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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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Arts & Entertainment

Win a pair of tickets to Grace Jones & Janelle MonƔe @ The Anthem on June 5, 2025!

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Enter by filling out the form below or by clicking HERE. Purchase tickets HERE.

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PHOTOS: Cherry “Fire”

Detox of ‘RuPaul’s Drag Race’ meets with fans

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Cherry's "Fire" party is held at Betty on Saturday, April 12. (Washington Blade photo by Michael Key)

The Cherry Weekend main event party was “Fire” at Betty (1235 W Street, N.E.) on Saturday, April 12. Detox of “RuPaul’s Drag Race” met with fans.

(Washington Blade photos by Michael Key)

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Theater

STCā€™s ā€˜Vanyaā€™Ā  puts pleasing twist on Chekhov classic

Hugh Bonneville shines in title role

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Hugh Bonneville and Melanie Field in ā€˜Uncle Vanyaā€™ at STC. (Photo by DJ Corey Photography)

ā€˜Uncle Vanyaā€™
Through April 20
Shakespeare Theatre Company
Harman Hall
610 F St., N.W.
Shakespearetheatre.org

Shakespeare Theatre Companyā€™s ā€œUncle Vanyaā€ freshly rendered by director Simon Godwin and starring Hugh Bonneville in the title role, puts a pleasing twist on Chekhovā€™s tragicomic classic. 

As disheveled, disheartened, and overworked Vanya, Bonneville is terrific. Though very different from the actorā€™s fame making role as Downton Abbeyā€™s Lord Grantham, a proud, fastidiously turned-out aristocrat who presides over a manicured country estate peopled by a large staff, his Vanya is equally compelling 

For ā€œUncle Vanya,ā€ Chekhov imagines a house on a ragged estate in the Russian forest whose inhabitants display varying degrees of discontent brought on by the realization that theyā€™re leading wasted lives. Middle-aged Vanyaā€™s dissatisfaction and disappointment have been tempered by years of hard work. But all of that is about to be challenged. 

With his plain and steadfast niece Sonya (Melanie Field), Vanya keeps the place going. And while barely putting aside a kopek for himself, heā€™s ensured that proceeds have gone to Sonyaā€™s father Alexandre, a querulous academic (Tom Nelis), and his alluring, much younger second wife Yelena (Ito Aghayere) who live in the city. 

When called to retire, the self-important professor and his wife economize by joining the family in the country. Overcome by the intense boredom brought on by provincial isolation, theyā€™re not happy. Turns out, life in the sticks isnā€™t for them. 

At the same time, the urban coupleā€™s presence generates quite an effect on the rural household, changing the mood from one of regular work to idleness. Whatā€™s more, Vanya and family friend MikhaĆ­l Ɓstrov (John Benjamin Hickey), an unusually eco-aware, country doctor, are both bewitched by Yelena. 

Meanwhile, young Sonya, whoā€™s long carried an unrequited torch for Ɓstrov grows increasingly smitten. And while Yelena, whoā€™s bored with her aging husband, expresses teasing tenderness with Vanya, she feels something more serious for Ɓstrov. Itā€™s a whole lot for one house. 

Superbly staged by Simon Godwin, STCā€™s artistic director, and performed by a topnotch cast, the very human production begins on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew in black and actors in street clothes. We first see them arranging pillows and rugs for an outside scene. Throughout the play, the actors continue to assist with set changes accompanied by an underscore of melancholic cello strings. 

With each subsequent scene, the work moves deeper into Chekhovā€™s late 19th century Russian world from the kitchen to the drawing room thanks in part to scenic designer Robert Brillā€™s subtle sets and Susan Hilferty and Heather C. Freedmanā€™s period costumes as well as Jen Schrieverā€™s emotive lighting design. 

In moments of stillness, the set with its painterly muted tones and spare furnishings is a domestic interior from a moment in time. Itā€™s really something. 

Adapted by contemporary Irish playwright Conor McPherson, the work is infused with mordant wit, ribald comedy, and sadness. Like McPhersonā€™s 2006 play ā€œThe Seafarerā€ in which the action unfolds among family, friends and others in a modest house filled with confrontation, laughter, resentment, and sadness. All on brand. 

For much of ā€œUncle Vanya,” McPhersonā€™s script leans into humor, funny slights, the professorā€™s pretentions, and Vanyaā€™s delicious snarky asides; but after the interval, the playā€™s stakes become perilously heightened ready to explode with resentment and feelings of wasted potential, particularly frustrations expressed by Vanya and his intelligent but unfulfilled mother (Sharon Lockwood). 

When it appears that mismatched couple Alexandre and Yelena are poised to depart, the house is struck with a sense of both relief and gloom. 

Not everyone is disturbed. In fact, the familyā€™s old nanny Nana (Nancy Robinette), and Waffles (Craig Wallace), a former landowner and now lodger on the estate, are elated. Both are eager to return to the pre-professor schedule of an early breakfast and midday lunch, and menus featuring simpler fare. They long for the return of the humble Russian noodle.

ā€œUncle Vanyaā€melds cynicism and hope. Like life, itā€™s a grasp at fulfillment.Ā 

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