'Dear Ms.: A Revolution in Print' Celebrates Ms. Magazine

Summary

All Of It Podcast Summary: "Dear Ms.: A Revolution in Print" Celebrates Ms. Magazine

Episode Release Date: June 10, 2025
Host: Alison Stewart
Podcast: All Of It by WNYC

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Introduction

In this episode of All Of It, host Alison Stewart delves into the influential history of Ms. Magazine, celebrating its role in shaping feminist discourse since its inception. The episode centers around the new documentary, "Dear A Revolution in Print," which explores the magazine's legacy through the perspectives of its three directors: Salima Karoma, Cecilia Aldorando, and Alice Goo.

Origins of Ms. Magazine

Alison Stewart provides a brief history of Ms. Magazine, highlighting its launch in December 1971 as an insert in New York Magazine. Founded by Gloria Steinem and a team of female editors, including Patricia Carbine and Leti Cotton Pogerbin, the magazine marked a significant departure from traditional women's publications that focused on topics like gardening and sewing. Instead, Ms. Magazine tackled pressing social issues such as domestic violence, workplace harassment, civil rights, and pornography.

"[Ms. Magazine] was the first to focus on issues like domestic violence and workplace harassment."
— Alison Stewart [00:31]

Documentary: "Dear A Revolution in Print"

The episode introduces the documentary "Dear A Revolution in Print," which is structured as a three-part film presented by the directors Selima Karoma, Cecilia Aldorando, and Alice Goo. Each director explores different chapters of Ms. Magazine's history, offering diverse interpretations and insights.

Collaborative Direction

Salima Karoma discusses the collaborative nature of the project, emphasizing the parallel between the magazine's utopian beginnings and the directors' teamwork.

"This project mirrors that for me, getting to work with other women and, you know, getting to hash out different ideas the way we think about it."
— Salima Karoma [02:09]

Alice Goo reflects on her excitement to work with fellow directors, noting the unique perspectives each brings to the film.

"We're three very different women... reflected in how we view the world and how our art comes out."
— Alice Goo [03:12]

Cecilia Aldorando likens the collaborative approach to a prism, refracting multiple facets of the feminist movement.

"Ms. was such a phenomenon because the women's movement was a phenomenon. Every social movement... needs to represent a whole range of experiences."
— Cecilia Aldorando [04:17]

Listener Engagement and Personal Stories

Throughout the episode, Alison Stewart invites listeners to share their experiences with Ms. Magazine, emphasizing its personal impact on readers.

Marjorie's Story [09:12]

Marjorie, calling from Nantucket, shares how Ms. Magazine provided her with invaluable information on sexual education and birth control, empowering her to make informed decisions in college.

"It was all because of Ms. I had this great access to knowledge girls didn't have."
— Marjorie [09:12]

Susanna's Experience [10:24]

Susanna from Westfield, New Jersey, discusses how Ms. Magazine was transformative during her teenage years, offering perspectives on sexual harassment and workplace discrimination that were absent in other publications like Seventeen.

"The no comment section was my favorite because I would see these outrageous... misogynist ads."
— Susanna [10:24]

Pamela's Reflection [18:59]

Pamela, a law school student in 1972, describes Ms. Magazine as a source of affirmation and support in a male-dominated field, fostering a sense of community among women pursuing careers in law.

"Ms. Magazine was like a shot of adrenaline for us and an affirmation that we were doing something that was the right thing for women to do."
— Pamela [18:59]

Tom Duane's Perspective [24:54]

Tom Duane, a former city council member and state senator, recounts how Ms. Magazine influenced his political orientation and provided content that he could share with his mother, bridging generational and cultural gaps.

"Ms. was a magazine that I could get a tremendous amount of knowledge from."
— Tom Duane [24:54]

Challenges and Criticisms

The documentary emphasizes the internal and external challenges Ms. Magazine faced, particularly in fostering inclusivity and handling controversial issues.

Inclusivity and Representation [13:41]

Salima Karoma highlights the pushback from Black women who felt Ms. Magazine was not fully inclusive, struggling to balance financial constraints with diverse representation.

"There’s a tension between making money and... telling all the stories of women."
— Salima Karoma [02:09, 16:19]

The "No Comment" Section [06:03]

Cecilia Aldorando explains the impactful "No Comment" section, which recontextualized misogynistic advertisements to raise awareness about societal norms and sexism.

