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Renowned historian Martin Duberman reflects on a full life in ‘Reaching Ninety’
New memoir looks back at Stonewall, efforts to ‘cure’ homosexuality
Renowned queer historian, playwright, author and LGBTQ activist Martin Duberman, 93, began writing stories when he was four. “They still exist,” Duberman, Distinguished Professor of History Emeritus at City University of New York (CUNY), told the Blade in a telephone interview. “They’re with my papers at the New York Public Library.”
Duberman doesn’t understand what drove him to create. “I’d write these moralistic tales,” he said, “hand-sewn inside covers. About how Alice learned to do what her mother told her to do.”
Duberman who has written some two dozen books as well as plays, hasn’t stopped writing.
Name most anything or anyone and he’s written about it: from the Stonewall Uprising to actor and civil rights activist Paul Robeson. His memoir “Cures” recounts how mental health professionals tried to “cure” him of his “homosexuality.”
When he was 70, he wrote “Haymarket,” a novel set in 1886 in Chicago during protests by labor activists.
His newest book “Reaching Ninety,” is a memoir. In it, Duberman recalls the people, events and work of his life – from coming out to his student years – to his relationships to his beloved puppy Emma (named after iconic feminist and anarchist icon Emma Goldman) to aging.
In “Reaching Ninety,” Duberman quotes the dictum “aging is not for sissies.” But, “The trouble is that I am one,” he adds, “It’s part of my cultural heritage.” There’s a thread running through his work, Duberman, who founded CLAGS: CUNY’s Center for LGBTQ Studies, the first university-based LGBTQ research center in the United States, said. “I’ve been trying to reinvent historical writing.”
It’s essential if you’re an historian and you’re presenting an account of past events, to remain true to the known evidence, Duberman said. “But you have to be clear,” he added, “the evidence that has come down to us is partial and skewed.”
At the beginning of his career as an historian, Duberman wrote with a more traditional view of history: that history could be known and chronicled objectively. As if the historian’s background had no impact on how they wrote history.
Duberman’s early work was well-received. His 1961 biography “Charles Francis Adams, 1807-1886″ won the prestigious Bancroft Prize.
But, as he matured personally and professionally, Duberman began to question the pretense of objectivity. He came to see that subjectivity is an essential part of writing history.
“The historian – with their own background – in their own time – is always present in the history they write,” said Duberman, who earned his Ph.D. from Harvard University in 1957.
Historians must adhere to the evidence, Duberman emphasized. “But, they need to decide to come clean about who they are even, in part, to write in the first person. To explain their reaction to evidence.”Historians’ reactions to the evidence they uncover about the past could impact how they write history, he noted.
Historians don’t always know the full extent of how their backgrounds contribute to their interpretations of history. But they should take it for granted that at least some of their eras and views are present, Duberman said.
“To me, the choice comes down to how explicit I should be,” he said, “and how am I going to make it known.”
This was a new way of thinking and writing about history. Take Duberman’s 1972 book “Black Mountain: an Exploration in Community.” In the 20th century, Black Mountain College was a community for artists. But it was, as per the times, homophobic. A faculty member of Black Mountain was arrested for having sex in a car with a minor, Duberman writes in “Reaching Ninety.” He was let off with a suspended sentence. He became an “instant pariah,” resigned immediately and no one from the community at the college offered any help, Duberman writes.
When writing his Black Mountain book, Duberman felt compelled to come out as gay. To be, as an historian, transparent about how his biography impacted his view of history.
“It’s hard to think well of a place that could cooperate as fully as Black Mountain did in an individual’s self-destruction,” Duberman wrote in his Black Mountain book about how the college treated the gay teacher, “indeed to have assumed it as foreclosed.”
“But perhaps I exaggerate, a function of my own indignation as a homosexual, a potential victim,” he added.
In 1972, when the book was published, Duberman’s coming out in his reaction to an incident in the history of Black Mountain College received mixed reviews.
He was denounced in historical journals. “The New York Times reviewer dismissed my coming out as a vaguely unclean bit of business,” Duberman writes in “Reaching Ninety.”
“Other people were well-disposed toward the book,” Duberman said, “they were academics, not historians.”
Historians are a conservative group of people, Duberman said. “They devote their lives to preserving — underline it — the past,” he said, “They’re not likely to be interested in any combined format that merges the past with the present.”
