From Black Leather in Color 5

Leatherfolk of Color History

Copyright Viola Johnson.  All rights reserved.  This text may not be reproduced
or copied without written permission of the author.

On Nov. 4, 1995, the Leather Archives and Museum opened its doors to the public. The purpose of the Archives was to preserve for researchers, the curious or enlightened and for future generations as much of the history of the Leather Movement as could be secured. The idea, brainchild of Chuck Renslow, Tony DeBlase, Gayle Ruben and others, is an idea whose time is long overdue.

The call is going out all over the Leather world, and efforts are being made to find bits and pieces of Leather history, no matter how small.

It made me stop and think about the Leather history that I have watched and often taken for granted during my 20-something years as a member of this tribe. Fifteen years ago it never dawned on me that I should save the copies of Black Mistress Review that I eagerly read but then put to rest as all old magazines are put to rest. I didn't think they were important, at least not important enough to keep. Would that I had today's wisdom 15 or 20 years ago. How many of us as Leathermen and Women of color tossed out the articles, the old photographs, the art work. How many of us think about those treasures now and have said more than once, "If only I had kept ___.

We can't correct yesterday's mistakes. But in the bright light of today perhaps we can prevent any more of our history from becoming landfill. Part of the purpose of Black Leather In Color is not just to provide a forum for the unique needs and expressions of Leatherfolk of color, but also to provide an archival record of our existence and our place in Leather history. Just by publishing, BLIC has provided for many more generations of Leatherfolk of color. The burden of collecting history cannot rest only on the shoulders of the staff of this magazine. Each one of us has to lend a hand in recording and preserving our history.

Who out there amongst us remembers the issue of Drummer that saw Graylin Thornton adorn the cover? Does anybody have an extra copy?

Who remembers the issue number of the Leather Journal when D. Cannon first appeared wearing the long-sought-after IML sash?

Does anybody have a picture and an interview of the first runner-up for Mr. Leather Europe. I'm told he's a good-looking black Leatherman.

Who has preserved the first writings of Jackie Bishop and Cain Berlinger?

Can anyone find the trademark leather shirt always worn by Jack Jackson?

How about the early sketches the Hun did of his beautiful black lover Roland, or the early negatives of Efram Gonzales?

Have the Jacks of Color archived the design for their patch, along with minutes from their meetings and their membership roster?

Who can document the work of Lady D in Atlanta, the political activism of Karen and Naria Bullock-Jordan or the oral tradition kept by Phil Ross?

Can anyone name the advertisers in Black Amazon Digest or find the first editions of Obeya, both published in the 1970s?

Does anyone remember the names of the two women who always helped with the Marquis de Sade birthday parties? Or the Latina hostess who was always in leather at the old Toilet?

There's more, so much more to the history of minority Leather. We must stop letting these nuggets of gold slip through our fingers like so much sand.

It's time we made a conscious effort to preserve our own proud Leather history. It's time we also valued and acknowledged the contributions made one or more decades ago by Leatherfolk of color to the greater Leather tribe. Let us gather our own history so that it will not be lost. Future generations must not have to ask where we were and what we contributed to the global Leather tribe.

The Leather Archives and Museum has sounded the trumpet call. Bits and pieces of our history are already in the archives. Judy Tallwing's IMsL sash, for example, is on display. But how many realize she is a woman of color, a full-blood Apache?

Leatherfolk of color must answer the call. For the sake of our next generation and succeeding generations, we have to find the missing pieces of history, gather them, and guarantee their preservation. I would like to see a special exhibit donated to the Leather Archives -- an exhibit that would outline our contributions as Leatherfolk of color.

If we don't mark our place in history, we have no leg to stand on when our Leather grandchildren look at us and ask, "Where were you?"