National
Pioneering LGBTQ rights advocate Lilli Vincenz dies at 85
Helped organize protests in early 1960s, co-founded Washington Blade
LGBTQ rights activist, psychotherapist, and documentary filmmaker Lilli Vincenz, who played an important role in helping to organize groundbreaking gay rights protests outside the White House and Philadelphia’s Independence Hall in the 1960s, died June 27 of natural causes at her residence in an assisted living center in Oakton, Va. She was 85.
Vincenz is believed to be the first known lesbian to participate in a gay rights protest in front of the White House in April 1965, when she joined pioneering gay rights leader Frank Kameny, seven other gay men, and a bisexual and straight woman in a first-of-its-kind White House protest calling for equal rights for homosexuals.
The protest took place about two years after Vincenz also is believed to have been the first lesbian to join the Mattachine Society of Washington in 1963, which was D.C.’s first significant gay rights organization co-founded by Kameny and gay activist Jack Nichols in 1961. The Mattachine Society of Washington led the 1965 White House protest and other 1960s era gay protests in D.C.
According to a biographical write-up on Vincenz by lesbian historian Lillian Faderman for the current Mattachine Society of Washington that was reconstituted years later by D.C. gay rights advocate Charles Francis and others, Vincenz participated in other protests in the 1960s in support of what was then known as the homophile movement.
Among them were protests outside the Pentagon and the U.S. Civil Service Commission in Washington, which oversaw enforcing the federal government’s policy at the time of firing gay men or lesbians found to be working at federal government agencies.
Vincenz joined Kameny and other D.C. Mattachine Society members in another historic first in a protest outside Philadelphia’s Independence Hall beginning in the mid-1960s in support of homosexual rights.
Faderman’s biographical write-up on Vincenz says that in 1968, Vincenz brought her 16-millimeter movie camera to the Independence Hall gay protest to film what became the fourth annual Remembrance Day gay picketing at Independence Hall.
It would become the start of Vincenz’s practice as an amateur filmmaker to film other early gay rights protests and other gay events, including the 1970 gay and lesbian rights march in New York City to commemorate the first anniversary of the 1969 Stonewall riots in New York’s Greenwich Village that’s credited with rapidly advancing the modern LGBTQ rights movement.
In 1966, according to Faderman, Vincenz was named editor of the D.C. Mattachine Society’s monthly newsletter called The Homosexual Citizen. In 1969, Vincenz and D.C. lesbian activist Nancy Tucker co-founded an independent gay newspaper as a spinoff of the Mattachine newsletter called the Gay Blade, which later evolved into the Washington Blade.
Vincenz was born in Hamburg, Germany in 1937 and lived through World War II and the fall of the Nazi regime before immigrating to the U.S. in 1949 with her mother and sister at the age of 12.
She earned her bachelor’s degree in French and German at Douglas College in New Jersey in 1959 and a master’s degree in English at Columbia University in New York City in 1960, according to a biography on her by the LGBTQ organization Equality Forum.
The biography says Vincenz enlisted in the U.S. Army’s Women Corps or WAC after completing her master’s degree. But she was discharged from the Army after serving nine months at the Walter Reed Army Medical Center in D.C. on grounds of homosexuality. According to the Equality Forum write-up, she was outed by her roommate, which led to a general discharge under honorable conditions.
While involved in gay rights endeavors in the 1970s, Vincenz received a second master’s degree in psychology from George Mason University in Virginia in 1976. In 1990, she received her Ph.D. in human development at the University of Maryland, according to a write-up on her background by the Library of Congress.
That write-up came about shortly after Vincenz donated her papers and the films she had made of LGBTQ rights events in 2013 to the Library of Congress. The donation included some 10,000 papers, photographs, 16-mm movies, and memorabilia collected over a period of more than 50 years.
The Library of Congress statement says the donation of Vincenz’s papers and memorabilia was made through her agent, Charles Francis, the co-founder of the Kameny Papers Project, which facilitated the donation of Kameny’s papers to the Library of Congress in 2006.
It was at the time of her discharge from the Army in 1963 that Vincenz became involved with the Mattachine Society of Washington, according to the Library of Congress statement. Her LGBTQ rights activities continued through the 1970s while she also began her private psychotherapy practice with a focus on mental health issues faced by lesbians and bisexual women.