"There’s something about that recontextualization that is political... consciousness raising."
— Cecilia Aldorando [07:28]

Sexuality and Pornography Debates [16:32]

Cecilia Aldorando discusses Ms. Magazine's position amidst the feminist debates on pornography, illustrating the magazine's attempts to facilitate dialogue without fully satisfying all factions.

"Ms. Magazine frequently tried to facilitate debate and not necessarily only have one strident position."
— Cecilia Aldorando [16:34]

Ms. Magazine's Impact on Feminism

The episode underscores Ms. Magazine's pivotal role in advancing feminist issues, providing a platform for underrepresented voices, and challenging societal norms.

"Ms. Magazine was the first to put a name to a lot of things... that were happening to women that they had never been able to speak about."
— Salima Karoma [05:31]

Legacy and Continued Relevance

Despite facing challenges in the digital era, Ms. Magazine remains influential, with ongoing circulation and opportunities to resubscribe, ensuring its legacy continues.

"Ms. is very much still in circulation, so you can resubscribe to Ms. You can go and read it right now."
— Cecilia Aldorando [12:03]

Conclusion

"Dear A Revolution in Print" offers a comprehensive exploration of Ms. Magazine's history, celebrating its achievements while acknowledging its shortcomings. Through personal stories, expert interviews, and critical analysis, the documentary—and by extension, this podcast episode—highlights the enduring significance of Ms. Magazine in the feminist movement and its impact on generations of women.

"Even when people were really, really, really attached to their position as a magazine, they tried to foster space for disagreement."
— Cecilia Aldorando [23:40]

Listeners are encouraged to engage with the documentary, now streaming at the Tribeca Film Festival and set to premiere on HBO later in the summer, to gain deeper insights into the revolution sparked by Ms. Magazine.

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Notable Quotes with Timestamps:

• "[Ms. Magazine] was the first to focus on issues like domestic violence and workplace harassment."
  — Alison Stewart [00:31]

• "This project mirrors that for me, getting to work with other women..."
  — Salima Karoma [02:09]

• "We're three very different women... reflected in how we view the world."
  — Alice Goo [03:12]

• "Ms. Magazine was like a shot of adrenaline for us..."
  — Pamela [18:59]

• "Ms. Magazine frequently tried to facilitate debate..."
  — Cecilia Aldorando [16:34]

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Final Thoughts:

This episode of All Of It not only commemorates the legacy of Ms. Magazine but also invites listeners to reflect on the ongoing journey of feminism and the importance of diverse voices in shaping cultural narratives. Whether you were a reader of Ms. Magazine or new to its history, "Dear A Revolution in Print" offers valuable perspectives on the power of media in driving social change.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance. You chose to hit play on this podcast today. Smart Choice. Make another smart choice with Auto Quote Explorer to compare rates from multiple car insurance companies all at once. Try [e-mail] Progressive Casualty Insurance Company and affiliates. Not available in all states or situations. Prices vary based on how you buy.

This is all of it on WNYC. I'm Alison Stewart. Ms. Magazine launched as an insert in New York magazine in December of 1971, founded by Gloria Steinem and a team of female editors including Patricia Carbine and let's say that right, Carbine. Thank you, Patricia Carbine and Leti Cotton Pogerbin. Gone were the stories of gardening and sewing. Instead, the magazine was the first to focus on issues like domestic violence and workplace harassment. It became an influential voice on topics like civil rights and pornography, even if it wasn't perfect and sometimes let certain voices out. In the new documentary, Dear A Revolution in Print, three filmmakers each take on a chapter in the magazine's history. The directors are Selima Karoma, Cecilia Aldorando and Alice Goo. All three join me now. I hope I got your names right. Welcome to the studio. Either way, you did great.

[Salima Karoma]

Thank you for having us.

[Alison Stewart]

Dear Mrs. Screening at the Tribeca Film Festival this week and it will come out on HBO later this summer. And this is for you listeners. Get in on this conversation. Were you or are you a Ms. Magazine reader? What did you think when Ms. First came on your radar? How has the magazine influenced you? What did it cover? Well. What did it cover? Not so well. You could give us a call. 2124-3396-9221-2433. WNYC. As we wait for our calls to come in, Selena, we'll start. Salimah, we'll start with you. It's a three part documentary presented as a single film, rather. First of all, where did the project begin and how did you work with your fellow directors?

