send off this memoir after one of the staff at the psychiatric facility had been constantly threatening to take it away from her.

00:30:36.400 --> 00:30:39.599
<v Speaker 2>So because of the sort of lucidity around that plan, she's considered sane.

00:30:39.599 --> 00:30:44.480
<v Speaker 2>But instead of being released, which is what should have happened, she was then transferred over to Malawa Women's Prison.

00:30:44.480 --> 00:30:48.559
<v Speaker 2>And then she's there for another five years before the campaign discovers her.

00:30:48.880 --> 00:30:58.000
<v Speaker 1>Back then, so it was a very, very different landscape, but it was the 70s, and there was activism was rife out there.

00:30:58.000 --> 00:31:00.480
<v Speaker 1>We're talking about early gay activism.

00:31:00.480 --> 00:31:12.480
<v Speaker 1>Let's reintroduce Camp as an example, and also an organization called Women Behind Bars got to learn about Sandra's story and took it on as a campaign-free Sandra Wilson.

00:31:12.480 --> 00:31:14.559
<v Speaker 1>What was that collaboration like?

00:31:14.559 --> 00:31:20.400
<v Speaker 1>How did those two organizations work together and what did they achieve at the end?

00:31:20.720 --> 00:31:23.039
<v Speaker 2>Yeah, so it starts with Women Behind Bars.

00:31:23.039 --> 00:31:27.759
<v Speaker 2>They're a feminist organization made up of women who had experienced incarceration.

00:31:27.759 --> 00:31:39.359
<v Speaker 2>One of the founding members is Wendy Bacon, who had been sent to Malwa earlier in the 1970s after being charged for publishing the poem Cunt as a Christian Word in the UNSW newsletter Thoranka.

00:31:39.359 --> 00:31:49.039
<v Speaker 2>There was some early collaboration between Camp and her, I believe it was 71 or 72, they were supporting her after being charged for obscenity.

00:31:49.039 --> 00:32:00.240
<v Speaker 2>But whilst she's in prison, and while a couple of other activists are in prison, they're seeing the conditions of Mullawa and they've become inspired to try and fight for change in the casserole system.

00:32:00.240 --> 00:32:09.200
<v Speaker 2>So then in 1976, some members meet Sandra while she's in there and they realize that she's been held for so long on a charge that doesn't really stand up.

00:32:09.200 --> 00:32:14.400
<v Speaker 2>Their view is she's being held illegally because when she was declared saying she should have been released and she hasn't been.

00:32:14.400 --> 00:32:19.359
<v Speaker 2>So the slogan of this campaign is not guilty, not insane, not insane, not guilty.

00:32:19.359 --> 00:32:29.519
<v Speaker 2>So the idea is while they have a much bigger investment into reshaping the castoral system, ultimately they want the depopulation and closure of women's prisons.

00:32:29.519 --> 00:32:33.680
<v Speaker 2>But in the short term, they want to improve conditions in those prisons.

00:32:33.680 --> 00:32:40.799
<v Speaker 2>They found Sandra, who's a really key example of someone who's being held illegal, whose treatment is completely immoral.

00:32:40.799 --> 00:32:46.160
<v Speaker 2>So they want to rally around her in the hopes that they can win this shorter term goal.

00:32:46.640 --> 00:32:49.440
<v Speaker 1>How long did that campaign go for?

00:32:49.440 --> 00:32:54.319
<v Speaker 1>Eventually, they were successful with the campaign and Sandra walked free.

00:32:54.319 --> 00:32:55.200
<v Speaker 1>When was that?

00:32:55.519 --> 00:33:06.319
<v Speaker 2>Yeah, so we've been behind bars with a couple of protests in 1976 that had some support from Camp and also from the New South Wales Gay and Lesbian Socialist Group.

00:33:06.319 --> 00:33:11.680
<v Speaker 2>And then in November of 1976, Camp run their tribunal, which I'm sure we'll get to in a second.

00:33:11.680 --> 00:33:14.160
<v Speaker 2>And then through February of 1977.

00:33:14.160 --> 00:33:20.720
<v Speaker 2>So from the 1st of February, for 16 days, we have this vigil that women behind bars run, which has a consistent camp presence there as well.

00:33:20.720 --> 00:33:22.799
<v Speaker 2>There's always people from camp there supporting it.

00:33:22.799 --> 00:33:29.599
<v Speaker 2>That's 16 days of 24-7 demonstrating in Triflies Square, which is right where the officers of the Department of Corrections were.

00:33:29.599 --> 00:33:33.599
<v Speaker 2>So while their letters to the Department of Corrections are being ignored, their physical presence couldn't be.

00:33:33.599 --> 00:33:44.240
<v Speaker 2>So after that 16 days, they allow Sanders to become partially released, where she's allowed to live with a friend in a house on the prison yard.

00:33:44.240 --> 00:33:46.480
<v Speaker 2>She may be allowed out for a day, that thing.

00:33:46.480 --> 00:33:49.119
<v Speaker 2>But she's really restricted in what visitors she's allowed.

00:33:49.119 --> 00:33:53.279
<v Speaker 2>She's allowed to see her aunt, her doctor, and that's about it.

00:33:53.279 --> 00:33:58.799
<v Speaker 2>The women from Women Behind Bars who were allowed to visit her while she was actually in prison, they're no longer allowed to see her.

00:33:58.799 --> 00:34:01.599
<v Speaker 2>And it's quite limited with what contacts are allowed with her.

00:34:01.599 --> 00:34:06.960
<v Speaker 2>And then in October of 1977, so February through October, she's in this half-released state.

00:34:06.960 --> 00:34:13.840
<v Speaker 2>In October, she's finally fully released, where the women from Women Behind Bars immediately help her get housing and employment and set her up.

00:34:14.079 --> 00:34:18.000
<v Speaker 1>And as soon as she came out, she turned into an activist herself, hasn't she?

00:34:18.000 --> 00:34:23.840
<v Speaker 1>She started this halfway house for women prisoners after they leave prison.

00:34:23.840 --> 00:34:27.360
<v Speaker 1>And she was quite active in that space till she died.

00:34:27.599 --> 00:34:28.239
<v Speaker 2>Yeah, absolutely.

00:34:28.239 --> 00:34:33.199
<v Speaker 2>So she's interviewed a year after her release by campaign for the gay newspaper.

00:34:33.199 --> 00:34:42.800
<v Speaker 2>And she's talking about how invested she is in gay and feminist activism and how she thinks that men and women working together in the gay movement is a really important strategy.

00:34:42.800 --> 00:34:45.840
<v Speaker 2>And yes, so she's involved in prison reform activism.

00:34:45.840 --> 00:34:49.280
<v Speaker 2>So she joins Women Behind Bars and this other group called the prisoner action group.

00:34:49.280 --> 00:34:53.920
<v Speaker 2>And she opens Guthrie House in the 80s, and that's still open today.

00:34:53.920 --> 00:35:02.239
<v Speaker 2>They have a really strong focus in supporting women with substance abuse issues and also indigenous women.

00:35:02.239 --> 00:35:05.920
<v Speaker 2>So it's still a really, really important institution that she set up.

00:35:06.159 --> 00:35:06.960
<v Speaker 1>What a life.

00:35:06.960 --> 00:35:08.880
<v Speaker 1>And she's written a memoir.

