- Remembering The Link – By Emily Ray
They say, “What goes around comes around.” Forty years ago, the Daily Olympian (as it was then named) did not serve our community well. The editor-in-chief turned a blind eye to local social and political issues. The newspaper was generally silent on problems and initiatives concerning race relations, gender, growth management, waste reduction, the environment. When the newspaper did glance at any of these issues, it was with a jaundiced eye . . . One of the people who was angry about the newspaper was Margery Sayre.
- Olympia Film Society – Origin Story – By Dennis Bloom
To understand part of the history of why the OFS came about you’ll need a little background of what was going on in the late ’70s. Olympia (which had—and still has—the only “urban downtown core” in our tri-city area) had three movie theaters. There had also been a small movie theater called the Cinema, housed in a converted church out on 4th Ave, where Pacific Ave veers off toward Lacey. The Evergreen State College (TESC), too, had its own Friday night film series, held in the lecture hall in the center of campus. Around this same time the movie theater business was in transition. Some older and larger “movie palaces” that dated back to the 1920s, were getting renovated into “multiplex” theaters.
- Northwest International Lesbian Gay Film Festival – 1988 – by Helen Thronton
Marge Brown and I started brainstorming the first NW International Lesbian Gay Film Festival in 1985. Planning began in 1986, a year and a half before the first festival opening date of 1988 . . . I made one of the first calls to a Chicago film distributor to book a film for our festival. The guy on the phone said he had lived in Olympia some years before, as he had been a student at Evergreen. He laughed as he wondered if there were any gay people in Olympia.
- Olympia Offers Sanctuary to a Salvadoran Family 1983-1986 – By Bob Zeigler
In the early 1980s, Saint Michael Catholic Church joined the national public Sanctuary Movement for Salvadoran and Guatemalan refugees who fled the wars in their countries but were denied US asylum . . . the parish went through three months of discussions and discernment looking at needs, risks, and benefits of doing this, and in a parish vote, more than 70% of members voted to become a sanctuary church. Four hundred members signed up to help in some way and raise the funds to support a family.
- Men in Black at the Food Stamp Office – By Joe Tougas
Donna, Sally, and I were talking over dinner the other evening about the way that the level of friendliness toward strangers had changed over the years, especially the way that people had become a little more guarded in how they interacted with government officials.
Donna said, ”There was that time at the food stamp office, right? Did I ever tell you about that? Now that was a pretty flagrant example of hostility.”
“No,” said Sally. ”I don’t think I ever heard about that.”
- A Brief History of Theatre of the Unemployed – By Don Orr Martin
Our troupe came together organically and by serendipity during a time of economic recession and political and cultural turmoil. We were an unusual, evolving group of mostly white, creative, working-class, young adults who wanted our perspectives to be heard. Our hard-working collective created or produced 17 plays on a shoestring from 1975 until 1981 . . . Participating in the radical political and cultural upheavals of the late 1960s and early ’70s, we developed a love of collective performance as a resource for personal and institutional transformation . . . critical thinking and resistance to oppression.
They say, “What goes around comes around.” Forty years ago, the Daily Olympian (as it was then named) did not serve our community well. The editor-in-chief turned a blind eye to local social and political issues. The newspaper was generally silent on problems and initiatives concerning race relations, gender, growth management, waste reduction, the environment. When the newspaper did glance at any of these issues, it was with a jaundiced eye . . . One of the people who was angry about the newspaper was Margery Sayre.
To understand part of the history of why the OFS came about you’ll need a little background of what was going on in the late ’70s. Olympia (which had—and still has—the only “urban downtown core” in our tri-city area) had three movie theaters. There had also been a small movie theater called the Cinema, housed in a converted church out on 4th Ave, where Pacific Ave veers off toward Lacey. The Evergreen State College (TESC), too, had its own Friday night film series, held in the lecture hall in the center of campus. Around this same time the movie theater business was in transition. Some older and larger “movie palaces” that dated back to the 1920s, were getting renovated into “multiplex” theaters.
Marge Brown and I started brainstorming the first NW International Lesbian Gay Film Festival in 1985. Planning began in 1986, a year and a half before the first festival opening date of 1988 . . . I made one of the first calls to a Chicago film distributor to book a film for our festival. The guy on the phone said he had lived in Olympia some years before, as he had been a student at Evergreen. He laughed as he wondered if there were any gay people in Olympia.
In the early 1980s, Saint Michael Catholic Church joined the national public Sanctuary Movement for Salvadoran and Guatemalan refugees who fled the wars in their countries but were denied US asylum . . . the parish went through three months of discussions and discernment looking at needs, risks, and benefits of doing this, and in a parish vote, more than 70% of members voted to become a sanctuary church. Four hundred members signed up to help in some way and raise the funds to support a family.
Donna, Sally, and I were talking over dinner the other evening about the way that the level of friendliness toward strangers had changed over the years, especially the way that people had become a little more guarded in how they interacted with government officials. Donna said, ”There was that time at the food stamp office, right? Did I ever tell you about that? Now that was a pretty flagrant example of hostility.” “No,” said Sally. ”I don’t think I ever heard about that.”
Our troupe came together organically and by serendipity during a time of economic recession and political and cultural turmoil. We were an unusual, evolving group of mostly white, creative, working-class, young adults who wanted our perspectives to be heard. Our hard-working collective created or produced 17 plays on a shoestring from 1975 until 1981 . . . Participating in the radical political and cultural upheavals of the late 1960s and early ’70s, we developed a love of collective performance as a resource for personal and institutional transformation . . . critical thinking and resistance to oppression.