[Salima Karoma]

So working with, I mean, I've never worked with other directors before on one film. And it was, you know, when you think about what Ms. Magazine was, it's the startup. It feels like this idea that was like a utopia where women get to put in all of their ideas, things they cared about. And so this project, it sort of mirrors that for me, getting to work with other women and, you know, getting to hash out different ideas the way we think about it. So, you know, that's sort of the spirit of this story for me. And then when you watch it, you know, it's so interesting how I interpret something and how Alice interprets it and then how Cecilia interprets it. I would have never thought to do it that way. So it's so beautiful. So I think, think it came about in that spirit, the same spirit that Ms. Magazine came about.

[Alice Goo]

Alice, how did you get involved?

[Salima Karoma]

Well, I got a really wonderful phone call one day from a woman named Dylan McGee asking if I'd be interested in working on Ms. With a couple of other directors. And I emphatically said yes. This was something that was so exciting for me. Like, Selima, I had never. I don't even know if it's called co director. Are we each director apart? But I've never worked with other directors before. And I wanted to piggyback on Salima's point that it is so interesting to see different points of view, and that's why it is so important. We're three very different women, I feel like. I mean, similar in many ways and very different in other ways. And that's reflected in life and how we view the world and how our art comes out. And for that reason, I'm so, so, so excited to share this with the world. I love the format. I think HBO took a big swing with this with three different directors telling one cohesive film. But I'm so very proud of it and so proud to sit alongside these two women.

[Alice Goo]

Cecilia, why did three directors work on this film?

[Cecilia Aldorando]

I mean, I, you know, just to follow what they're saying. You know, I think of it like a prism, you know, how a prism, like the different facets refract upon a each other. And, you know, to me, ultimately, you know, Ms. Was such a phenomenon because the women's movement was a phenomenon. And every social movement, in order to be successful, needs to be diverse, needs to represent a whole range of experiences and with all the complexity that that entails and sometimes the infighting that that entails. And so, again, I think that this approach enables us to take a step back and think about Ms. As something that was always a collective endeavor. It was always about trying to cast a wide net and represent the diversity of women's experiences, you know, and sometimes that was really hard to do, but, you know, so I think, and I just wanna also reiterate how much faith HBO put in us. They really trust their filmmakers, and we were given, you know, a kind of a brief, but at the same time, we were given a lot of freedom to be ourselves.

[Alison Stewart]

Salima. There were women's magazines before Ms. They concentrated on sewing and gardening. How did Ms. Lay out its mission when it first started?

[Salima Karoma]

Well, the idea was that part one is a magazine for all women. And the idea was sort of seeing all these different perspectives. And one thing that we all have in each of our parts is this idea Dear miss Or these letters, these letters of women from all over the world saying, hey, I have that same experience. And I didn't know what to call that. Sexual harassment.

[Alison Stewart]

That was interesting.

[Salima Karoma]

Yeah. In the workplace. I didn't even know there was a name for that. And so I think it was this magazine that got to put a name to a lot of things that were happening to women that they had never been able to speak about.

[Alison Stewart]

So, Cecilia, in your part of the documentary, it touches on the no Comment section. Will you explain how the no Comment page worked?

[Cecilia Aldorando]

Yeah. One of my favorite things about Ms. I mean.

[Alison Stewart]

Ms.

[Cecilia Aldorando]

I mean, if you can get a back issue of Ms. Or if you have any at home and you can dig them out. It's such a fascinating magazine because it had a lot of different aspects to it. And one of the staples became this thing called no Comment, where often readers would submit, but also editors would find things where they would simply reprint advertisements, you know, bits of text that were found that were just kind of totally commonplace and totally misogynistic, and they would just reprint these ads for and then, you know, no comment. And as a whole, it's so incredible to see, especially with this hindsight, you think, I can't believe that they advertised. I mean, I think there was one where there's a woman who's lying on a carpet and there's a man has a man's foot on her head, and they're saying, nice to have a woman around the house. Like things like that that are just so or women being slapped. And then they make some sort of joke about domestic violence.

[Alice Goo]

Nice to beat your woman in bowling. That was it.

[Cecilia Aldorando]

Yeah, it was. Beat your wife tonight, actually. Absolutely. So, you know, things like that. And it's just there's something about that recontextualization that is political that I think did a lot of this consciousness raising that we're talking about.

[Alice Goo]

Alice, in your section, I think it's Gloria Steinmon says Steinem. Excuse me, saying that Ms. Was a portable friend. I think she says it is. She.

