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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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a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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