The women who ruled the Row

Sunday, January 22, 2012 at 10:05pm
By Kay West

Music Row was built, in significant part, on a legacy of women artists extending almost a century — a line that can be traced from Mother Maybelle Carter through Kitty Wells, Loretta Lynn and Dolly Parton to the Dixie Chicks, the Pistol Annies and beyond.

But for an ambitious woman seeking a career in the country music industry 50 years ago, those opportunities largely began and ended at a microphone.

“There was still a lot of sexism in the industry, particularly at the labels and in the recording end,” said music historian Robert K. Oermann. “There were no women executives at the labels, radio would not play two female singers back to back, there were no women opening their own shows, and labels talked about their ‘female slot’ as if there was only room for one ‘girl singer’ at a time.”

In the 1960s, though, a small group of women began to chip away at the Row’s monolithically male power structure. At a time when 16th Avenue had its own version of the Mad Men mentality — going so far even as to exclude women from bastions of business dealing — these women parlayed their hit-making sense, their business savvy, and the smarts they’d acquired gaming the good ol’ boy system into careers that became legendary.

Recently The City Paper spoke to some of these trailblazing business leaders, whose names became synonymous with some of the industry’s biggest institutions — and who smashed the first cracks in Music Row’s glass ceiling.




Over the span of her 46 years leading BMI, Frances Williams Preston established a reputation as a brilliant businesswoman that extended far beyond her hometown, even overseas. When she was named a vice president of BMI in 1964, she was reportedly the first female corporate executive in the state of Tennessee.

But in those days, there were still places where that meant nothing.

“I had to attend a business luncheon that was taking place at the Cumberland Club downtown [a members-only private club since disbanded],” Preston remembered. “I got off the elevator with a bunch of businessmen, and walked to the reception desk to ask to be directed to the luncheon.

“It was being held in a private dining room, in part because women were not allowed in the main dining room. I knew that, but what I didn’t know was they not only could we not eat in the main dining room, but women were forbidden to even be in it! So to prevent me from walking through their dining room, I had to take the elevator down a floor, then walk up the stairs and be let in the back door. It was so humiliating.”

They’d learn. Preston would become inarguably the most powerful woman in the Nashville music industry, and a force to be reckoned with nationwide for the next four decades.

The same year she was named VP at BMI and snubbed by the Cumberland Club, Preston became the first woman to serve as board chairman of a six-year-old trade organization called the Country Music Association. At the time, the CMA too was headed by a woman: Jo Walker, who would later change her name to Jo Walker-Meador when she married Bob Meador.

Preston and Walker-Meador came to their posts by similar means via different routes. Between terms at George Peabody School for Teachers, Preston took a summer job at National Life Insurance — the owner of radio powerhouse WSM, the home of the Grand Ole Opry. It wasn’t exactly a fast-track position.

“I was a messenger girl,” Preston said. “I took the mail to all the floors and what have you, and I always saw the 10th floor, where the executives were, and the fifth floor, where the radio station was.” On her rounds, she happened to notice that the receptionist at WSM was pregnant. Back then, that was a no-no.

“So I went and asked Jim Denny if I could have her job, because he was the manager of the radio station,” Preston says. “He said, ‘Well, if personnel will let you make the move, we’d love to have you here.’ So I talked to the personnel director, and I got that job.

“Then that got me involved in everything. I helped out with the public relations department at cocktail parties, meetings and things. I helped everybody with everything and got to know everybody coming to town.”

One of those people was Bob Burton, senior VP of BMI in New York, a member of the first CMA board and a frequent visitor to Nashville. Preston’s drive and personality so impressed Burton that in 1958, he tapped the young woman to open the BMI Southern regional office in Nashville. For a year, it was located in her residence at the time — her parents’ home. Its first actual office was in the L&C Tower, until a BMI building was constructed on Music Square East in 1964.

While Preston was drawn to the entertainment business like a moth to the flame, Jo Walker arrived at her post almost by default. Though she also went to Peabody, the self-described country girl wanted to be a high school teacher and basketball coach.

“Basketball was my life in the little town where I grew up,” Walker-Meador recalled. “But I got sidetracked and never did teach or coach. I ended up in the music business, but it wasn’t by any design. I just needed a job.”

A friend passed her name along to W.D. Kilpatrick, then manager of the Grand Ole Opry. He was also a member of the founding board of the CMA, which in 1958 was looking for an executive director but needed someone to man — or more accurately “woman” — the office.