[Salima Karoma]

It's meant to be a portable friend. Excuse me. So as Salima mentioned before, Ms. There was I mean, we have to imagine, right, time travel back. This is before the Internet. Now there's so much sharing of information with social media that people don't have to feel alone and they don't have to feel crazy. But Travel back like 50 years and there are women who were suffering silently and they didn't talk. They didn't talk about whether their partners, husbands were beating them. They didn't talk about whether they were being sexually harassed in the workplace. So they quietly suffered alone. And it was because of miss and this Dear miss in the letter writing that women felt like they had a friend and they found out for the first time through other letters and other women around the country that they weren't alone and they weren't crazy. And I just thought that was so profound, I couldn't even imagine. I'm so fortunate to have not grown up in that era that I, you know, I can't say that I never feel alone nor crazy, not in the same sense I feel like that these women may have felt back in the 70s and before that.

[Alice Goo]

We're talking about the new documentary, Dear A Revolution in Print. Let's take a couple of calls. This is Marjorie calling from Nantucket. Hi, Marjorie, thanks for making the time to call all of it.

[Marjorie]

Hi there. Thanks for taking my call. I wanted to say that my mom was an ardent reader supporter of Ms. From the very first issue. So starting at age nine, so was I. And it was fabulous because it gave me a whole lot of information that wasn't available to most young girls, teenagers. And from it, from some of the information I got from reading this, I was really well informed beyond the I had really good sex ed in school, but we were lucky. But I was better informed than all my peers. So when I hit college and was looking for birth control, I was able to actually go in knowledgeable, ask for a cervical cap, which was not yet approved, yet become part of the study and get them approved. And it was all because of Ms. I had this great access to knowledge girls didn't have.

[Alice Goo]

That is such a great comment, Marjorie. Thank you so much for calling us. Let's talk to Susanna, who's calling in from Westfield, New Jersey. Hi Susanna, thanks for making the time to call all of it.

[Susanna]

Hi. I was 16 years old in around 1976, 77, when my father, who was a college professor, came home and handed me a Ms. Magazine and I went on to subscribe to it. And it was really life changing and transformative for me because while my home was not sexist, I wouldn't say, you know, there were a lot of assumptions made about girls and women in the 1970s. And I was a regular reader of Seventeen magazine and was learning about how to do my hair. And then here's this magazine that's talking about sexual harassment, workplace discrimination, you know, relationships and power dynamics. And, you know, the no comment section was my favorite because I would see these outrageous, you know, classified ads that were blatantly misogynist. And it really shaped me fundamentally. And like your previous caller, I felt like I was better armed and prepared and informed when I went to college. And as a young woman in my 20s, it made an enormous difference to me. And I subscribed for many, many, many years and was very sad when it finally closed down.

[Alison Stewart]

Thank you so much for making the call. It didn't close down, is what our producers are saying still in print. Explain why, why she thinks it might close down.

[Cecilia Aldorando]

Well, I mean, I think part of this is the, you know, the digital era that we're in and the way that publishing has been affected by that. But Ms. Is very much still in circulation, so you can resubscribe to Ms. You can go and read it right now. You know, just L Google miss Magazine and you'll find it.

[Alison Stewart]

You know, there's an Eclipse Lima in your part about Harry Reasoner.

[Salima Karoma]

Yes.

[Alison Stewart]

Calling for Ms. Magazine. It says in another tradition of American Shock magazines. And he said, I give it six months and then it sold out. And Harry Reasoner, you know, of course, he didn't like it. But I'm curious, where did you find skepticism or resistance, the magazine that surprised you?

[Salima Karoma]

So my I mean, you had the Harry Reasoners, and I actually was surprised by other women. For example, my part talks a lot about how black women were involved in Ms. Magazine or how they were not involved and excluded. And so I was very surprised to see this pushback from black women who said, yes, Ms. Magazine was inclusive and it was, you know, it was for women, but it, you know, it wasn't everything that we wanted. And so there's sort of this tension between, you know, Ms. Magazine being a place for black women to see themselves inside the magazine, not on the COVID of the magazine. So I felt some pushback when I was interviewing some of these women. I spoke with Michelle Wallace, who is a black writer, who said she had never gotten that kind of, you know, recognition for her work, but she also didn't see herself. So I got pushback from other women. I thought that was surprising.

[Alice Goo]

Alice, you heard in that call, the woman, I think it was Susanna, said her dad brought her Ms. Magazine, and that became an issue a little bit about who is the magazine for, because they did a men's issue and some women weren't that happy that they did a men's issue? How did Ms. Think about their male readers? Did they think about their male readers? Was this a one off the COVID with Robert Redford on the front?

