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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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Theater

Talented pair of local queer actors tackles ā€˜Little Shop of Horrorsā€™

Fordā€™s production features terrific score

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Chani Wereley (Audrey) and Derrick D. Truby Jr. (Seymour) in the 2024 Fordā€™s Theatre production of Little Shop of Horrors. (Photo by Scott Suchman)

ā€˜Little Shop of Horrorsā€™Ā 
Through May 18
Fordā€™s Theatre
511 10th St., N.W.
$33-$95
Fords.orgĀ 

Ever since premiering off-Broadway in 1982, ā€œLittle Shop of Horrorsā€ has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Fordā€™s Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors whoā€™ve longed to appear in the show since they were kids. 

Set in the urban 1960s, Alan Menken and Howard Ashmanā€™s hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.  

Chani Wereley, 28, who plays Seymourā€™s love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, ā€œAudreyā€™s been around the block more than once, but I approach her as a person who moves through the world with love and hope.ā€

The queer D.C. native adds, ā€œOn long trips to visit family in Canada or Florida, the first thing weā€™d do is pop a ā€˜Little Shop of Horrorsā€™ video [film version] into the carā€™s VHS player. Iā€™ve watched is so many times, I could quote the whole movie to you.ā€

After auditioning to play Audrey in director Kevin S. McAllisterā€™s production at Fordā€™s, Wereley never thought sheā€™d book the part, and when they said she got it, she cried.  

Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: ā€œI started watching the film in ā€™86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didnā€™t know much about musicals at the time, but I was absorbed.ā€ 

When asked by Fordā€™s to play the voracious plant Audrey II without auditioning, his reply was an unhesitant ā€œyes.ā€ 

Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, ā€œpeople ask if Iā€™m singing from inside of the ever-growing, scary plant. No, Iā€™m not, and thatā€™s fine. But letā€™s face it, actors love to be seen on stage, but I donā€™t feel entirely unseen as Audrey II.ā€

Heā€™s worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant ā€” his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show. 

Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereleyā€™s striking rendition of Audreyā€™s ā€œSuddenly Seymour,ā€ and Youngā€™s soulful ā€œFeed Me (Git It).ā€ Additionally, both actors are also big on queer representation in theater. 

When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like ā€œMashed Potato Time,ā€ and her favorite song to this day, the Shirelleā€™s girl group anthem ā€œWill You Still Love Me Tomorrow.ā€ As Audrey, Wereley eschews the characterā€™s usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo. 

ā€œItā€™s important for people to see themselves on stage,ā€ she says. ā€œSeeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. Itā€™s important.ā€

In 2011, a couple years after finishing high school, Young landed a part in ā€œDream Girlsā€ at Tobyā€™s Dinner Theatre, and heā€™s been working professionally ever since. Growing up, he didnā€™t see a lot of himself ā€“ Black and queer ā€“ on social media. He now wants to be open and honest for those out there who might not feel seen, he says

An introvert who lets everything loose on the stage, Young says, ā€œtheater is a safe space for queer people. Thatā€™s the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.ā€

He adds, ā€œWhatā€™s great about Fordā€™s is its surprises, especially when they switch up casting. Itā€™s meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.ā€

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Nightlife

D.C.ā€™s gay DJ collective CTRL returns

Electropop group resurfaces at Trade on March 30

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CTRL is back after a six-year absence.

Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.ā€™s gay DJ collective CTRL is throwing its first party in six years.

Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.

Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurantā€™s dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putinā€™s mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the ā€˜Get Wetā€™ pool party with David Brownā€™s Otter Crossing at the Capitol Skyline Hotel.

CTRL wasnā€™t done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity ā€œallowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,ā€ says Koussari-Amin.

CTRL pressed pause when Town shut down, which ā€œwas a huge loss to the LGBTQIA+ community and D.C. nightlife in general,ā€ says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.

After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.

However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members. 

ā€œWhen it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,ā€ he says, noting that ā€œthey also have distinct styles and interests.ā€ Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.

 ā€œIt seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.ā€

ā€œCTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,ā€ adds Jordan, noting that for him, itā€™s an event that celebrates queer identity.

And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.

The trio says that its core inspiration ā€œis driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, ā€¦ We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,ā€ as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.

CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises ā€œto have all sorts of weird and wacky handouts like we used to.ā€

After the March premiere, Aprilā€™s party is ā€œCTRLellaā€, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; theyā€™re also looking to be a central part of Tradeā€™s expansion into the adjacent space.

 Koussari-Amin says that ā€œthe eventā€™s signature experience [is] a lynchpin in connecting D.C.ā€™s expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.ā€ 

For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. ā€œCTRL is the kind of party that represents what people want. Itā€™s just a real party by real people that just want to hear good music and dance with their friends.ā€

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Celebrity News

HRC releases ā€˜Queer Renaissance Syllabusā€™

BeyoncĆ©ā€™s hit album inspired curriculum

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BeyoncƩ performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that BeyoncĆ©ā€™s ā€œRenaissanceā€ album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on BeyoncĆ©’s Billboard 200-topping dance album, “Renaissance.”

BeyoncĆ©’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like ā€œBreak My Soulā€ and ā€œCuff It,ā€ the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of BeyoncĆ©’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRCā€™s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes BeyoncĆ©’s tribute to Oā€™Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to ā€œRenaissanceā€ songs at a gas station. HRC also includes a statement that condemns hate crimes.

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