“I started as a Gal Friday,” Walker-Meador remembered. “I set up the office, did the administrative work, correspondence, memberships. There were several applications for executive director, all of them men. Harry Stone actually got the job at the suggestion of Ernest Tubb, but he only stayed about 10 months because there just wasn’t the money to pay both of us. And since I was making lots less, they kept me.

“Plus I could type, and Harry couldn’t.”

Walker-Meador continued typing, organizing, recruiting and organizing for nearly four years with no title, until another woman finally spoke up for her.

“The board kept talking about men they wanted to hire,” she  said, “until finally Minnie Pearl said, ‘Why don’t we name Jo the executive director? She’s doing all the work anyway.’ So that was late 1961, and we didn’t even hire another person until 1963.”




The CMA’s first awards show was in 1967 at Municipal Auditorium. Helping to organize it was another woman emerging as a power broker on the Row — Maggie Cavender, who became the first executive director of the Nashville Songwriters Association in 1967. Where Preston and Walker-Meador were all gracious charm and warm hospitality, Cavender (who passed away in 1996, well after she left her post) was often politely referred to as a “character” and could be a polarizing figure. But she beat the drum loud and proud for the men and women who wrote the tunes on 16th Avenue.

For many years, performance rights groups, trade organizations and publishing companies were more accessible to ambitious women than record labels — particularly when the women were on the ground floor, as Preston, Walker-Meador and Cavender were.

“Back then, the music business in Nashville was like a cottage industry,” said journalist and historian Oermann, who with his wife Mary Bufwak wrote the acclaimed history Finding Her Voice: Women in Country Music 1800-2000. “Frances, Jo and Maggie built their companies from the ground up — they were virtually start-ups.”

Taking that path in 1979, Dianne Petty, a Nashville native who got her start in publishing, joined SESAC, another performance rights organization. It was Petty who led the effort to move the headquarters from New York to Nashville, which took place in 1985. Petty helped establish SESAC as a major player on Music Row, competing for writers and publishers with the much more high-profile BMI and ASCAP.




Performance rights companies and publishers walk hand in hand. Few did so more professionally and personally than Connie Bradley and Donna Hilley. The young women met and became fast friends at Bill Hudson and Associates, an advertising and PR firm with strong ties to the music business. Both were secretaries; Hilley worked directly for Hudson. Prior to that, she had worked at WKDA, the Nashville radio station run by Jack Stapp. When Stapp founded Tree International Publishing, he lured Hilley away from Hudson. In 1978, she was named Tree’s executive vice president and chief operating officer.

Bradley’s career in the entertainment business also began in broadcast journalism — the Shelbyville native’s first Nashville job was as receptionist at WLAC-TV. Besides Hudson’s firm, she did secretarial jobs at RCA and Dot Records before moving to ASCAP in 1976 as their first female membership representative. In just four years, she was the woman in charge, appointed ASCAP’s senior regional director and overseeing a 20-state area.

“Hal David used to come to Nashville to write,” Bradley remembers, “and when he became the new head of ASCAP, he came to the office a lot. On one of those trips, he told me he wanted me to run the Nashville office. I was the low man on the totem pole, and I told Hal I really didn’t want to do it. I told him I didn’t have the background, I’m not good at telling people what they want to hear, and I’m not very political.

“I told him all the reasons I didn’t want to do it, and why I shouldn’t. So he listened, and when I was finished he said, ‘Well, I think you can do it and that you’ll be good at it. So let’s give it a try and see if it won’t work.’ ”

Bradley wasn’t the only one skeptical.

“It shocked everybody,” she recalled. “I remember Charlie Monk saying, ‘This will never work.’ I wasn’t sure that it wasn’t going to work either. I was scared to death. I couldn’t sleep at night. I didn’t know anybody.

“But Hal wouldn’t take no for an answer, and he just basically said, ‘Well, you’re going to try it, and I think it will work just fine.’ And it did. Everything worked its way out. Yes, I had to work harder, but I just acted like everyone else. I didn’t have a chip on my shoulder or anything. I just rolled up my sleeves and went to work.”