[Salima Karoma]

I think they did a focus group, I believe, with women. And overwhelmingly many women said that they wanted an issue about men because like it or not, men are part of our lives. They're our fathers, they're our brothers, they're our husbands, they are our sons. There are uncles. They are everywhere. And the issue, I was so happy to hear about that previous caller, that her father had bought her the issue because there was a lot of resistance. And we were just speaking earlier. I feature Alan Alda in my section, who was one of the biggest stars of the time. And he was one of the first or probably the first famous male celebrity to speak out for women. And he got a lot of heat for it. That was not appreciated. He was called the king of wimps. So it really just showcases what a time this was. What I also wanted to show on my part, though, is I think that there was maybe a popular notion that to be a feminist meant that you hated men. And I really wanted to show that that was not the case. These are women who loved their men, but they wanted their men to love them back and respect them in a way that society was, you know, we were moving to new ideas.

[Alice Goo]

I'm speaking with directors Salima Karoma, Cecilia Aldorando and Alice Goo. Their new documentary, Dear A Revolution in Print, is streaming at Tribeca this week. It'll be on HBO later this summer. We are taking your calls. Have you ever been a Ms. Magazine subscriber? Tell us about your relationship with the magazine. Our number is 212-433-WNYC, 212-433-9692. We'll have more after a quick break. This is ALL of it.

[Alison Stewart]

You are listening to ALL of IT on wnyc. I'm Alison Stewart. I'm speaking to the directors of a new documentary, Dear A Revolution in Print. It's streaming at Tribeca this week and will be on HBO later this summer. Cecilia, your part of the documentary focuses on sex and pornography. It's had the anti pornography feminists and the anti censorship feminists and sex work activists. Where did the magazine find itself?

[Cecilia Aldorando]

Smack in the middle.

[Alison Stewart]

Yeah.

[Cecilia Aldorando]

And I think this is one of the things, you know, when we first were all brought into the project, we were asked to do our homework. Right. And we did our own research on the history of Ms. And really Delved and, you know, part of the brief also was for us to select iconic covers that we were drawn to and, like, really, like, you know, center the magazine almost as a protagonist in the film. But with that, we were given a lot of freedom. And as I was doing all this research, I found out that one of my personal feminist icons, a woman named Annie Sprinkle, who, if you know the history of sex positivity, you've probably heard of her, had protested outside of Ms. In 1978. Actually, our producer, Will Ventura, showed me this photo, and I said, wow, that's interesting. I had no idea. And so. And then I was also reading about how this one cover in 1985, which attempted to bring all of these warring feminists into. Into one room together, was the woman who wrote it said, Mary Kay Blakely, said afterwards it was the hardest article she ever had to write. So basically, ms, you know, the porn wars, as they're called, really divided the feminist movement in a very profound way, you know, and to this day continue to divide feminists. And it was ugly. And so, you know, ms, to its credit, really, I think frequently tried to facilitate debate and not necessarily only have one strident position on one thing or another, but they also didn't get it right all the time. So in this case, they left out the perspectives of sex workers, women who were actually working in the industry. So that's, you know, what I tried to draw attention to.

[Alison Stewart]

Yeah, there's one sex worker who said, like, they were very condescending towards her, and that seemed to be an issue.

[Cecilia Aldorando]

Yeah, I mean, I think you're dealing with respectability, you know, especially we have the history of treating women in that work as fallen women, you know, and as much as we might think we're not in the 19th century anymore, I think that that way of thinking about women who actually choose this work and do not necessarily feel victimized, to actually center their perspectives is something that I think was hard to do.

[Alison Stewart]

Let's take another call. This is Pamela calling in from Clark, New Jersey. Hi, Pamela. Thank you for calling, all of it.

[Pamela]

You're welcome. I love your show. The reason I'm calling is that I was in law School in 1972, and in early 1972, I subscribed to Ms. Magazine and continued. And my contemporaries had all been socialized in a totally different way, or most of us, and yet we'd found our way to law school. So having Ms. Magazine was like a shot of adrenaline for us and an affirmation that we were doing something that was the right thing for women to do because we were trying to overcome a socialization, and I was, of course, in particular, trying to overcome the way we've been socialized. And any kind of support we could have was really helpful. We were supportive of one another during that period of time because there were not that many women in law school, and only 10% of the lawyers in the country were women. So thank you to Ms. Magazine, and I'm so glad this documentary is coming out so that during this time when there's so much repression, women will feel like they're part of a whole continuum of women who are determined to keep things, to protect our rights, to have a full life.