In 1971, Vincenz supported Frank Kameny’s campaign for the D.C. congressional seat in his role as the first known openly gay person in the country to run for public office. Kameny lost the election but is credited, through help from Vincenz, with opening the way for other LGBTQ candidates to run for and win election to public office.
Through most of the 1970s Vincenz hosted the Gay Women’s Open House in D.C. as a means of providing a safe space for lesbians to socialize and discuss what was then referred to as gay activism. She continued her activism in the 1980s and 1990s and during the peak of the AIDS epidemic she provided support for gay men through her psychotherapy practice, according to fellow activists and friends. Among the organizations she became involved with was the Daughters of Bilitis, a national lesbian rights organization.
People who knew Vincenz have said she and her domestic partner since 1986, Nancy Davis, hosted many LGBTQ-related events in their Arlington, Va., home where the two founded an organization in 1992 called the Community for Creative Self-Development.
D.C.’s Rainbow History Project says in a write-up on the two women that they called the organization a “holistic learning community for empowering gay women and men and all gay-friendly people, creatively, spiritually, and psychologically.”
Davis died of natural causes in 2019 at the age of 82.
“Lilli honored us all by donating her thousands of pages of papers, photographs, and iconic historical documentaries, ‘The Second Largest Minority’ (1968) and ‘Gay and Proud’ (1970) to the Library of Congress,” Francis said. “Through her gift, Lilli’s films now belong to the American people as does her legacy.”
Vincenz’s friend Bob Brown said Vincenz is survived by a nephew and three nieces and many friends. He said plans for a memorial service for Vincenz would be announced sometime later.
The current day Mattachine Society of Washington produced a film on Vincenz’s life that focuses on her role as one of the first to film historic LGBTQ events, especially her film ‘Gay and Proud’ that captured the gay march in 1970 in New York to commemorate the first anniversary of the Stonewall riots.
Among those interviewed in the Mattachine film and who praised Vincenz’s work were U.S. Sen. Tammy Baldwin (D-Wisc.), lesbian historian Faderman, and gay historian Eric Cervini.
The film, which Mattachine official Charles Francis says captures the essence of Vincenz’s work and legacy, can be viewed on YouTube.
Vice President JD Vance and his wife, second lady Usha Vance, will visit Hungary next week.
An announcement the White House released on Thursday said the Vances will be in Budapest, the Hungarian capital, from April 7-8.
JD Vance “will hold bilateral meetings with” Hungarian Prime Minister Viktor Orbán. The announcement further indicates the vice president “will also deliver remarks on the rich partnership between the United States and Hungary.”
The Vances will travel to Hungary less than a week before the country’s parliamentary elections take place on April 12.
Orbán, who has been in office since 2010, and his Fidesz-KDNP coalition government have faced widespread criticism over its anti-LGBTQ crackdown.
The Associated Press notes polls indicate Orbán is trailing Péter Magyar and his center-right Tisza party.
President Donald Trump removed Attorney General Pam Bondi from her post Thursday, following growing criticism over how she and the Department of Justice handled a range of issues, including matters related to sex offender and Trump ally Jeffrey Epstein.
Trump announced Bondi’s removal on Truth Social, where he also said Todd Blanche will serve as acting head of the Justice Department.
“Pam Bondi is a great American patriot and a loyal friend, who faithfully served as my attorney general over the past year,” Trump wrote on the platform. “Pam did a tremendous job overseeing a massive crackdown on crime across our country, with murders plummeting to their lowest level since 1900.”
Trump was seen as recently as Wednesday with the now-former attorney general at a Supreme Court hearing on citizenship.
The decision contrasts with Trump’s previous public praise of Bondi, the 87th U.S. attorney general and former 37th attorney general of Florida, who served in that role from 2011-2019 before joining the Trump-Vance administration. He has frequently lauded her loyalty and said he speaks with her often. Bondi was also one of president’s defense lawyers during his first impeachment trial.
Privately, however, Trump had grown frustrated that Bondi was not “moving quickly enough” to prosecute critics and political adversaries he wanted to face criminal charges, according to multiple sources. The New York Times reported that her inability to charge former FBI Director James B. Comey and New York Attorney General Letitia James with any crimes is a large factor in the president’s choice to fire her from the government’s primary law enforcement agency.