Duberman doesn’t have a clue as to what got him hooked on history. “It was inescapably an unconscious decision,” he said. “I was torn between literature and wanting to be a writer. To find out more about the past and how come we’re at the point of time that we are.”
When Duberman was a freshman at Yale University, the man who taught his history class was only five years older than he. “At his very first class we took to each other,” Duberman said, “and became friendly. He became a role model for me.”
“He just died at 99,” Duberman added, “we never talked openly about homosexuality. But I got the strong impression that he, too, was gay.”
Duberman, who was born in New York, wasn’t out in college or graduate school. Though, he checked out the two gay bars in Boston when he was at Harvard.
Coming out wasn’t an option for people in Duberman’s generation who came of age in the 1940s and 1950s. You could be arrested, expelled from school, kicked out of your apartment or fired from your job if you were open about who you were. People warned him “against coming out to any degree,” Duberman said.
Duberman and his older sister were raised in a secular Jewish household. His father, as a young man, escaped from working in a beet plantation in Russia to Germany and then to New York. His mother went to high school at night while working as a secretary.
From childhood on, Duberman was bitten by a love of theater. He went to theater camp and performed in high school plays.
As a student at the (then) boys prep school Horace Mann, he played female as well as male roles. One night, his friend Bob’s girlfriend noticed that Duberman was the “actress” who portrayed a “stewardess” in a play that evening, Duberman recalls in “Reaching Ninety.” “‘But you can’t be,’ she gasped, ‘you have such beautiful legs!’” Duberman remembers her telling him.
Duberman, a polymath, would grow up to become a privileged insider while remaining an observant, critical outsider.
His many honors include: the Vernon Rice/Drama Desk Award, three Lambda Literary Awards, a special award from the National Academy of Arts and Letters for his contributions to literature and the 2007 lifetime achievement award from the American Historical Association. He’s been a Pulitzer Prize and National Book Award finalist.
He and his life-partner, Eli, a psychoanalyst, have just celebrated their 35th anniversary. He’s revered for his pioneering work in queer history.
Yet, even though he’s white, cisgender, and privileged, Duberman hasn’t ever been complacent or content. He still remembers how horrified he was back in the 1960s when he taught at Princeton. “I taught about slavery,” Duberman said, “I was thunderstruck! The white, privileged undergrads were on the verge of defending slavery.”
“It shocked me,” he said, “I shouldn’t have been surprised. But I was.”
The more he taught, the more discontented Duberman got with, what he saw, as the authoritarian system of education at universities. “I didn’t see the teacher as an authority figure,” he said, “but as a fellow learner.”
Though he had tenure, Duberman resigned from Princeton because of this. Also, he dared to move from Princeton to New York. “Then, people at Princeton thought: How could you leave the loveliest town in the world,” Duberman said.
Duberman deplores Trump and anti-queer right-wingers. But he also has been a long-term critic of the LGBTQ rights movement. Queers should be less concerned about marriage equality and more concerned about issues of race, class, and economic justice, he believes.
“There’s resistance to Trump’s lies,” Duberman said, “and it’s appearing in the mainstream – in The New Yorker – even The New York Times.”
The electorate is the greatest roadblock to social change, Duberman said. “The LGBTQ community, like a lot of the country, is conservative,” he added.
Duberman isn’t feeling terribly optimistic at this moment. But, “I keep hoping that one of the upcoming generations will turn out to be different,” he said.
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Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!
The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?
There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?
Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.
The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.
Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.
Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.
In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.
I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.
Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.
Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.
A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.”
Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”
The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.
Rainbows in Revolt is just getting started bridging gaps and building community.
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Summer in the City: Free exhibits, movies, more fill D.C.’s calendar
America 250 celebrations continue
From late-night museum visits and outdoor jazz concerts to free movie screenings and America250 exhibitions, Washington’s summer calendar is packed with events that don’t charge admission. Here’s a look at some of the free activities happening across the District through September and beyond.
Museum exhibitions
The Renwick Gallery is presenting State Fairs: Growing American Craft, an exhibition that looks at unique and unconventional crafts from the 19th century to the present. It will run until Sept. 7, and admission is free.