00:35:09.119 --> 00:35:13.280
<v Speaker 2>It's called Between Me and Myself: A Memoir of Murder, Desire and the Struggle to Be Free.

00:35:13.280 --> 00:35:14.559
<v Speaker 2>So it was edited by Dr.

00:35:14.559 --> 00:35:15.360
<v Speaker 2>Rebecca Jennings.

00:35:15.360 --> 00:35:18.559
<v Speaker 2>Came out, I want to say 2022.

00:35:18.559 --> 00:35:19.920
<v Speaker 2>So quite a recent release.

00:35:20.239 --> 00:35:23.519
<v Speaker 1>You've obviously read it, I assume, for writing the article.

00:35:23.519 --> 00:35:25.199
<v Speaker 1>Was it a fascinating read?

00:35:25.280 --> 00:35:26.800
<v Speaker 2>Or yeah, absolutely.

00:35:26.800 --> 00:35:33.039
<v Speaker 2>It's really a story of what terrible ways discrimination of such a caliber can affect your life.

00:35:33.039 --> 00:35:40.239
<v Speaker 2>She ended up retiring in the 90s and moving up to Queensland to live a much more quiet life.

00:35:40.239 --> 00:35:43.519
<v Speaker 2>While she was in prison, she became quite spiritual up in Queensland.

00:35:43.519 --> 00:35:49.039
<v Speaker 2>I believe she connected with a local church and got quite invested in that towards the end of her life.

00:35:49.039 --> 00:35:53.199
<v Speaker 2>And then she continued working on the memoir as well throughout this entire time.

00:35:53.199 --> 00:35:55.519
<v Speaker 2>And then she passed away in 1999.

00:35:55.519 --> 00:35:58.079
<v Speaker 2>And in about 2009, I believe, Dr.

00:35:58.079 --> 00:36:05.599
<v Speaker 2>Jennings came across Sandra's papers and was able to eventually edit together this memoir.

00:36:05.920 --> 00:36:06.559
<v Speaker 1>Amazing.

00:36:06.559 --> 00:36:12.079
<v Speaker 1>And you decided to write an article for Lottel and to bring her story alive.

00:36:12.400 --> 00:36:13.199
<v Speaker 2>Yeah, absolutely.

00:36:13.199 --> 00:36:34.880
<v Speaker 2>I came across her in the last year writing my thesis, and I just thought this is such a fascinating look into how different groups can rally around one person and also how that one person's life can be so profoundly affected by discrimination and why working towards anti-discrimination laws and create a societal acceptance of queerness is such an important thing.

00:36:35.199 --> 00:36:36.480
<v Speaker 1>Tamson, thank you again.

00:36:36.480 --> 00:36:37.840
<v Speaker 1>Appreciate your time.

00:36:37.840 --> 00:36:38.800
<v Speaker 1>Yeah, of course.

00:36:38.800 --> 00:36:40.239
<v Speaker 1>Glad to talk about it.

00:36:40.239 --> 00:36:46.239
<v Speaker 1>My thanks to Temps and Martin for joining us and for bringing this important story to a wider audience.

00:36:46.239 --> 00:37:01.280
<v Speaker 1>Sandra Wilson's life sits in the intersection of queer history, prison reform, feminism, and mental health, reminding us how easily people can be failed by institutions and how powerful collective actions can be in a challenging injustice.

00:37:01.280 --> 00:37:09.199
<v Speaker 1>You can read Tempson's article, Free Sandra Wilson, at laurel.com and explore more of her work on Australian, lesbian and queer history.

00:37:13.199 --> 00:37:17.039
<v Speaker 6>Next up, League from the Lounge with Joe Barrett.

00:47:00.000 --> 00:47:02.639
<v Speaker 9>Welcome to the Drag King Corner Audio Edition.

00:47:02.639 --> 00:47:09.360
<v Speaker 9>We have the incredible guest for your listening pleasure, the immensely talented, powerful, and quite frankly genius artist Emmanuel Mentana.

00:47:09.360 --> 00:47:10.159
<v Speaker 9>Hello, Emmanuel.

00:47:10.239 --> 00:47:11.039
<v Speaker 5>It's lovely to have you.

00:47:11.039 --> 00:47:15.119
<v Speaker 5>Hi, it's lovely to be here, but those are those are way too nice things to say about me.

00:47:15.440 --> 00:47:17.519
<v Speaker 9>Maggie, we're heard some big news recently.

00:47:17.519 --> 00:47:19.119
<v Speaker 9>Would you like to share it with our listeners?

00:47:19.360 --> 00:47:31.679
<v Speaker 5>Yeah, so a production of my play Trophy Boys, which is a sort of homegrown Aussie drag king theater piece, is going international, and we actually have our first translated season, which is happening in Seoul in South Korea.

00:47:31.679 --> 00:47:36.079
<v Speaker 5>So we'll be opening in November if anyone wants to see a production in another language, which will be pretty wild.

00:47:36.320 --> 00:47:37.119
<v Speaker 9>That is fantastic.

00:47:37.119 --> 00:47:38.000
<v Speaker 9>Congratulations.

00:47:38.239 --> 00:47:38.480
<v Speaker 5>Thank you.

00:47:38.800 --> 00:47:43.039
<v Speaker 9>Do you have the hand on the role with that production, or you just get to spawn in on Overty Night?

00:47:43.199 --> 00:47:52.239
<v Speaker 5>Well, that's the that's the fun thing, is they said to me when they were translating the script that I could get final approval, and I'm not sure how I can approve a script that I can't understand.

00:47:52.239 --> 00:47:56.079
<v Speaker 5>But I do get to get to go and watch the production, which I think will be amazing.

00:47:56.079 --> 00:48:04.639
<v Speaker 5>It's a great team, and I sort of get the pleasure of going and seeing a show that I'm obviously so familiar with, but seeing it done in a you know whole other language and cultural context.

00:48:04.639 --> 00:48:06.159
<v Speaker 5>And it's it's really exciting.

00:48:06.159 --> 00:48:12.079
<v Speaker 5>It's obviously the first time we're doing it another language, and hopefully soon I'll be able to announce a few more other countries it's going to.

00:48:12.079 --> 00:48:13.599
<v Speaker 5>So it's pretty exciting.

00:48:13.920 --> 00:48:17.519
<v Speaker 9>I'm sure it will travel all around the world, and fortunately you're with it.

00:48:17.519 --> 00:48:17.760
<v Speaker 9>Yeah.

00:48:17.760 --> 00:48:18.719
<v Speaker 9>Lucky audience.

00:48:18.719 --> 00:48:19.119
<v Speaker 9>Let's help.

00:48:19.119 --> 00:48:21.599
<v Speaker 9>So True Boys is an amazing play.

00:48:21.599 --> 00:48:30.559
<v Speaker 9>Uh, did you realize how unique and groundbreak breaking the play was while you were creating it, or did that become more apparent to you once the work reached the stage the audience has started responding to it?

00:48:30.880 --> 00:48:34.639
<v Speaker 5>No, I was writing the play in like the depths of COVID lockdown.

00:48:34.639 --> 00:48:37.679
<v Speaker 5>And I think originally it started as a personal thing more than it.

