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Before Stonewall, newspapers complicit with police in gay bar raids

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gay bar raids, gay news, Washington Blade
ā€˜The Post never made a big deal out of it,ā€™ said former Washington Post editor Ben Bradlee of covering arrests of gay men for public sex. (Photo by Miguel Ariel Contreras Drake-McLaughlin via Flickr)

Fifty years ago, members of the LGBT community tired of continuous police raids on gay bars were driven to riot in the streets of New York City after the latest incursion at the Stonewall Inn on the evening of June 26, 1969.

But police raids on gay bars in the days before the Stonewall riots went hand-in-hand with the subsequent reports in newspapers the next day outing individuals caught in the raids, which would have potentially blacklisted them for the remainder of their lives.

In terms of Washington news coverage, the authority on newspapers outing gay men caught in police raids is Edward Alwood, a former CNN correspondent and now adjunct lecturer at the Philip Merrill College of Journalism at University of Maryland, College Park. 

Alwood wrote about the practice in his 1996 book ā€œStraight News: Gays, Lesbians, and the News Media,ā€ and spoke about it in an interview with the Washington Blade.

ā€œWashington was very different from New York,ā€ Alwood said, ā€œin that so much of the gay community here was connected with the federal government, and for that reasonā€¦gay men were much more closeted here and much less likely to protest as they did in New York.ā€

That perspective within D.C.ā€™s gay community started to change, Alwood said, when gay rights pioneer Frank Kameny was outed, lost his job in the federal government as an astronomer and formed the Mattachine Society. Nonetheless, Alwood said during that time there would be newspaper articles reporting on gay raids that named individuals who were caught.

Reading from his book, Alwood said the D.C. press after World War II made vague references to homosexuals in describing street crimes, ā€œparticularly police campaigns to clean up public parks, including Lafayette Park across from the White House.ā€ (Lafayette Park had been a place where gay men would meet to have sex discreetly.)

The Washington Post in the 1940s, Alwood said, described how officers shuttled groups of men from the park to the city jail throughout one night in July 1947 as 41 were arrested in the park. 

The Washington Star reported that the metropolitan police staged a raid just to see who the men were. Similarly, the Post celebrated a crackdown a year later, when a headline read, ā€œOne-Man Vice Squad Arrests Eight More.ā€

ā€œThe article lavished praise on a handsome undercover officer who was deemed the the cityā€™s most successful weapon in combating vice,ā€ Alwood said. ā€œNeither newspaper explained why the police felt compelled to target law-abiding citizens because they were considered unwelcome in public parks.ā€

Alwood quoted Benjamin Bradlee, the Post editor during its Pentagon Papers and Watergate coverage in the 1970s, as dismissive of the coverage in reflections of the time when he started at the newspaper covering vice on the crime beat.

ā€œThe police sent these guys into menā€™s rooms where they sort of lollygag around to see if anybody would make a pass at them,ā€ Alwood quoted Bradlee as saying. ā€œThey would make sure the press heard about it. The Post never made a big deal out of it. We had little one paragraph that had that no news value, of course, but thatā€™s what it was.ā€

For lesbians, Alwood said, the situation was different. For starters, sodomy was an offense perceived as something only men could commit, he said, so homosexual acts werenā€™t considered against the law. There were no lesbian bars, he said, so women met instead at womenā€™s homes.

ā€œThey had these social clubs, so thatā€™s part of the difference that happened, which is why so many more men wound up having their names and their ages and their street addresses listed in the newspapers,ā€ Alwood said.

Nonetheless, Alwood said there was coverage of lesbians. One piece in the Washington Times-Herald, drew on the Red Scare of a Russian threat during the Cold War for a sensational article.

Under the headline, ā€œReds entice women here in sex orgies,ā€ the article described an alleged plot by Russian agents to entice women employees of the State Department into homosexuality,ā€ Alwood said.

ā€œRussian agents were waging a systematic campaign to bring women employees of the State Department under their control by enticing them into a life of lesbianism,ā€ Alwood said. ā€œAs many as 65 or 70 persons attended a single one of these lavish get-togethers, according to a congressional committee. Many were garbed in rich Oriental costumes to help them get into the spirit of things.ā€

Such coverage isnā€™t found today in Washington-area newspapers, which have been accepting of the D.C. LGBT community and seek to capitalize on LGBT events, such as Capital Pride. The Post, however, didnā€™t respond to the Washington Bladeā€™s request for comment on past coverage outing gay men and whether any formal decision was made to change it.