Bradley’s ascension meant that in 1980, all three performance rights organizations were run by women, as well as the CMA and the NSA (now NSAI). To be sure, theirs was a small group, far outweighed by the good ol’ boy network that still ruled on Music Row into the ’70s and ’80s. But even that nick in the glass ceiling shocked many who moved to Nashville from more metropolitan areas, including Oermann.

“When Mary and I moved to Nashville from Pittsburgh in 1978, we presumed we were moving to a conservative, traditional town and a relatively conservative, traditional segment of the entertainment industry,” Oermann said. “What struck us both was that two of the biggest and most powerful organizations, BMI and CMA, were run by women, as was NSA. A couple years later Dianne Petty took over SESAC, Donna was running Tree, and Connie took over ASCAP. I was amazed that this conservative brown-shoe town had all these strong women leaders who were thriving.”




Still, Oermann said, Music Row was a difficult place for a woman to gain a toehold, even with strong role models arriving on the scene. Joe Galante, who was transferred (some might say exiled) from RCA Records’ New York office in 1973 to its hillbilly music division in Nashville — and who nine years later was heading the label — saw that firsthand.

“It was a man’s world back then, particularly at the labels,” Galante said. “The highest-ranking female executive we had at RCA Nashville when I joined the company was Dot Boyd, who was in charge of scheduling. We’d have sales meetings trying to figure out how to appeal to women, and everyone at the table was a man! Almost everyone coming through the doors in those days was a man.

“Women like Frances and Jo, they were the first ones in their particular doors. They opened those doors, they worked hard and proved themselves. But it wasn’t easy. They must have felt like they were running for office.”

In 1985, Nancy Shapiro was a candidate for the office of executive director of the Nashville chapter of National Academy of Recording Arts and Sciences. She had recently moved to the city from Memphis with her husband, and was looking for work. 

“Steve was the primary income, but I wanted to work,” Shapiro remembered. “My daughter was 9, and I wanted to a good role model for her and my son. Salary wasn’t my main consideration; I wanted something exciting, that I could feel passionate about. Every job I applied for up until NARAS wanted to know how fast I could type. It was so offensive. The man I interviewed with at WSMV told me he needed someone who could type his letters and bring him coffee. I told him I did too and walked out.“

The NARAS interview went much better. She went before a selection committee headed by board member Ralph Murphy in a suite at the Spence Manor Hotel.

“It was all men except Jana Talbot,” she remembered, “but they were all so laid-back, joking, having fun. I had no idea how the interview went, but I sent them a thank-you note. When they told me I had the job, I was elated. I think that getting the job was luck, but keeping it and running the chapter has been hard work.”

While Shapiro was settling into her new office, Preston was transitioning to hers. In 1985, she moved to BMI’s New York office, becoming senior vice president for performing rights, and president and CEO the following year.




As Nashville record labels and publishers became more profitable beginning in the mid-’80s, the professional landscape changed. “Things began to shift,” said Oermann. “More women were being promoted to executive positions at the labels, and women who were already executives in New York and L.A. began coming to Nashville. Women were gaining power and prominence at publishing companies; Donna was running Tree, Celia [Froehlig] was running Screen Gems. Karen Conrad was a major player, Judy Harris.”

Today, women like Ree Guyer Buchanan and Jewel Coburn own and run very successful independent publishing companies, and female vice presidents at record labels are not the rare birds they once were. Five of the 11 VPs at Sony Music are women, as is half of Capital/EMI’s senior executive roster. All were hired by the men running the label. What remains elusive: a female head of a major label.

That, some say, is more a reflection of the fact that decisions on hires at that level are made at company headquarters, wherever that might be. Bradley considered  that question for a moment, then said with a laugh, “I think we can blame that on the men in New York and L.A. They just don’t get it!”

Walker-Meador retired in 1991 and was succeeded by Ed Benson; the current executive director of the CMA is Steve Moore. Petty left SESAC in 1995 to launch her own publishing company. She passed away in 2007. SESAC’s current president/COO is (Mr.) Pat Collins. Preston retired in August 2004. Del Bryant — whom Preston hired in 1972 — assumed the role of president, and Jody Williams (another Preston hire)
currently heads the BMI Nashville office. Hilley, who had been in poor health for some time, retired from Tree (now Sony/ATV) in late 2005. Troy Tomlinson now runs the publishing giant.

In February 2010, Bradley left ASCAP, though she is quick to point out that she is not retired. “I’m still involved, but I just didn’t want to keep doing what I was doing,” she said. “I was there for 33 years! I wanted to do something else.” Bradley was succeeded by industry vet Tim DuBois, who in December turned his office over to Marc Driskill.