00:48:37.679 --> 00:48:42.719
<v Speaker 5>I mean, I don't think anyone ever sits out with the goal of writing something that, you know, blows up in the way it did.

00:48:42.719 --> 00:48:50.800
<v Speaker 5>I think I got very lucky, but I think I'm also a big believer that the more personal you make something, the more political and universal it becomes through that sort of specificities.

00:48:50.800 --> 00:48:56.800
<v Speaker 5>I was in lockdown going, I want to make something that I want to see and also make something that I want to perform in.

00:48:56.800 --> 00:49:08.079
<v Speaker 5>And I was, you know, having all these sort of complicated feelings about the way I existed in my body as a young woman and going, I'm not sure about my gender and and how do I feel like I can express myself authentically?

00:49:08.079 --> 00:49:11.280
<v Speaker 5>And drag was the way that I felt like I could find that.

00:49:11.280 --> 00:49:23.679
<v Speaker 5>So I, yeah, I was wanting to do something in that space, and also it obviously was born out of the Christian Porter allegations of the historical sexual assault that took place at a high school debating tournament.

00:49:23.679 --> 00:49:36.880
<v Speaker 5>So I was a high school debater, and I guess I was just taking all these different things that in my own time I wanted to understand and process and also make like art out of, make comedy, find some joy and some pathos and and whatever.

00:49:36.880 --> 00:49:39.039
<v Speaker 5>And it really started in a really small way.

00:49:39.039 --> 00:49:49.519
<v Speaker 5>We we put it on at a local theater in Melbourne called La Mama, which is a 70-seat theater, and we did it for three nights and tickets for 15 bucks, and we sold it out with our family and friends, and word of mouth kind of built.

00:49:49.519 --> 00:49:56.400
<v Speaker 5>We came back for Midsummer Festival, which is Melbourne's Queer Arts Festival the next year, and then it just kind of like built and built from there.

00:49:56.400 --> 00:50:02.400
<v Speaker 5>But no, I was never expecting it to sort of speak to the moment in the way it did.

00:50:02.400 --> 00:50:03.599
<v Speaker 5>I think it's tricky.

00:50:03.599 --> 00:50:08.960
<v Speaker 5>We kind of we always said, like, when we made the piece, we'll be really happy when it becomes a period piece.

00:50:08.960 --> 00:50:16.960
<v Speaker 5>But the good thing about misogyny and especially teenage boys at private schools is they just continue to be awful, and the new cycle shows that without a problem.

00:50:16.960 --> 00:50:21.519
<v Speaker 5>So until then, we just keep doing it until hopefully we can make some change.

00:50:21.840 --> 00:50:24.320
<v Speaker 9>And that change is well and truly overdue.

00:50:24.639 --> 00:50:25.039
<v Speaker 5>Truly.

00:50:25.280 --> 00:50:30.480
<v Speaker 9>So I'm generally stunned that the play uh is included in the Victorian high school curriculum.

00:50:30.480 --> 00:50:34.239
<v Speaker 9>How does it feel to have your work acknowledged and studied in that way?

00:50:34.239 --> 00:50:37.760
<v Speaker 9>What do you hope its inclusion might achieve for young audiences?

00:50:38.079 --> 00:50:40.239
<v Speaker 5>It's been the greatest gift.

00:50:40.239 --> 00:50:49.199
<v Speaker 5>Like I've had high school students come up to me after shows and hand me their essays, and so I've been able to read the essays that they've written on Trophy Boys, which has been amazing.

00:50:49.199 --> 00:50:56.480
<v Speaker 5>Like I have I've just moved over to London, but I have a couple of copies of essays like sitting back home in Australia that I've read and adored.

00:50:56.480 --> 00:51:02.559
<v Speaker 5>It's just cool because it means I I get to make the sort of work that I wish I had when I was that age.

00:51:02.559 --> 00:51:06.239
<v Speaker 5>I I didn't think I was gonna go into theatre or arts when I was a kid.

00:51:06.239 --> 00:51:10.239
<v Speaker 5>When I was a kid, when I was a teenager, I thought I was gonna, I don't know, go work for the UN or something.

00:51:10.239 --> 00:51:16.960
<v Speaker 5>I think a big part of that was because I didn't see myself represented on stage and I didn't see ideas that interested me.

00:51:16.960 --> 00:51:20.159
<v Speaker 5>And if I saw one more bad Shakespeare, I would have screamed.

00:51:20.159 --> 00:51:30.159
<v Speaker 5>What's been amazing is like you read these essays and you have teenagers talking about the performance of gender and drag and and all these like performative ways of understanding the world.

00:51:30.159 --> 00:51:35.519
<v Speaker 5>I think it's like not just about the theater, it's about, you know, good art makes you see things in a new light.

00:51:35.519 --> 00:51:47.679
<v Speaker 5>And so what's been amazing is having all these high school kids who've found that actually this like ridiculous, heightened drag character caricature performance of masculinity speaks in a really true way to the boys they know in their life.

00:51:47.679 --> 00:51:49.440
<v Speaker 5>And it's been interesting from all genders, you know.

00:51:49.440 --> 00:51:51.679
<v Speaker 5>Like I think teenage girls are really empowered by it.

00:51:51.679 --> 00:52:00.000
<v Speaker 5>A lot of them like perform it at school and you know, send us photos of themselves all in drag, and you can just tell they're having the time of their lives, which makes me really, really happy.

00:52:00.000 --> 00:52:10.719
<v Speaker 5>But also, like we've had a couple of non-binary kids who go to all boys' schools who have come up to me after the show, and that's been pretty special because they've been like, wow, I needed to see this, and also I know every single one of those boys.

00:52:10.719 --> 00:52:13.360
<v Speaker 5>So that's been really just amazing.

00:52:13.679 --> 00:52:20.480
<v Speaker 9>That's fascinating, and congratulations for introducing drag kinging to a whole generation of young people.

00:52:20.800 --> 00:52:21.440
<v Speaker 5>That's the goal.

00:52:21.440 --> 00:52:25.280
<v Speaker 5>If they rock up with a little drawn-on moustache, that's all I need, I'm happy.

00:52:25.519 --> 00:52:26.320
<v Speaker 9>That's massive.

00:52:26.320 --> 00:52:32.880
<v Speaker 9>Talking of kinning, um, Drake Boy, a more realistic male impersonator drag style was used.

00:52:32.880 --> 00:52:45.599
<v Speaker 9>Is there something about realism rather than the heightened current contouring and glamour and spectacle associated with modern drag that makes the form more theatrical theatrically effective or perhaps more accessible to audiences?

00:52:45.920 --> 00:52:47.920
<v Speaker 5>Yeah, I mean, it's interesting.

00:52:47.920 --> 00:52:54.079
<v Speaker 5>I I think the show could work and could work in different ways, whether it's more heightened or more realistic.

00:52:54.079 --> 00:52:55.519
<v Speaker 5>And I think that sort of depends.

00:52:55.519 --> 00:53:00.880
<v Speaker 5>Like when we did the show off Broadway, New York, we were really, really, really naturalistic.

00:53:00.880 --> 00:53:08.239
<v Speaker 5>And that was kind of cool because from the start, there was this sense of with their audiences who were, you know, subscriber theater audiences going, Wait, what are they?