[Alice Goo]

Pamela, thank you so much for calling in.

[Alison Stewart]

This text says I'm 66 years old and the great grandchild of a suffragist. My mom, Bart.

[Cecilia Aldorando]

Ms.

[Alice Goo]

Starting with the very first issue. Thanks you for texting in about that.

[Alison Stewart]

Message for the documentary. This is for all of you. You spoke to Gloria Steinem and other founding editors of the magazine.

[Alice Goo]

We hear them express pride sometimes.

[Alison Stewart]

We hear them express regret over things they could have done or should have done. Each of you, what stood out to you about the way that they saw their track record?

[Alice Goo]

We'll start with you.

[Salima Karoma]

I, you know, my part deals with the beginning of Ms. Magazine, including that preview issue, which I think is such a wonderful issue. It kind of shows the joy and the optimism that the magazine wanted to go into the future with. And I spoke about that sort of tension of putting a black woman on the COVID That's something that my part also talks about. And you know, from the outside, I think, well, why couldn't more black women be on the COVID And something that Leti Cotton Poberman, who's one of the founders, talks about is, well, if you put a black woman on the COVID in the south, they don't sell the magazines if a black woman is on the COVID So how do you sell a magazine that is not making a lot of money and women are taking these pay cuts to write? And then how do you deal with that? And, you know, I thought that was so fascinating, the tension between making money and having to actually support this business and then telling all the stories of women. I thought that was so interesting.

[Alice Goo]

That was Salima, by the way. Alice, how about you?

[Salima Karoma]

In my part, I deal with one of the covers is sexual harassment in the workplace. Another one is domestic violence, which shows a woman with a black eye, a big bruise on her face on the COVID And Pat Carbine, she recalled that cover. She's as this cover is going to be the end of us. This was so controversial at the time and their advertising department, I mean, this was no enviable feat for them because they had that balance of wanting to tell the important stories, but it's still a business and they want to be able to keep running. And so to do that, they were dependent on the advertising dollars. So they had to. They worked out of strong principle. And, you know, Pat was like, you know what? We have to do it and we have to take the risk. And there were advertisers that they lost entire years worth of advertising for taking these risks. So I really admire these women. You know, that was a very difficult needle to thread. And I think in the time they will leave some people out, they will anger some people, but they're trying to, again, no enviable task to try and walk that middle ground where you kind of try and try and do it all.

[Alice Goo]

How about for you, Cecilia?

[Cecilia Aldorando]

You know, I've been. I want to pick up on something I'm hearing several of the callers bring up, which is the fact that this is an intergenerational project. We're all in similar ages. None of us were. I mean, I was born in 1980 for reference. And so this is definitely like my mother's era of feminism. And so I think I just want to highlight for me one of the things that was most important beautiful about making this film was being able to sort of sit at the knee of all these women and hear what they had to say and to do my homework. And I think that's something that we hope the film will encourage people to do. But I also just want to say that I think one of the things that really struck me about the Ms. Staffers, the people that worked on the magazine, is that even when things were extremely divisive, like the porn wars, were called a war for a reason, even when people were really, really, really attached to their position as a magazine, they tried to foster space for disagreement. And that I think is really instructive.

[Alison Stewart]

We're gonna get one call in. This is Tom Duane, former city council member and state Senator. Real quickly, Mr. Dwayne. Hi. Hi.

[Tom Duane]

Hi. I was born in 1955 and I was started college in, I guess, 72. And I immediately started subscribing to Ms. Because my whole life, political orientation had changed by then. I read Black Liberation, Women's Liberation, Queer Liberation Books, and I also read Ms. And Ms. Was a magazine that I could get a tremendous amount of knowledge from. But I could also share it with my mother who was, you know, Irish Catholic. Not your typical Ms. Reader, but there were things in there that I could cut out and send to my mother.

[Alison Stewart]

Thank you so much for calling Tom Duane. I've been speaking to Salima Karoma, Cecilia Aldorando and Alice Goo. The name of their documentary is Dear A Revolution in Print. Thanks for being with us. Thank you.

[Salima Karoma]

Thank you so much for having us.

[Cecilia Aldorando]

Thank you. Thank you.

[Alison Stewart]

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