The move comes as Trump has sought to minimize public turmoil within his administration, avoiding the perception of a revolving-door Cabinet that defined his first term.
Lee Zeldin, a former Republican congressman from New York who unsuccessfully ran for governor, has emerged as a leading contender to lead the Justice Department. He has been one of Trump’s most reliable allies.
“He’s our secret weapon,” Trump said of Zeldin in February during a White House event promoting the coal industry, adding, “He’s getting those approvals done in record-setting time.”
Bondi has also growing faced scrutiny from Congress.
The House Oversight Committee recently subpoenaed her to testify about the department’s handling of certain files, where she declined to answer key questions during a contentious House Judiciary Committee hearing in February.
The Tampa native has a long history of opposing LGBTQ rights through her roles in government. As Florida attorney general, she fought against the legalization of same-sex marriage, arguing it would cause “serious public harm,” pushing forward a legal battle that cost taxpayers nearly half a million dollars. She also asked the Florida Supreme Court to overturn a lower court ruling that found the state’s same-sex marriage ban unconstitutional.
More recently, Bondi established a “Title IX Special Investigations Team” within the Justice Department focused on restricting transgender women and girls from participating in women’s and girls’ sports teams and accessing facilities aligned with their gender identity. She also told Children’s Hospital of Philadelphia to turn over the medical records of anyone under 19 who received gender-affirming care.
Her removal follows Trump’s decision last month to oust another controversial female Cabinet figure, Kristi Noem.
The White House
VIDEO: Gay journalist detained for booing Trumps at ‘Chicago’ opening night
Eugene Ramirez booed first family at Kennedy Center
President Donald Trump and first lady Melania Trump attended the opening night of “Chicago” at the John F. Kennedy Center for the Performing Arts on Tuesday. They were greeted by a mix of cheers, applause, and some audible boos.
Among them was Eugene Ramirez, a gay Washington resident, who later shared his account of the night after being briefly detained by security for booing the president and giving a thumbs-down gesture — an expression of what many would call a textbook definition of constitutionally protected speech to criticize the government.
Ramirez attended the opening night performance with a group of friends, hoping to catch a final show before the center undergoes two years of major changes under Trump oversight. The musical, based on a 1926 play of the same name, has become synonymous with Broadway success.
With music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Bob Fosse, “Chicago” has cemented itself as a cultural staple — known for its signature Fosse choreography, stripped-down staging, and sleek, campy aesthetic. The story follows Roxie Hart and Velma Kelly, women who murder their husbands but — with the help of the manipulative, charismatic, and narcissistic attorney Billy Flynn — walk away scot-free.
It remains the longest-running American musical in Broadway history, and its 2002 film adaptation famously won the Academy Award for Best Picture. On this night, however, the production also became the backdrop for a very modern moment of political protest.
“I accompanied five friends to opening night of ‘Chicago’, as a way to enjoy a final performance in the Kennedy Center as we know it,” Ramirez began to recount to the Washington Blade, describing the moment his group settled into their seats inside the ornate Opera House theater.
Just before the performance began, the twice impeached president and first lady appeared in the balcony box, drawing immediate attention from the audience below. Theatergoers stood, cheered, clapped, and waved, while Ramirez made a different choice.
While accounts of the crowd’s reaction have varied, Ramirez said his response was intentional, immediate, and within his rights. Moments after booing and giving a thumbs-down while recording on his iPhone, security intervened.
The video of Ramirez booing the Trump’s is here:
“Within moments, the director [of security] and another guard approached and escorted me to a side area where several other security guards were waiting,” he said. “I was detained until everyone was seated and the lights dimmed.”
As he was escorted away, Ramirez said his instincts as a journalist kicked in. A former lead anchor for Sinclair’s national evening news broadcast, he said the situation immediately felt off — or more aptly put — as if he could see the strings being pulled from someone attempting to control the narrative.
“Journalism is a vocation, not just a job. I immediately knew there wasn’t just an uncomfortable interaction with security,” he said. “The Kennedy Center is a federally funded cultural institution, and being questioned about speech related to the president in that setting felt like something the public should know about.”
Ramirez explained the difference between a standard visit by a public official and this performance: the president’s appearance wasn’t just ceremonial; it was very clearly a media moment.