00:53:08.239 --> 00:53:10.880
<v Speaker 5>Which, you know, is a really fun thing to play with.

00:53:10.880 --> 00:53:17.199
<v Speaker 5>Whereas I think the Australian production was a little more camp in the sense that from the get-go, we were sort of putting on the masculinity and lampooning it.

00:53:17.199 --> 00:53:25.920
<v Speaker 5>I think what the show does is try and find this like tight rope balance where at the start we have this real hyper-awareness of like watching a performance of masculinity.

00:53:25.920 --> 00:53:32.800
<v Speaker 5>And, you know, everyone I've spoken to has sort of said, Oh, look, within the first five or 10 minutes, you kind of forget that part and just think you're watching the boys.

00:53:32.800 --> 00:53:37.280
<v Speaker 5>And I think this sense that we then inhabit the masculinity is what's exciting to me.

00:53:37.280 --> 00:53:44.800
<v Speaker 5>I guess like I always say the show has an invitation, which is if you can see that we're putting on the performance of masculinity, then you can recognize it's a performance.

00:53:44.800 --> 00:53:47.280
<v Speaker 5>And the invitation is you can take it off in your own life.

00:53:47.280 --> 00:53:49.679
<v Speaker 5>And that looks, that looks pretty different.

00:53:49.679 --> 00:53:52.880
<v Speaker 5>And if that means that people put the libyads on, then so be it.

00:53:52.880 --> 00:53:53.840
<v Speaker 5>You know, I think that's fun.

00:53:53.840 --> 00:53:57.840
<v Speaker 5>But I also think there's like something to be said about the youthfulness of these boys, right?

00:53:57.840 --> 00:54:10.239
<v Speaker 5>Like this is the age where boys are learning to become men and they haven't, you know, so much of the performance of their gender is something that's being taught to them and they're still figuring out, like in a way, they're trying it on themselves.

00:54:10.239 --> 00:54:32.159
<v Speaker 5>So there's something kind of innocent about it that I I think I hope we we do to to honor these boys and to honor the fact that as much as we're talking about them being perpetrators of of pretty awful things, we're also talking about them as victims of a culture that they're too young to understand and also that they're being preyed on by, you know, the Andrew Tates of the world who want to make a buff young boys.

00:54:32.159 --> 00:54:36.400
<v Speaker 5>And I'm I'm just really passionate about making sure those grifters don't get to win.

00:54:36.719 --> 00:54:38.079
<v Speaker 9>No one is fighting a bean.

00:54:38.079 --> 00:54:40.559
<v Speaker 9>We do already want to fight.

00:54:41.199 --> 00:54:41.440
<v Speaker 5>Yeah.

00:54:41.440 --> 00:54:42.400
<v Speaker 5>Yeah, it's tricky.

00:54:42.400 --> 00:54:52.079
<v Speaker 5>But like, you know, I have a I have a younger brother who's 17, and like watching him grow up from a boy to a man has been one of the greatest gifts of my life, and also one of the hardest things.

00:54:52.079 --> 00:54:53.679
<v Speaker 5>And, you know, that's me as a sister.

00:54:53.679 --> 00:55:00.320
<v Speaker 5>I can only imagine how mothers and fathers feel trying to navigate the well-being of their young boys whilst dealing with literally the entire internet.

00:55:00.719 --> 00:55:06.079
<v Speaker 9>There's more shows in theatre incorporating the drag king technique characters.

00:55:06.079 --> 00:55:11.760
<v Speaker 9>Do you say this is a beginning of a broader shift in how king is understood and utilized within Australian theatre?

00:55:12.000 --> 00:55:12.639
<v Speaker 5>It's interesting.

00:55:12.639 --> 00:55:20.239
<v Speaker 5>I think queens, drag queens have become, you know, so mainstream, and there's a lot of a lot of great things that have come out of that.

00:55:20.239 --> 00:55:25.199
<v Speaker 5>And I also think it's meant that kings have sort of been, you know, the weird thing off to the side that have been misunderstood.

00:55:25.199 --> 00:55:34.239
<v Speaker 5>My feeling is that the more diversity we have, the more sort of like multiplicity and greatness that we get to show on stage is the better.

00:55:34.239 --> 00:55:45.519
<v Speaker 5>And I I hope that, you know, I've seen so much work that is really interested in what it means to perform in drag, cross-dressing, all these different ideas, you know, and I think Australia and worldwide.

00:55:45.519 --> 00:55:47.199
<v Speaker 5>Hopefully, we're gonna see a lot more of that.

00:55:47.519 --> 00:55:48.400
<v Speaker 9>I hope so too.

00:55:48.400 --> 00:55:49.599
<v Speaker 9>Fun question for you.

00:55:49.760 --> 00:55:50.079
<v Speaker 5>Yeah.

00:55:50.320 --> 00:55:53.440
<v Speaker 9>If you were a cabaret drag king, what would your character's name be?

00:55:53.679 --> 00:55:57.199
<v Speaker 5>Okay, I've thought about this because I do actually have a trophy boys-related one.

00:55:57.199 --> 00:56:00.639
<v Speaker 5>I thought for a bit that I would be Max Debater.

00:56:00.639 --> 00:56:01.519
<v Speaker 5>Max Debater.

00:56:01.519 --> 00:56:02.159
<v Speaker 5>Oh, that is.

00:56:02.159 --> 00:56:03.280
<v Speaker 5>Which is great.

00:56:03.280 --> 00:56:04.880
<v Speaker 5>And I have this whole vision.

00:56:04.880 --> 00:56:05.920
<v Speaker 5>I don't know what it is.

00:56:05.920 --> 00:56:07.360
<v Speaker 5>Actually, I do know what it is.

00:56:07.360 --> 00:56:13.199
<v Speaker 5>Where doing like a strip tease number to Julia Gillard's misogyny speech?

00:56:13.199 --> 00:56:19.920
<v Speaker 5>There's like a great remix of the misogyny speech with like dubstep underneath, and you like strip tease off, and then you just have Julia Gillard nipple pasties.

00:56:19.920 --> 00:56:21.199
<v Speaker 5>That's the that's the pitch.

00:56:21.199 --> 00:56:23.039
<v Speaker 5>I think that's a great dragon number.

00:56:23.039 --> 00:56:24.400
<v Speaker 5>One day I'll perform it.

00:56:24.400 --> 00:56:25.360
<v Speaker 5>Can you please?

00:56:25.360 --> 00:56:26.639
<v Speaker 5>Yeah, yeah, great, duh.

00:56:26.639 --> 00:56:27.840
<v Speaker 5>We'll workshop it.

00:56:27.840 --> 00:56:28.159
<v Speaker 5>Yeah.

00:56:28.639 --> 00:56:29.679
<v Speaker 9>That is awesome.

00:56:29.679 --> 00:56:30.079
<v Speaker 9>Yeah.

00:56:30.079 --> 00:56:33.920
<v Speaker 9>So you grew up as an actor and a writer across both film and theater.

00:56:33.920 --> 00:56:36.000
<v Speaker 9>Do you have a preference between the two mediums?

00:56:36.320 --> 00:56:37.920
<v Speaker 5>No, I think they speak to each other.

00:56:37.920 --> 00:56:44.719
<v Speaker 5>I um I was really lucky that I started as a child actor, a teen actor on this wonderful ABC Me Kids show.

