IT WAS AN ELECTRIFYINGEVENING ON OCTOBER 21, 2002when Astraea hosted the New York City premiere of Radical Harmonies, a film by Dee Mosbacher. The event benefited
Astraea’s Lynn Campbell Memorial Fund—
honoring the life of an extraordinary lesbian human rights activist (see sidebar.
Radical Harmonies, which chronicles the women’s music cultural movement,
broke into the spotlight at this year’s
26th San
Francisco
International
Lesbian Gay Film Festival when it unanimously won the coveted Audience Award for Best Documentary. The film’s Castro premiere was sold out the New York screening was highly anticipated. By all accounts—it delivered.
The documentary explores the birth of a movement which changed the face of popular music forever. Through priceless vintage footage and
refreshingly candid interviews, Mosbacher follows women’s music from its birth in the s to the present. Mosbacher recalled that the film, five years in the making, was a debt of gratitude for me In the seventies, she discovered the out lesbian folksinger, Meg Christian whom many consider to be the founder of the women’s music genre.
I remember feeling then, that I wasn’t the only lesbian in the world. To see lesbians who looked like a variation of me was very affirming especially in a culture that was so homophobic Extremely thankful for the impact these women had on her life, Mosbacher yearned to share this wonderful story of women’s music with a wider community The film features a virtual
Who’s Who of women’s music pioneers Christian, Cris
Williamson, Holly Near,
Linda Tillery,
Margie Adam, Bernice Johnson Reagon,
Ronnie Gilbert, June Millington,
Alix Dobkin, Edwina Lee Tyler, Ferron and the late Kay Gardner. Also featured are
Ani
Difranco, Judith Casselberry, Ubaka
Hill, Toshi Reagon, the Indigo Girls and many others.
Radical Harmonies pays tribute to the array of courageous women who helped create and solidify women’s music—those involved in the infrastructure of the music,
as well as the performers.
At that time, to be able to sing their truths as out lesbians was often a difficult path. In fact she continued, it was lifesaving fora number of lesbians.”
It was not an easy time. Homophobia divided collaborations among heterosexual and lesbian musicians. The sexist mainstream music industry didn’t believe in the selling power of women’s music. And women of color were notably absent, and sometimes excluded, from participation. In response,
lesbian artists, with other women, creatively mobilized. Concerts were held in cramped halls and basements,
sometimes with only a microphone, guitar and an eager audience. Cris Williamson’s debut on Olivia Records proved that
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