The Arts and Industries Building, located next to the Smithsonian Castle, is presenting the exhibition Voices and Votes: Exploring Democracy Across America. The exhibition features the development of American independence and what that has meant over time, beginning with the Revolutionary War. Admission to the museum is free, and the exhibition runs until Sept. 7.
The National Gallery of Art presents Dear America, an exhibit featuring more than 100 pieces of work, including letters, photographs, and drawings that depict American landscapes and depictions of freedom. The exhibition will run until Sept. 20.
The National Museum of Women in the Arts is exhibiting Burnished: Pueblo Pottery until Sept. 27. The exhibit features pottery from the Southwest, and while most of the pottery belongs to women artists, a few also reflect those who have advocated for women.
Extending past this summer, the exhibition ¡Puro Ritmo! The Musical Journey of Salsa will be at the National Museum of the American Latino until July 2028. The exhibition shows how Afro-Cuban music has become a staple in the U.S. Admission is free.
The Martin Luther King Jr. Memorial Library will feature the exhibition District Vibes / American Pride: How DC Changed American Culture, which will highlight all of the ways D.C. has impacted American life. The exhibit will run until Sept. 27.
At the Folger Shakespeare Library, the exhibit Imagining Shakespeare: Mythmaking and Storytelling in the Regency Era will be on view through Aug. 2. All the portraits on display come from the Boydell Shakespeare Gallery in London.
The United States Botanic Garden will be open until 8 p.m. on Aug. 20 and Sept. 17, as part of America’s State Flowers: An America250 Celebration. The evenings will include live music, mocktails, ice cream, and snacks.
The National Gallery of Art Sculpture Garden will have extended hours, staying open until 8 p.m. Wednesday to Saturday until Sept. 3.
Live performances
On Aug. 7, the postgame Nationals concert series will continue with Jordan Davis performing. To see the concert, guests just need to buy tickets to the Nationals game.
Jazz in the Garden will run each Friday until Aug. 14. The event has free admission, but those interested have to enter a lottery due to the high demand for the event.
From May to October, Capital Harvest Market occurs every Wednesday from 10 a.m.-2 p.m. at the Ronald Reagan Building and International Trade Center. The market features fresh foods, crafts, and recipes for unique dishes. A full list of vendors is available on Capital Harvest’s website.
Live! Concert Series on the Plaza will feature live performances at Woodrow Wilson Plaza until Sept. 25. The performances run Monday to Friday from 12-1 p.m. Admission is free to the performances.
DowntownDC Live! at Anthem Row is running until July 30, with free performances every Thursday from 5:30 p.m. to 9:00 p.m. The final performance will feature HUE and a vintage flea market hosted by Get Flee Marketplace.
Located in Adams Morgan, AdMo Vibe will present live performances every Thursday at 6 p.m. in Kalorama Park. Guests are encouraged to check out Adams Morgan before and after shows, and it is an event for all ages.
Other events
Union Market is hosting drive-in movies on Aug. 8, featuring “Monsters, Inc.”, and Sept. 12, featuring “Wicked.” On Aug. 8, the parking lot will open at 7:30 p.m., with the movie starting at 8:25 p.m. On Sept. 12, the parking lot will open at 6:35 p.m., and the movie will start at 7:30 p.m.
Sunset Cinema at the Wharf will also be available one day a month. On Aug. 12, “10 Things I Hate About You” will premiere, and on Aug. 26, “Project Hail Mary.” No tickets are necessary.
The Library of Congress will also show movies. On Aug. 6, guests are invited to watch “Apollo 13.” The movie will be shown at 8 p.m., with additional live performances beginning at 7 p.m.
For fans of Asian media, the Okaton convention will be at Walter E. Washington Convention Center from July 31-Aug. 2. Festivities will include cosplay contests, skits, live music, and panel discussions.
Washington Spirit’s season also begins in August. The Spirit is Washington’s National Women’s League, with matchups occurring between the San Diego Wave, the North Carolina Courage, the Orlando Pride, and the Bay FC.
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Summer in D.C. brings sports, Restaurant Week, festivals, and more
Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.
Dining
Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.
New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:
- Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
- The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
- Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
- Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.
Sports
- Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements.
- Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.
Festivals
- Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
- Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods.
- The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
- All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
- Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.
Art and Music
- United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club.
- The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
- Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
- ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
- 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
- Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
- Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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