00:56:44.719 --> 00:56:46.079
<v Speaker 5>It was called Mustangs FC.

00:56:46.079 --> 00:56:50.239
<v Speaker 5>And it was this amazing show because it was about a women's soccer team.

00:56:50.239 --> 00:56:58.639
<v Speaker 5>It was really intersectional, really diverse, and quite radical in its politics just to show a group of young women like that and and the realities of what they were going through.

00:56:58.639 --> 00:57:06.960
<v Speaker 5>And so I started on that show when I was 15 and did that for three years and sort of graduated into the world and graduated into COVID after that show.

00:57:06.960 --> 00:57:16.960
<v Speaker 5>And I think what it really taught me as an actor was were all the things that I take with me as a writer, which is like we do this for our audience and we do this to say something about the world and and hopefully make things better.

00:57:16.960 --> 00:57:20.480
<v Speaker 5>So I feel like my practices always speak to each other, especially right.

00:57:20.480 --> 00:57:30.480
<v Speaker 5>Like I I love to perform comedy, and I think as an actor, you get a sense of what feels right and what doesn't, and what an audience responds to and what doesn't, and you're just kind of switching hats all the time.

00:57:30.480 --> 00:57:34.320
<v Speaker 5>And yeah, I hope I can continue to do both of them for as long as I can.

00:57:34.639 --> 00:57:39.599
<v Speaker 9>What advice would you give to queer lesbian artists or actors who want to create new works?

00:57:39.840 --> 00:57:40.159
<v Speaker 5>Okay.

00:57:40.159 --> 00:57:43.280
<v Speaker 5>The advice I would give is it's all about the people you have around you.

00:57:43.280 --> 00:57:53.199
<v Speaker 5>I think so often we spend our time waiting for institutions or external validation or someone to come along and like pluck us and save us and make the thing.

00:57:53.199 --> 00:57:57.440
<v Speaker 5>Uh, and the trick is actually you just have to get your friends together and make it yourself.

00:57:57.440 --> 00:58:08.000
<v Speaker 5>Because so often we exist outside of the mainstream, or people don't think our ideas are marketable or interesting or commercial until they actually see them.

00:58:08.000 --> 00:58:13.280
<v Speaker 5>You know, like Trophy Boys was rejected by every theater company until we did it ourselves and people went, oh, people really like this.

00:58:13.280 --> 00:58:15.840
<v Speaker 5>And it's like, yeah, you just couldn't see that on paper.

00:58:15.840 --> 00:58:23.760
<v Speaker 5>My feeling is you can't wait until someone else tells you that what you're doing is important or that it's ready or that it deserves to be seen.

00:58:23.760 --> 00:58:25.599
<v Speaker 5>You just need to find your people and make it.

00:58:25.599 --> 00:58:27.599
<v Speaker 5>And it is really surprisingly easy.

00:58:27.599 --> 00:58:33.760
<v Speaker 5>I always tell people to like learn more about their own scenes, whether that's their drag king scene, whether it's the independent theater scene in their city.

00:58:33.760 --> 00:58:35.599
<v Speaker 5>It's so easy to get connected.

00:58:35.599 --> 00:58:46.400
<v Speaker 5>And generally I find that creative types, and especially, you know, if they're types who are interested in the same sort of theater and art as you are really generous and they they want you to be a part of the fold and they they want to help you.

00:58:46.400 --> 00:58:51.199
<v Speaker 5>So I always just think like message someone on Instagram, tell them you love their work.

00:58:51.199 --> 00:58:57.840
<v Speaker 5>I think we're so afraid of reaching out to people and telling them we love what they do because I don't know, we think it's embarrassing, I don't know what.

00:58:57.840 --> 00:59:03.440
<v Speaker 5>But the Australian industry is so small that like never once have I been annoyed by someone telling me they like my work.

00:59:03.440 --> 00:59:06.719
<v Speaker 5>Most of the time it's made my day, and I've made some amazing connections that way.

00:59:06.719 --> 00:59:10.960
<v Speaker 5>So yeah, get your friends together and just do the thing and stop procrastinating.

00:59:10.960 --> 00:59:12.480
<v Speaker 5>That's a note to myself as well.

00:59:12.800 --> 00:59:23.199
<v Speaker 9>Uh, because you're of the uh the younger generation than myself and you are a queer person, what do you find challenging in today's world navigating?

00:59:23.760 --> 00:59:37.039
<v Speaker 5>Um, I think young queer people have started being used as like scapegoats and political volleyballs, and there's so much really harmful rhetoric, especially around young trans people, that I think is awful.

00:59:37.039 --> 00:59:40.880
<v Speaker 5>And I think we just need to do a really good job to uplift our own community.

00:59:40.880 --> 00:59:42.639
<v Speaker 5>That's that's the biggest thing, really.

00:59:42.639 --> 00:59:57.920
<v Speaker 5>I think we have this great wave of visibility, and then what comes with visibility is backlash, and there's some pretty awful raggling nastiness at the moment, and so I think we people need to hold each other, stay politically engaged, and keep fighting the good fight, you know?

00:59:58.239 --> 01:00:06.719
<v Speaker 9>Well, that almost answers my next question, which is the last question, is what can we be doing as a community to better support and empower young people growing up?

01:00:06.960 --> 01:00:11.199
<v Speaker 5>Yeah, well, I'll give a quick shout-out to an organization I do a lot of work with called Minus 18.

01:00:11.199 --> 01:00:12.639
<v Speaker 5>I don't know if you know Minus 18.

01:00:12.639 --> 01:00:15.199
<v Speaker 5>They're amazing, and I've been involved with them for years.

01:00:15.199 --> 01:00:26.079
<v Speaker 5>They do a lot of amazing stuff in terms of advocacy um and education, but they also host these amazing events for queer young people to go and and build community, make friends, hang out.

01:00:26.079 --> 01:00:37.440
<v Speaker 5>I was lucky enough a few years back to host an MC, their Queer Formal, which is this amazing event they do, basically designed for young people who, for whatever reason, their school formal isn't the thing they dream of.

01:00:37.440 --> 01:00:46.960
<v Speaker 5>It, you know, whether that's because they can't bring a partner of the gender that they love or they can't express themselves authentically, uh, they get to come to Queer Formal and be surrounded by hundreds of other queer young people.

01:00:46.960 --> 01:00:53.599
<v Speaker 5>If you have any change to spare, I would so recommend donating it to Minus 18 because it means that they can support all it's free.

01:00:53.599 --> 01:00:57.599
<v Speaker 5>So it means that these young people can go to the formal for free and it's all paid for by donations.

01:00:57.599 --> 01:00:59.280
<v Speaker 5>Um, and they're a wonderful organization.

01:00:59.760 --> 01:01:01.760
<v Speaker 9>That sounds like a very good cause.

01:01:01.760 --> 01:01:02.079
<v Speaker 9>Yeah.

01:01:02.079 --> 01:01:03.840
<v Speaker 9>Well, thank you, Manuel, for joining us.

01:01:03.840 --> 01:01:06.880
<v Speaker 9>We'll continue to follow your creative journey and works.

01:01:06.880 --> 01:01:08.320
<v Speaker 9>Such amazing artists.