Shapiro remains at NARAS, though she was promoted eight years ago to VP of member services, a national position based in Nashville. Susan Stewart took her place as Southern regional director. Sitting in her office, Shapiro said she is grateful for all of the women who came before her.

“Those women were great friends and mentors to me,” she said. “I remember the first time I met each one of them. They were so accessible and generous, they never said no when I needed help or advice. When you have big dreams and want to move forward, having women like them sign on is so important. I hope I’ve been able to do the same.

“I didn’t realize I was the last woman of that era. But I am grateful to have known them all.”

8 Comments on this post:

By: roadie on 1/23/12 at 9:00

Great piece, Kay! I would like to add Mary Martin and Martha Sharp!

Garth Shaw

By: phkauf on 1/23/12 at 9:02

Ah...Garth you beat me to the punch....Mary Martin and Martha Sharp indeed !!
Phil Kaufman

By: NoMusicNoLife on 1/23/12 at 9:51

I love this article and thanks for paying such nice tribute to the Women who lead the way for todays Women of Music Row - I would like to give kudos to women like Susan Myers , Carrie Higdon Long , Kay Smith , Nancy Quinn, Lisa Wray , Margie Hunt , Betsy Walker , and thats just a very small portion of the ones that really make Music Row tick these days. If you have never heard of these women, then you should get to know them.

By: Marymeet on 1/23/12 at 8:34

Thank you for a wonderful story about the history of women in the business side of country music.

By: ttotallytexan on 1/25/12 at 8:07

Would have liked to have seen Shelia Shipley Biddy mentioned as well. Great article.

By: Moonglow1 on 1/26/12 at 9:56

Moonglow1: good article.

By: StacyHarris on 1/27/12 at 10:52

In her article on the women of Music Row, Kay West quotes her longtime friend, Bob Oermann (identified otherwise as the co-author- with his wife, who is conspicuously NOT quoted in West’s article- of a book about women in country music) as saying “There was… a lot of sexism in the industry.”

WAS? (When I learned Oermann, who arrived in Nashville a decade after I had begun writing about country music here, was leaving his job as entertainment writer for THE TENNESSEAN- my dream job ever since Bob’s predecessors, Jack Hurst and Jerry Bailey held the position- I asked for his support. Oermann’s response? “You wouldn’t want the job.”)

Kay goes on to cite the struggles of Frances Preston, Jo Walker-Meador and Connie Bradley- the triumvirate who, for decades, were the only female Music Row executives deemed worthy of being profiled by Nashville’s TENNESSEAN and BANNER newspapers’ business sections.

As West portrays them, the ladies succeeded largely in spite of themselves, smashing “the first cracks in Music Row’s glass ceiling” for themselves, perhaps, but not for the rest of us, while Oermann’s chronicling of women’s ascendance on Music Row is not, as implied, due to any male beneficence, but rather the penalties that accrue from exposure unless, at a minimum, there is at least an appearance that Music Row is in compliance with federal laws prohibiting discrimination.

Maggie Cavender was highly-regarded (and deservedly so) as a tireless advocate for songwriters, but she was hardly a “power broker” and only an anonymous source would call her “polarizing.” (That designation better suits the rest of us who were not interviewed for West’s article, probably because we are not industry apologists and our candor re: the article’s premise would obviously not be appreciated.)

Why anything other than a dearth of female authorities with first-hand experience and knowledge of the subject would incline West to seek Oermann’s viewpoint and that of Joe Galante is beyond me. At the very least, full disclosure requires that the woman who introduced herself to me as Kay West over three decades ago, rather than I, point out that Galante recruited her to become RCA Records’ publicity director.

To even mention Joe Galante in this context without any mention of Pam Lewis’ time at RCA, let alone any apparent attempt to quote Pam about her experience working with Galante, underscores a seeming assignment to recruit “authorities” to support a pre-determined conclusion.

Also left unexplored, the Music Row women who slept their way to the top- and stayed there, without any penalty other than the personal degradation that they evidently judged to be worth the price, as well as the penalties paid (can you spell "taking legal action" and "banishment"?) by more admirable women like BMI’s Helen Maxson and Elaine Ganick who dared to stand up for themselves rather than sell out or otherwise "go along to get along."