Alwood said heā€™s unaware of any one instance that indicated ā€œany flipping of the switch, so to speak,ā€ but said the arrest of Walter Jenkins, a close aide to former President Lyndon Johnson, in 1964 on ā€œmoral chargesā€ at the YMCA was a turning point.

ā€œI think it was a wake-up call for journalists in this city because now it wasnā€™t just anonymous low-ranking people in menā€™s rooms and parks getting arrested, it was a high-level front page story of a presidential aide,ā€ Alwood said. ā€œAnd I think as a result of that, Iā€™m just guessing, more journalists, such as those at the Post, realized they knew gay people and they didnā€™t fit the stereotype.ā€

Also at that time, Alwood said, more and more D.C. gay groups were protesting police actions, which led to a re-examination of the strict laws.

One period that marked a change, Alwood said, was when Albert Finney became managing editor of the Post. During his tenure, Alwood said Finney assigned a reporter to write an in-depth series about gay people in D.C.

“The series was stunning for its time,” Alwood said. “It was in-depth, bold, insightful. Though its premise rested on old stereotypes and clinical language, like homosexual, it pushed the boundaries of ignorance and denial to a new level of openness.”

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Photos

PHOTOS: Night of Champions

Team DC holds annual awards gala

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Team DC President Miguel Ayala speaks at the 2024 Night of Champions Awards on Saturday. (Washington Blade photo by Michael Key)

Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.

(Washington Blade photos by Michael Key)

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Photos

PHOTOS: National Cannabis Festival

Annual event draws thousands to RFK

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Growers show their strains at The National Cannabis Festival on Saturday. (Washington Blade photo by Michael Key)

The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.

(Washington Blade photos by Michael Key)

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Theater

ā€˜Amm(i)goneā€™ explores family, queerness, and faith

A ā€˜fully autobiographicalā€™ work from out artist Adil Mansoor

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Adil Mansoor in ā€˜Amm(i)goneā€™ at Woolly Mammoth Theatre. (Photo by Kitoko Chargois)

ā€˜Amm(i)goneā€™
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.Ā 
$60-$70
Woollymammoth.net

ā€œFully and utterly autobiographical.ā€ Thatā€™s how Adil Mansoor describes ā€œAmm(i)gone,ā€ his one-man work currently playing at Woolly Mammoth Theatre. 

Both created and performed by out artist Mansoor, itā€™s his story about inviting his Pakistani mother to translate Sophoclesā€™s Greek tragedy ā€œAntigoneā€ into Urdu. Throughout the journey, thereā€™s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother. 

Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where heā€™s a busy theater maker. Heā€™s also the founding member of Pittsburghā€™s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.

WASHINGTON BLADE: What spurred you to create ā€œAmm(i)goneā€? 

ADIL MANSOOR: I was reading a translation of ā€œAntigoneā€ a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. Itā€™s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?

I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs. 

BLADE: Are you more director than actor?

MANSOOR: Iā€™m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. Iā€™ve done different versions including Zoom. Woollyā€™s is a new production with the same team whoā€™ve been involved since the beginning. 

I love solo performance. Iā€™ve produced and now teach solo performance and believe in its power. And I definitely lean toward ā€œperformanceā€ and I havenā€™t ā€œactedā€ since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention. 

BLADE: Describe your mom. 

MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me. 

She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.

BLADE: So, you werenā€™t exactly hiding your sexuality? 

MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If Iā€™m in a room with queer and trans teenagers, part of what Iā€™m doing is modeling queer adulthood. The way they see me in the world is part of what Iā€™m putting out there. And I want that to be expansive and full. 

So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.

BLADE: Have you encountered much Islamophobia? 

MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. Iā€™ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways. 

BLADE: What prompted you to lead your creative life in Pittsburgh? 

MANSOOR: Iā€™ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. Itā€™s beautiful, itā€™ affordable, and there is support for local artists. Thereā€™s a lot of opportunity. 

Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career. 

BLADE: What are you trying to achieve with ā€œAmm(i)goneā€? 

MANSOOR: What Iā€™m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this. 

 I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.

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