01:01:08.320 --> 01:01:13.599
<v Speaker 9>Until next time in the Drag King Corner, celebrate your local kings and keep lifting each other up.

01:01:13.920 --> 01:01:14.800
<v Speaker 5>Thanks for having me.

01:03:33.679 --> 01:03:56.400
<v Speaker 1>Speaking with the writer who brought it vividly to life, Mara's new piece for Lottle.com explores the legacy of Val Eastwood, a trial-placing lesbian entrepreneur whose manupon coffee lounge became one of the first safe havens for LGBTQI people in the 1950s through her style, her courage, and her unapologetic presence.

01:03:56.400 --> 01:04:01.840
<v Speaker 1>Well carved out space for queer community at a time when visibility was dangerous.

01:04:01.840 --> 01:04:12.000
<v Speaker 1>Mara joins us to talk about the research behind the story, the cultural impact of Well's Coffee Lounge, and why revisiting Safic history makes matter now more than ever.

01:04:12.000 --> 01:04:16.000
<v Speaker 1>So, Mara, thank you so much for joining us on The Lotal Lounge.

01:04:16.000 --> 01:04:21.920
<v Speaker 1>You have just submitted a blog for Lotel.com about Val Eastwood.

01:04:21.920 --> 01:04:33.760
<v Speaker 1>Val Eastwood was a queer character in Melbourne in the 1950s, and she was one of the first who created a safe space for the queer community.

01:04:33.760 --> 01:04:36.320
<v Speaker 1>But what drew you first to the character?

01:04:36.719 --> 01:04:38.320
<v Speaker 3>Hi, thank you so much for having me.

01:04:38.320 --> 01:04:48.079
<v Speaker 3>So, with Val, the way that I found out about her is my big passion project at the moment is set in 1960s, Melbourne.

01:04:48.079 --> 01:04:57.360
<v Speaker 3>So, in order to research that, I did a lot of deto what Melbourne was like from the 1950s up until about the 1970s.

01:04:57.360 --> 01:05:06.079
<v Speaker 3>And the nightlife back then was very different in that coffee lounges were much more popular than bars were.

01:05:06.079 --> 01:05:21.760
<v Speaker 3>And in researching all of those things, Val Eastwood popped up pretty quickly as a prominent figure in those queer spaces because the nightlife obviously looked very different, but then so did living as an outwardly queer person.

01:05:21.760 --> 01:05:28.559
<v Speaker 3>So the second you search 1950s queer history in Melbourne, she's one of the first things that pop up.

01:05:28.559 --> 01:05:32.320
<v Speaker 3>But I hadn't heard about her until about a year ago.

01:05:32.320 --> 01:05:35.599
<v Speaker 3>So it was really interesting to find out all of these things about her.

01:05:36.000 --> 01:05:41.760
<v Speaker 1>She reminds me a lot of one personality that we have in Sydney here, Don O'Donnell.

01:05:41.760 --> 01:05:46.880
<v Speaker 1>And she was also active in the kind of nightlife scene on Oxford Street.

01:05:46.880 --> 01:05:49.199
<v Speaker 1>Have you heard of Don O'Donnell?

01:05:49.199 --> 01:05:51.440
<v Speaker 1>And do they have any connections by any chance?

01:05:51.440 --> 01:05:54.079
<v Speaker 1>I don't think they have any connections.

01:05:54.239 --> 01:05:57.199
<v Speaker 3>I haven't heard the name from the research that I did.

01:05:57.199 --> 01:05:59.599
<v Speaker 3>So look, they very well could have been.

01:05:59.599 --> 01:06:01.760
<v Speaker 3>Connected and we just didn't know about it.

01:06:01.760 --> 01:06:05.280
<v Speaker 3>But from the research that I did, I couldn't see anything.

01:06:05.280 --> 01:06:12.400
<v Speaker 3>But it makes sense that one pioneer starts in one city and then it kind of trickles into other spaces as well in different cities.

01:06:12.880 --> 01:06:27.519
<v Speaker 1>It's just interesting to compare because when Dawn started on Oxford Street, she started basically the gay strip in Sydney, but it was to create space for traqueans and for gay men to meet.

01:06:27.519 --> 01:06:29.519
<v Speaker 1>Now it was really weird, isn't it?

01:06:29.519 --> 01:06:35.360
<v Speaker 1>Because she was a lesbian, a butch lesbian, and so was Wall Eastwood.

01:06:35.360 --> 01:06:38.800
<v Speaker 1>She was often seen dressed as a man, is that right?

01:06:39.119 --> 01:06:39.440
<v Speaker 3>Yeah.

01:06:39.440 --> 01:06:48.880
<v Speaker 3>She would be out and about in these beautifully cut suits, but they were cut specifically to have a mannish kind of style to them.

01:06:48.880 --> 01:06:53.920
<v Speaker 3>She describes them as being described as mannish but beautifully cut and in very good taste.

01:06:53.920 --> 01:06:59.679
<v Speaker 3>But to counteract all of that, she'd have bright red lipstick as per the 1950s.

01:06:59.679 --> 01:07:04.719
<v Speaker 3>And if she really wanted to dress it up, she'd have this silver-topped cane and a Hamburg hat.

01:07:04.719 --> 01:07:07.519
<v Speaker 3>And people just let her dress that way.

01:07:07.519 --> 01:07:13.280
<v Speaker 3>And she said that she'd never been attacked by dressing that way because she was just so confident, she wasn't intimidated.

01:07:13.280 --> 01:07:21.519
<v Speaker 3>And it really paved the way for women or gender non-conforming people dressing in that style of fashion, especially back in the 50s.

01:07:21.840 --> 01:07:23.920
<v Speaker 1>You can just visualize it as you describe it.

01:07:23.920 --> 01:07:26.000
<v Speaker 1>We do have a photo in the blockchain.

01:07:26.000 --> 01:07:31.039
<v Speaker 1>She must have been a prominent figure back then, standing out the way she dressed.

01:07:31.039 --> 01:07:36.960
<v Speaker 1>Do you think that she created some kind of precedence of like how the Butch lesbian dressed?

01:07:37.199 --> 01:07:40.159
<v Speaker 3>I'm not too sure if she started it.

01:07:40.159 --> 01:07:45.199
<v Speaker 3>I did a little bit of research, and the whole kind of Butch Femme movement came about.

01:07:45.199 --> 01:07:50.000
<v Speaker 3>Started in around the 1940s and then definitely carried on over into the 50s.

01:07:50.000 --> 01:08:03.920
<v Speaker 3>But even if she didn't start that movement, she definitely exposed a lot of people to it because her coffee lounge is one of the few queer spaces that people could go out in public and be open about who they were.

01:08:03.920 --> 01:08:14.000
<v Speaker 3>So you'd have queer men and women and all these people coming to the coffee lounge, and they would see Val in her pin curls and her red lipstick and her beautifully cut suits.

01:08:14.000 --> 01:08:20.479
<v Speaker 3>And they would just be able to understand, oh, okay, I'm allowed to dress like this.

01:08:20.479 --> 01:08:22.880
<v Speaker 3>I'm allowed to present myself this way.

01:08:22.880 --> 01:08:32.000
<v Speaker 3>Especially with the culture of the 1950s, there was so much emphasis on the nuclear family and having kids and all those sorts of things.