And- note the relative absence of women who (currently) “rule” the Row. As I’ve always said, if any two Music Row veterans were asked to compile lists of the 10 most powerful women and 10 most powerful women on Music Row, every list would be different but, without exception, the 10 most powerful men on any of these lists would collectively be more powerful than any list of those dubbed the 10 most powerful women.

What is it about Music Row's sordid history, in this case, as it relates to women, that impels its contemporary historians to rewrite it?

For further information. and a different take on this that remains, on balance, as true as when it was written nearly 20 years ago, check out my experience chronicling Nashville’s Power Women at

Stacy Harris
Publisher/Executive Editor/Media Critic
Stacy's Music Row Report

By: dylquesne on 6/26/13 at 5:43

dear sir or vagina:

please join the movement at and support the ladies who take pride in NOT being manlike.

do any other females think that there is something not right about a female who can't get a sense of esteem without being regarded as "manlike".

i am starting a movement for females who love and respect femininity as the absence of masculinity that it IS, rather than as the "a woman can do anything a man can do" propaganda-line that feminists love to recite but cannot justify. feminists have no respect for the feminine gender, they have no respect for their gender being the shorter/smaller/weaker gender, they have no respect for reality or for they way things ARE. they're trying to put some kind of a spin on gender so that society regards a woman as man-like with a womb (wombman). now, i realize how the word "woman" stems from "wombman," much like "ape-" and "spider-" are both prefixes to the word "man" which differentiate the prefixed man from the actual man, but the population of vaginas all seem to want to be man's equal (even though both the bigger anatomy and the superior ability of one gender has slapped that notion of gender-equality right in the face ever since the coney island hot dog eating competition had to placate the lesser gender by adding a woman's division in order for the little gender to triumph).

i am starting a movement for females who take pride in being female. furthermore, vaginas everywhere should be OFFENDED at other vaginas who are trying to measure-up to men, but instead they take pride in it. it is disrespect towards femininity for a vagina to think that she's nothing unless she's as strong as a man. it is disrespect towards femininity for a vagina to use the "a woman can do anything a man can do" line as a pride-preserver - first because it's a lie propagated by self-discontent feminists who won't be happy until the jagged little lie of gender-equality is as accepted as alanis morissette's "jagged little pill" was in the 1990s, and second because anyone who utters that line is belittling femininity by trying to morph a masculine identity onto it.

there is something not right about a vagina who can't get a sense of esteem without being regarded as "manlike".

i am wholeheartedly OFFENDED by the excess of vaginas featured on "104.7 fm" internet talk-radio advertisements, i am offended by there being a blatant ignorance of men on television news-shows as if to suggest that the shorter/smaller/weaker gender of masculine wannabees has some kind of superiority over men. i don't want to hear a bunch of egg-bleeding vaginas sitting in a coffee-klatch and speaking their opinions on important things - they are bimbos, from whoopi goldberg to barbara walters to andrea tantaros to kimberly guilfoyle. people who were designed to bleed eggs and to spout milk should NOT be looked up to - this is because they are merely tools to be used by men for pro-creation, they are tools to be used by babies for nourishment. that's all they are, they should NOT be regarded as an authority on ANYTHING, they should NOT be looked up to by little boys who will eventually have no choice but to look down upon all women who don't wear high-heeled shoes.

men are taller, men are broader, men are stronger, men are hungrier, men are hornier. regarding vagina-people: whether or not 1) the wannabees wear high-heeled shoes to make them as tall as men, 2) the wannabees wear shoulder-pads to make their shoulders as broad as mens', or c) the wannabees go to a vaginas-only exercise facility which lacks man-sized barbells and any other inkling of masculine superiority, the fact remains that masculinity is the physically-superior gender. people who cannot accept this, namely feminists, are lying to themselves. women should not be seen as heros, they should not be seen as father-figures, single-parent households are as wrong as the notion of gender-equality. women should not be seen as heros because (aside from laying an egg every month and spurting milk from their MOMmary glands) they are not men and they cannot achieve like men (refer to your GENDER-BASED physical competitions which actually suggest that having a vagina on a team full of men would be regarded as a "handicap").