“The White House press pool was there, and it was clear this was an effort to manage the president’s image in the media,” Ramirez continued. “The irony was not lost on me that this was happening on opening night of ‘Chicago’, a musical about manipulating the press to shape public perception.”
According to Ramirez, the explanation he received from Kennedy Center Director of Safety and Security Karles C. Jackson Sr., was brief, but illuminating.
“He said, ‘they don’t want booing,’ and even called out my thumbs-down gesture. He never clarified who ‘they’ were, but whether it was the administration or the Kennedy Center, the distinction felt meaningless,” he explained. “Mr. Jackson ultimately told me he was just trying to do his job, shook my hand, and allowed me to return to my seat once the lights dimmed and the overture started playing.”
Ramirez said he didn’t blame the guard individually, noting the broader context of the Kennedy Center’s uncertain future and the pressures staff were under.
“With the center closing in the coming months, some of these security guards being pressured to restrict our freedom of speech may only have a few weeks of work left.”
He believes the decision to remove him was driven less by disruption than optics, particularly given the presence of the press.
“It was very clearly about protection — whether protecting the president from visible dissent, or his image before the media present. There was no disruption as almost everyone was standing and reacting loudly to the arrival of the president and first lady, with cheers, applause, and hand gestures. The difference was that my reaction, unlike most, was negative.”
Drawing on his experience covering public officials, Ramirez said the incident felt more about controlling perception than security.
“Usually, law enforcement may monitor or intervene if there’s a disruption, but here there was no disruption at all. Simply expressing dissent in a public, cultural space drew the attention of security. It made it feel less like a matter of decorum and more like an effort to control the narrative around the president,” he said. “It’s about what happens when dissent is treated as disruption rather than a right.”
“The show hadn’t started. I threatened no one. Billy Flynn would have approved of the optics. The rest of us should be paying attention.”
Ramirez framed the incident as part of a broader constitutional concern, one that is plaguing the Trump-Vance administration as they continue to reject rules and normalcy set forth by other reserved presidents.
“Being singled out by security at a federally funded institution for expressing dissent shouldn’t be brushed off; it undermines the First Amendment,” he said, looking at it slightly distanced from it now. “Being of Cuban heritage, and a journalist, it’s a right I’m not willing to give up readily.”
“Publicly funded cultural institutions should allow visible dissent, even in politically charged moments,” he added. “Of course, I understand the need to manage disruptions during a performance, but that was not the case here.”
The themes of “Chicago”, a long-running satire about media manipulation and public perception, added another layer of irony to the experience, Ramirez explained.
“The satire truly leapt off the stage! A show about controlling the narrative, manipulating the press, and covering up truths by leaning on showmanship and distractions. The show is decades old, but could’ve been written today. We’re being razzle-dazzled daily and it’s getting harder to tell fact from fiction, no matter where you get your news.”
He, being gay, also acknowledged how hard it must have been for the performers on stage, assuming that at least some in the cast were also members of the LGBTQ community — and artists — two things Trump doesn’t always get along with.
“It was not lost on me that many of the actors on that stage, that the president and first lady presumably applauded, are members of the LGBTQ community which this administration has rolled back protections for under the guise of religious liberty and free speech, resulting in blatant discrimination.”
He pointed to a particular number that felt surreal given the circumstances.
“Its ‘Razzle Dazzle’ number celebrates keeping audiences off balance; at its climax, a massive American flag descends as the song celebrates blinding audiences to what is real. Watching that scene after being detained for a thumbs-down was surreal.”
Ramirez said the show’s closing lines were especially sharp given the presidential audience and what he just experienced.
“At the end of the show,
Velma says: ‘You know, a lot of people have lost faith in America.’
Roxie replies: ‘And for what America stands for.’
Velma: ‘But we are the living examples of what a wonderful country this is.’
Roxie: ‘So we’d just like to say thank you and God bless you.’
They had both just gotten away with murder!”
His closing lines, however, were a bit more pointed than “scintillating sinners” Roxie Hart and Velma Kelly’s were in the show.
“Democracy only works when citizens are allowed to boo,” he said. “Tuesday night at the Kennedy Center, ‘Chicago’ made that point better than I ever could.”
The Blade reached out to the Kennedy Center but did not receive a comment back.
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