01:08:32.000 --> 01:08:38.239
<v Speaker 3>So she really took the path less traveled, and she looked absolutely fantastic doing it as well.

01:08:38.239 --> 01:08:44.800
<v Speaker 3>So I don't know if she was the first to do it, but she definitely helped perpetuate the idea of how a butch lesbian can dress if they want to.

01:08:45.039 --> 01:08:55.199
<v Speaker 1>Why I was thinking that because you mentioned the lipstick, and I think this combination back then in the 50s, you were butch or you were femme, but you weren't butch with lipstick.

01:08:55.520 --> 01:09:00.159
<v Speaker 3>Just shooting that path straight down the middle that you didn't have to choose one or the other.

01:09:00.159 --> 01:09:06.239
<v Speaker 3>You can have your hair perfectly curled and wear lipstick, but you can also wear these gorgeous cut suits as well.

01:09:06.239 --> 01:09:09.840
<v Speaker 3>You don't have to be on one side completely.

01:09:09.840 --> 01:09:12.319
<v Speaker 3>You're allowed to have that bit of fluidity as well.

01:09:12.319 --> 01:09:16.880
<v Speaker 3>It's every photo I see of her, she just looks like such a presence as well.

01:09:16.880 --> 01:09:20.079
<v Speaker 3>Even in just a photograph, she just makes you want to look at her.

01:09:20.399 --> 01:09:23.680
<v Speaker 1>In your research, where did you find information about her?

01:09:23.680 --> 01:09:27.840
<v Speaker 1>That particular photo of her walking to the coffee lounge, for example, where was that?

01:09:27.840 --> 01:09:29.520
<v Speaker 1>The Australian queer archives.

01:09:29.600 --> 01:09:36.880
<v Speaker 3>In there, she had pieces of writing and handles of short stories that have been stored in that archive as well.

01:09:36.880 --> 01:09:43.439
<v Speaker 3>And she gave an interview with, I'm not too sure who it was with, but she had an interview in 1995.

01:09:43.439 --> 01:09:47.439
<v Speaker 3>She talked openly about being a lesbian and being an entrepreneur.

01:09:47.439 --> 01:09:50.159
<v Speaker 3>So she'd always been there under the surface.

01:09:50.159 --> 01:09:55.199
<v Speaker 3>And especially if you were queer at that time, you would have known her or known of her.

01:09:55.199 --> 01:10:01.520
<v Speaker 3>But as times have changed, I think people are starting to learn about her a little less.

01:10:01.520 --> 01:10:05.119
<v Speaker 3>I know if I would go to my friends and say, hey, do you know about Valleeswood?

01:10:05.119 --> 01:10:08.079
<v Speaker 3>I don't know how many of them would actually know her.

01:10:08.079 --> 01:10:10.239
<v Speaker 3>So I don't know where that photograph is from.

01:10:10.239 --> 01:10:19.840
<v Speaker 3>And it's a bit of a shame, but a lot of stuff was found out about her through the Australian Queer Archives and just authors and things that have gone looking for her.

01:10:19.840 --> 01:10:23.199
<v Speaker 3>But once you learn about her, it's pretty hard to forget.

01:10:23.199 --> 01:10:24.720
<v Speaker 3>She was a pretty incredible person.

01:10:25.039 --> 01:10:27.279
<v Speaker 1>Take us through the coffee lounge.

01:10:27.279 --> 01:10:29.520
<v Speaker 1>Who did visit the coffee lounge?

01:10:29.520 --> 01:10:32.319
<v Speaker 1>How long did it go for in Melbourne?

01:10:32.319 --> 01:10:33.359
<v Speaker 1>What is it now?

01:10:33.760 --> 01:10:39.920
<v Speaker 3>She started the coffee lounge on 123 Swanston Street, and that opened in 191.

01:10:39.920 --> 01:10:41.680
<v Speaker 3>So right at the start of the 1950s.

01:10:41.680 --> 01:10:44.640
<v Speaker 3>She was only 24 when she did this.

01:10:44.640 --> 01:10:49.119
<v Speaker 3>And Val had a lot of connections to the theatre scene.

01:10:49.119 --> 01:10:53.199
<v Speaker 3>At one point, she lived in a flat above the Tivoli Theatre.

01:10:53.199 --> 01:10:58.640
<v Speaker 3>So she became everyone's best friend and she had a lot of connections in that sort of space.

01:10:58.640 --> 01:11:04.079
<v Speaker 3>So she opened it to performers, artists, self-proclaimed outcasts.

01:11:04.079 --> 01:11:18.000
<v Speaker 3>I'm not too sure what the theatre scene was like back in the 50s, but definitely nowadays a lot of people that enjoy theatre or are in theatre are queer to some degree, or they are very open to queer people.

01:11:18.000 --> 01:11:21.279
<v Speaker 3>So it brought all of those communities in.

01:11:21.279 --> 01:11:25.039
<v Speaker 3>You had gays there, you had performers, you had artists, you had all sorts there.

01:11:25.359 --> 01:11:28.239
<v Speaker 1>It wasn't entirely like a space for women.

01:11:28.239 --> 01:11:29.520
<v Speaker 1>Not entirely, no.

01:11:29.520 --> 01:11:30.880
<v Speaker 1>It was a queer space.

01:11:30.880 --> 01:11:32.159
<v Speaker 1>Setting the scene a little bit.

01:11:32.239 --> 01:11:38.479
<v Speaker 3>So it was just after Wellworth finished in 1950, and again, there was that big focus on the nuclear family.

01:11:38.479 --> 01:11:43.840
<v Speaker 3>So get married, have kids, have a lot of kids because we need to re-broom the population.

01:11:43.840 --> 01:11:49.439
<v Speaker 3>And that's where the term baby broomers come from, or broomers come from, is the baby broom in the 1950s.

01:11:49.439 --> 01:11:59.520
<v Speaker 3>Even nightlife was so different because the liquor licensing laws, up until 1966, you weren't allowed to serve alcohol after 6 p.m.

01:11:59.520 --> 01:12:05.439
<v Speaker 3>There wasn't a whole lot to do at nighttime, so which is where these coffee lounges and all these spaces started to creep up.

01:12:05.439 --> 01:12:09.760
<v Speaker 3>But it wasn't specifically just for queer women, it was for everyone.

01:12:09.760 --> 01:12:21.359
<v Speaker 3>I think that photo where she's strolling through the coffee lounge, there's a gentleman who's just sitting close to her and looking up and smiling and just looking at her and just wow, this is really cool.

01:12:21.359 --> 01:12:23.279
<v Speaker 3>So it was just everywhere.

01:12:23.279 --> 01:12:38.640
<v Speaker 3>The space that she created was such a safe sanctuary for gay people and lesbians and just anyone that didn't conform into that like cis hetero kind of society.

01:12:38.640 --> 01:12:47.359
<v Speaker 3>And it gave people that ability to meet other people like them and have that realization of I'm not the only person in the world.

01:12:47.359 --> 01:12:54.880
<v Speaker 3>But the coffee lounge itself, it started just as the one floor and it held about 80 people every single night it was open.

01:12:54.880 --> 01:13:05.279
<v Speaker 3>Eventually, about 12 months in, she had to expand it down to another floor and open the basement into another floor because they were just so busy every single night they were open.