bottom line: vaginas NEED physical competitions to be gender-based in order to excel. that is, in order to excel ALONGSIDE of men and never OVER men. from military requirements to the olympics - even to the "coney island hot dog eating competition," vaginas NEED separate (gender-based) divisions in order to win in any competition. if you build it, they will come - if you either keep 'em separated or give them LOTS and LOTS of mens' hormones, they will finish in first place. any vagina who takes man-hormones is the personification of "wannabee".

i refer to members of the little vagina-gender as "masculine wannabees," i call them "vaginas," i have no problem with pointing out their defects with as much offensive language as N-1-6-6-3-R-S use in their rap songs . how many female bodybuilders would be lackluster without hormone-injections? all of them? it's like the only thing that makes Strongwoman strong is a man's hormones. testosterone is the mark of a man, and with little vaginas relying on testosterone-injections to excel...well, that is why they are masculine wannabees. like "strong enough for a man but made for a woman" and earlier buzzphrases which tried to subjugate the superiority that masculinity has over femininity, the omnipresent-yet-unjustified buzzphrase of "a woman can do anything a man can do" is the latest fashion, the latest placebo meant to provide vaginas with a sense of worthiness and esteem. society just accepts it, but "a woman can do anything a man can do" is a lie and it's a placebo because there is nothing to justify it. it has no backbone and nothing to support it. also, there is something not right about a vagina who can't get a sense of esteem without being regarded as "manlike". identity-crisis, anyone? speaking of an identity-crisis,i will continue:

at least chastity bono's fabricated "pin the tail on the donkey" gender now conforms to the crisis of her mind's gender-identity not conforming to her actual gender...though she should have changed her mind rather than changing her gender's appearance. she could have changed her mind instead of her gender. it took time for her MIND to discover that she felt that she was in the wrong body, it took time for her MIND to refuse any sort of gender-acceptance and self-acceptance, it took time for the outside world and the genders around her to make her MIND feel that she was un-ladylike. one must LEARN that there are two genders, one must LEARN one's own place in the world regarding those genders. any gender-dysfunction that chastity bono felt had to be learned through living. chastity bono is not a mentally-sound person, she is weak because she abandoned self-love and self-esteem to mask her own misery by dwelling in 24/7 circus-sideshow.

let me get back to the masculine wannabees who DON'T play "pin the tail on the donkey".

it is my opinion that vaginas everywhere should be OFFENDED at other vaginas who are trying to measure-up to men, but instead they take pride in it. it is disrespect towards femininity for a vagina to think that she's nothing unless she's as strong as a man. from rose tennant on wpgb to fran drescher on reruns of "the nanny," i can't count how many times they've implied that either they're just as capable as men or that all vaginas "can do anything a man can do". quoth nanny fine, "i'm an independent, self-sufficient woman," as she figuratively pats herself on the head and tries to sell the viewing audience on seeing the disabled gender as capable. "anything a man can do," says rosie the riveter. if that's true, tell me why the difficulty of getting into the armed forces depends on man is going to become a soldier just by satisfying what is required of the little gender.

there is something not right about a vagina who can't get a sense of esteem without being regarded as "manlike," but there is something very wrong regarding a man who could not become a soldier because his stronger and more-capable presence existed on the stronger and more-capable gender. if we're going to compromise our national security out of pity for feelings of the lackluster, wannabee gender, why even bother going to war? we've already surrendered.

vaginas are not members of the superior gender, they are lesser. men have greater heights, broader shoulders, greater weights and greater appetites either for sex or for food. there is a reason that physical competitions are based on gender, it's because vaginas would serve as a handicap on a team of men. america's strongest womb (wombman, wombn, woman - are you getting the wombn and her baby-making namesake?) is either on hormones or testosterone and should not be accepted into the olympics on account of these gender-bending hormones.

dr. frank-n-furter is the only person who can make a man out of nothing (femininity = nothing). chastity bono may have the appearance of being manlike, but she should've changed her mind instead of conforming her body to the "help, i'm a man in a female's body" state of mind that she had allowed to develop throughout her life. again, nobody is born into a "wrong" body - nobody is born with any opinions or feelings or knowledge of anything. it's just as easy for a skinny boy to grow up into the man of his dreams as it is for a skinny boy to regard himself as "not man enough" and to turn to homosexuality to find that big and strong man of his dreams (that he's always wanted to be). the same goes for the lesser gender.

this has been an introduction to my Womens' Movement. please join the movement at and join the ladies who take pride in NOT being manlike.

miss dylan terreri, i