Home Creators Posts Import Register Favorites Logout

Downloads

Content

Los Angeles, 1959.

Vivian and Carmen are roommates. They share a small apartment, a tight budget, and very little else - at least, that's what they tell themselves. They don't quite understand each other. Not yet.

But tonight, they'll both end up at Cooper's Do-nuts on Main Street, where the coffee is bad and the company is anything but ordinary - a late-night refuge for those who don't quite fit anywhere else.

What happens that night in May of 1959 will change both of them.

This story is based on a real historical event - one that took place more than a decade before Stonewall, largely forgotten by history. I'll let the story tell you the rest - with 12 images because, as often happens, I went a little nuts.

But I hope you love Vivian and Carmen as much as I already do. 💕

Files

Comments

Ellen Mellor

I think I've vaguely heard of Cooper's in the articles about "Before Stonewall" but I don't really know anything about it. So to have this piece of trans history brought to life so vividly is a priceless gift. Could you put up a list of the sources you used in your research please? I'm assuming that Vivian, Carmen and Dee aren't actually real people but based on the archetypes of the time. You capture the 1950s of them really well in the art, which all looks so authentic. The whole thing looks like it could sit alongside American Graffiti and Happy Days, but rather than capturing the happy-go-lucky feel of the period (albeit with a bit of grit added in AG), this shows the dirty underside that the Fonz and friends never came close to touching. Unless the jumping the shark episode was a clever metaphor to explore Fonz's complicated relationship with his sexuality and gender. I mean, you expect me to believe that a man who acts and looks like that is entirely comfortable as a cis, straight guy? That may have been a bit of a tangent. Suffice it to say, this has the hallmarks of another classic Emory Ahlberg story. Your handling of trans historical story telling is second to none and I'm really looking forward to seeing how this plays out.

Pet Jeffery

Wow! That's so vivid, so real. I was struck, amongst other things, but the man's hands business. It brought something to mind. Recently, my housemate was watching snooker on television. I looked at the screen and the only part of the referee I could see was a gloved hand adjusting the position of a ball. Just a gloved hand, and I knew straight away that the referee was a woman. And set in Los Angeles. Something came to mind that I read years ago. I think it might have been a quote from Frank Lloyd Wright. That, if you turned the world on its side, all of the loose bits would end up in Los Angeles. Carmen reminded me strongly of someone I've known, someone with whom I used to walk the streets in a wig, a skirt, and makeup. I suppose that makes me Vivien, smaller, more naïve. There's also much here of how fragile that world is, youth and prettiness. The brutality of the police raid and Vivien's facial expression. All so vivid, so horribly real. Oh, and the black letters on white made it easy for me to read. Well, physically easy. Emotionally, less so.

Zoe Storm

Anything happens to this baby, we riot.

Jenny S

"It would be cruel, and it would be true, and those are two things you can't be at the same time to someone you love." Fuck, Emory! Fuuuuuuck, that line is gonna stay with me forever, it's so true and good! What a sad and wonderful snapshot of a time. A while back I went through an archive of drag/female impersonator magazines from the 1960s, and just about all of them would have an article on a performer who "graduated," medically transitioned. So many trans women in that time who found that scene the only space where they could at least play at being themselves. I'm glad our mothers had that, but oh, they should have had so much more. Vivian is a sweetheart, and I hope she gets out of this okay. Cooper's has always had a bit of myth quality for me due to its lack of official documentation, the police keeping what they did on the down low. On that note, never date a cop. I don't care how kind his smile is, if he's a 10 but he's a cop, he's a -1000. Looking forward to part two!

David G Eason

God reading this it reminds me of how bad it was in the 50s really

SteveP

Knew about Compton’s, never heard of Cooper’s. For sure this story will bring it to life and cement it firmly in my brain. Complete with pictures!

Jade Diaz

There is no way some ACAB "nice guy" is going to save Vivian. GIRL RUN RUNNNNNNNN

Robertlouis

“The building is the kind of place where people end up, not where they start. I think about that sometimes.” Wow. This whole story reads like a Tom Waits lyric without the rhymes, and I can’t think of any higher praise. And I know I owe you a DM Emory. Difficult stuff going on domestically. Thanks so much for caring. You’re a very special person, and friend. ❤️

Gemma

So far the strory just makes me feel sad for Dee, for Carmen and for Vivian. Very tough times.

Emory Ahlberg

Thank you so much, Roz! 💕 Looking forward to you reading Part 2 in a few days.

Emory Ahlberg

Things were bad - but we got through them. And we're not going anywhere! 💕

Emory Ahlberg

I hope you enjoyed Cooper's all the way through, Steve! 💕

Emory Ahlberg

Thank you so much, Jenny! 💖 As I was researching this, I was struck by how even queer culture at the time ostracized trans women and gender non-conforming people. We were easy targets, unfortunately. The trans women back then were just unfathomably brave.

Emory Ahlberg

Thank you, Pet! 💖 I lived in Los Angeles for 15 years, so I know the city well - and that is a fairly accurate description of the place... both good and bad. It made me smile to know that Carmen reminded you of someone. That sort of big presence is so nice to have in your life.

Emory Ahlberg

💖💖💖 Thank you, Zoe. Now you know how things worked out. 😊

Gemma

So true

SteveP

Oh, very much so! Very special piece of work.

Emory Ahlberg

Thanks, Ellen! The Cooper Do-nuts riot should be way more well-known than it is, sadly. You're right that Vivian, Carmen, and Dee aren't based on specific real people, but they're built from the real fabric of that community... the kinds of people who were actually there, the way they talked, the risks they navigated every single day. I wanted them to feel like people you could've met at that counter in 1959. I love the American Graffiti comparison, too!