01:13:05.279 --> 01:13:10.640
<v Speaker 3>And then even still, that floor held another 80 people, but it was just as full every single night.

01:13:10.880 --> 01:13:12.720
<v Speaker 1>And do you know what happened with it?

01:13:12.720 --> 01:13:16.239
<v Speaker 1>Like how long did it run and what happened with Val after?

01:13:16.560 --> 01:13:19.600
<v Speaker 3>I couldn't find much on what happened afterwards.

01:13:19.600 --> 01:13:24.560
<v Speaker 3>There wasn't a lot of the things I found about Val or about Val herself, less the Coffee Lounge.

01:13:24.560 --> 01:13:27.359
<v Speaker 3>But she actually went to open other businesses.

01:13:27.359 --> 01:13:30.560
<v Speaker 3>So she opened another place in St.

01:13:30.560 --> 01:13:32.479
<v Speaker 3>Kilda called Cafe 31.

01:13:32.479 --> 01:13:37.920
<v Speaker 3>She had one in South Yara called Cafe Adlib, and then she opened a restaurant in Hawthorne as well.

01:13:37.920 --> 01:13:49.680
<v Speaker 3>There wasn't a lot of detail that I could find on when these restaurants opened or how long they ran for, but the fact she at 24 years old was able to open the coffee lounge in the 1950s.

01:13:49.680 --> 01:13:57.920
<v Speaker 3>And then not only to have that be super successful, then be successful enough to open another three places was really incredible.

01:13:58.159 --> 01:14:00.079
<v Speaker 1>Do you know I mentioned Dawn O'Donnell before?

01:14:00.079 --> 01:14:04.319
<v Speaker 1>And Dawn O'Donnell, she didn't open a coffee lounge, she opened nightclubs.

01:14:04.319 --> 01:14:06.720
<v Speaker 1>There were definitely two different types of characters.

01:14:06.720 --> 01:14:14.000
<v Speaker 1>I met Dawn, she passed away years ago now, but she was one of those personalities walking into a room and you knew she was there.

01:14:14.000 --> 01:14:15.760
<v Speaker 1>Well, it would have been the same.

01:14:16.079 --> 01:14:20.640
<v Speaker 3>She passed away back in 2009, so age of 82.

01:14:20.640 --> 01:14:27.680
<v Speaker 3>She was born in 1927, so she'd be 99 this year, but she's definitely left that legacy in her wake.

01:14:27.680 --> 01:14:31.279
<v Speaker 3>They've developed a program with La Trode University.

01:14:31.279 --> 01:14:33.760
<v Speaker 3>It was named Bow's Cafe in her honor.

01:14:33.760 --> 01:14:43.920
<v Speaker 3>It's specifically aimed at people, queer people in their elderly years, at improving their health and well-being and making sure they're being advocated for.

01:14:43.920 --> 01:14:51.359
<v Speaker 3>And even a book that was published in 2023 called She and Her Pretty Friend was published by Danielle Scrimshaw.

01:14:51.359 --> 01:14:56.479
<v Speaker 3>And she talks about Eastwood's life and her legacy and everything in the Melbourne social scene.

01:14:56.479 --> 01:14:59.840
<v Speaker 3>And I was for quick to mention, you asked what happened to the cafe.

01:14:59.840 --> 01:15:10.880
<v Speaker 3>I'm not too sure what business it is now, but they put a plaque outside the original site on 123 Swanson Street, and it tells the story of Val's Coffee Lounge and what was there.

01:15:10.880 --> 01:15:16.800
<v Speaker 3>So it's really cool to have that piece of history where the lounge once stood, even if it's something completely different now.

01:15:17.119 --> 01:15:26.239
<v Speaker 1>This is great that she is being remembered part of our history, I believe, that we need to keep alive and share with the younger generation.

01:15:26.239 --> 01:15:29.680
<v Speaker 1>You did bring it up very quickly that she mentioned her girlfriend.

01:15:29.680 --> 01:15:32.319
<v Speaker 1>Like she's talking openly about having a girlfriend.

01:15:32.720 --> 01:15:40.239
<v Speaker 3>Queer people have always been around and they were stuck to kind of private gatherings and small parties back in around the 50s.

01:15:40.239 --> 01:15:47.840
<v Speaker 3>But Val had to take that first step of saying, no, we are allowed to be in places, we are allowed to take up space.

01:15:47.840 --> 01:15:50.319
<v Speaker 3>I'm going to make space for us.

01:15:50.319 --> 01:15:59.840
<v Speaker 3>And she really made the way for other people to be in public and be open about who they are because it was completely different back then.

01:15:59.840 --> 01:16:05.920
<v Speaker 3>If you found out or were found out that you were queer, you could lose your job, your family could disown you.

01:16:05.920 --> 01:16:07.920
<v Speaker 3>It was a very different time back then.

01:16:07.920 --> 01:16:15.600
<v Speaker 3>And she still stood her ground and was open about who she was and who she loved, and she wore that suit and lipstick with pride.

01:16:15.600 --> 01:16:24.159
<v Speaker 3>And I think it definitely takes a special person to create these faces, but it definitely takes a brave one as well to even have that idea in the first place.

01:16:24.479 --> 01:16:33.359
<v Speaker 1>Mara, thank you so much for bringing Val Eastwood to the forefront again and to let our listeners know about her story.

01:16:33.680 --> 01:16:39.279
<v Speaker 3>I'm already gonna have to think about writing for Donna Donald because you've spoken so much about her and her similarities to Val.

01:16:39.279 --> 01:16:40.560
<v Speaker 3>I'm like, oh, you know what?

01:16:40.560 --> 01:16:41.920
<v Speaker 3>I can add another one to the list.

01:16:41.920 --> 01:16:43.600
<v Speaker 3>Let's write some more about this, people.

01:16:43.920 --> 01:16:49.279
<v Speaker 1>Please do, because she is a really fascinating personality.

01:16:49.279 --> 01:16:50.640
<v Speaker 1>That's all I can say.

01:16:50.880 --> 01:16:55.119
<v Speaker 3>It was so much fun being able to discover more about Val and write about her life.

01:16:55.119 --> 01:16:56.640
<v Speaker 3>And I love to keep doing it.

01:16:56.640 --> 01:17:04.000
<v Speaker 3>So I really hope people read this and request things, and I can just keep turning out all of these things that we can learn about together.

01:17:04.319 --> 01:17:14.399
<v Speaker 1>Mara, thank you for bringing Val Eastwood's story back into the spotlight and reminding us how deeply our queer history is rooted in resilience, creativity, and community care.

01:17:14.399 --> 01:17:23.600
<v Speaker 1>Well's legacy continues to echo through Melbourne's cultural landscape and through every queer person who finds strength in the stories of those who came before us.

01:17:23.600 --> 01:17:35.199
<v Speaker 1>You can read Mara's full piece now on laudel.com and stay tuned for more conversations that celebrate voices, histories, and lived experiences shaping our queer world today.

01:20:09.439 --> 01:20:13.039
<v Speaker 4>Thanks for the love and the time you break.

01:20:13.039 --> 01:20:17.520
<v Speaker 4>The lounge baits out with war the crate.

01:20:17.520 --> 01:20:23.119
<v Speaker 4>Till next time, friends, from the L Tell Lounge Bait,
