NY gay bar closed by health department

Julius on Waverly Place at 10th Ave in The Village

New York’s oldest (sort of) gay bar — Julius — was closed by the board of health this week. Julius is located one block up and one block over from the Stonewall Inn.

The bar opened in 1867. Not until 1966 was it officially a gay bar. But for years, gay men hung out at Julius, even though they were subject to constant harassment.

As Greenwich Village became more and more gay during the 1950s and ’60s, its gay residents hung out at this friendly neighborhood bar. People like Tennessee Williams and Truman Capote used to go to Julius.

Nearby Stonewall was not nearly as nice (or historic) as Julius and Stonewall was known more as a hangout for drag queens (and people like Dallas’ Phyllis Guest who was at Stonewall the night of the raid).

Owners of Julius resisted having the bar turn gay, so they enforced the New York State Liquor Authority rule that prevented bartenders from serving the disorderly. Homosexuals were included in the liquor authority’s definition of disorderly — which makes this a good place to insert that this is one of the first gay bars I ever hung out in after I came out in college and hung out in Greenwich Village in the early ’70s. I was probably attracted to this bar at the time because scenes from the film Boys in the Band — the only gay film out there at the time — were filmed at Julius.

In 1966, in a final attempt to keep gays out, Julius hung a sign after a police raid that said, “This is a raided premises.” The hope was that gays who were afraid of being arrested, exposed as gay and fired from their jobs would stay away.

The Mattachine Society had filed a lawsuit challenging the liquor authority’s rules, claiming a right to assemble. That was followed by an investigation by the city’s Human Rights Commission. Mattachine won its suit and sometime that year, Julius’ owner realized his clientele was gay, had been gay and the neighborhood was becoming more gay. It’s been a gay bar — officially — since then.

Owners said they plan to clean up the mouse and roach problem that caused the health department to close the place and, after a new inspection this week, be reopened by the weekend.

Big news for Dallas? Not at all. But when I saw a news item about Julius, it brought back memories of being a kid hanging out in the Village.

And many people think gay history— and gay people — began with Stonewall on June 28, 2008. We were actually around — and going to bars, protesting, organizing and living our lives — long before that.

—  David Taffet

“The Temperamentals” explores founding of Mattachine Society

Steve Bullitt as Hay and Mitchell Greco as Gernreich

The off-Broadway hit The Temperamentals makes its Houston premiere at the Barnevelder Movement/Arts Complex (2201 Preston) January 19 and runs through February 11. The play, by Jon Marans, explores the events surrounding the founding of the Mattachine Society, one of the first “gay rights” groups in America (although the Society for Human Rights has it beat by a quarter of a century).

The story centers on Harry Hay (Steve Bullitt), a communist and Progressive Party activist and his lover Rudi Gerneich (Mitchell Greco), a Viennese refuge and costume designer. Set in the early 1950′s in Los Angeles, the play is an intimate portrayal of two men who created history and the epic struggle they overcame.

The term “temperamental” is one of those code words from 1950′s gay sub-cultures that has fallen by the wayside, but in its heyday describing one’s bachelor uncle as “temperamental” had a clear meaning. Hay and Gerneich are joined by other luminaries of the day, played by a cast of four actors in multiple parts (Rob Flebbe, John Dunn, and Jeff Dorman).

The  January 19 opening night performance benefits the Houston GLBT Community Center. Tickets are $30 and may be purchased online.

—  admin

Final proof of inequities still to fight

Pioneering gay rights activist Frank Kameny died without enough money to pay for his burial

Frank-Kameny

Frank Kameny

Back in the dark ages when I was a teenager, I distinctly remember a conversation my father and mother had after dinner one night. Dad had just returned from one of his many trips to Washington, D.C., and on one of the flights he sat next to a doctor named Frank.

My father, a research scientist and member of dozens of honorary and scientific organizations, noticed that his seatmate was wearing a lapel pin. The pin was a gold “M,” and my dad assumed it was from a fraternal or professional group.

When he asked Frank about it he learned it stood for “Mattachine Society.”

That’s when my father’s voice dropped into a more hushed tone. He told my mother that the Mattachine Society was an organization of homosexuals and he had never imagined those kinds of people organizing.

Well that was in the 1960s and I was still a questioning teenager going through all the angst that a gay boy has when he is still trying to sort out his sexuality. Hearing the mention of the word “homosexual” in such hushed tones let me know in no uncertain terms it was not something polite people talked about, much less wore lapel pins identifying themselves as one.

I have no way of knowing the identity of that man on the airplane, but it is telling that the conversation stuck with me in such detail. Today, I wonder if the “Frank” my dad encountered on the flight from D.C. might have been Dr. Frank Kameny, a pioneer of the gay rights movement.

I will never know, but I do know that Frank’s work has affected me in ways that are profound.

Without the Mattachine Society and people like Frank Kameny, Harry Hay and others, I would not be writing in this publication, and most likely there would be no Dallas Voice.

Equally profound is the other connection I share with Frank — our age. No, I am not an octogenarian. But I am part of an aging LGBT population, and as such, I will most likely face some of the same problems.

Habaerman.Hardy.NEW

Hardy Haberman Flagging Left

As the LGBT population ages, threading the maze of social services will most likely become more difficult. Unlike our straight brothers and sisters, we cannot rely on a spouse’s health insurance or, in most cases, on the assistance of our children. We face legal problems of proper power of attorney should we become infirm and even funds for burial when we die.

Dr. Kameny was fired from his U.S. Army Map Service job in 1957. With that firing, any pension or benefits he might have accrued went up in smoke. Not having a family to help with social services and support as he aged, Kameny was dependent on the generosity of organizations like Helping Our Brothers and Sisters (HOBS) and individual friends to survive.

Having given most of his life to fighting for LGBT rights, he was left with little in the way of retirement funds.

Which brings us to today. Dr. Kameny died on Oct. 11, and he left a rich legacy of activism and passion for LGBT rights. Unfortunately, his riches ended at the altruistic level.

His estate contains many historical documents but little in the way of cash. So in order to defray the costs of his funeral, his friends and family have set up a fund with HOBS. There will be a testimonial dinner on Nov. 10 honoring Frank, but in lieu of flowers or tributes, his family requests donations be earmarked for his memorial expenses and given to: Helping our Brothers and Sisters, 1318 U Street NW, Washington, D.C. 20009.

You can also contribute through their website at:  HelpingOurBrothersAndSisters.com/donate.html.

Giving Frank a fitting funeral will be a small effort to honor a man who wore his sexuality on his lapel at a time when few people were even willing to talk about it.
Hardy Haberman is a longtime local LGBT activist and a board member of the Woodhull Freedom Alliance. His blog is at DungeonDiary.blogspot.com.

This article appeared in the Dallas Voice print edition October 28, 2011.

—  Kevin Thomas

Fops & freaks

‘The Temperamentals’ makes Hay of gay Pride; ‘Earnest’ errs with irony

ARNOLD WAYNE JONES  | Life+Style Editor
jones@dallasvoice.com

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MAKING HAY | Gay rights pioneer Harry Hay (Gregory Lush, left) embraces his inner diva to the dismay of his lover Rudy (Montgomery Sutton) in Uptown’s thoughtful ‘Temperamentals.’ (Photo by Mike Morgan)

“Temperamental” was a code name in the 1940s and ‘50s for a gay man, like “friend of Dorothy” or “confirmed bachelor.” It was a way for one gay man to know he was talking to another outside a bar, and without wearing a green carnation as in Oscar Wilde’s day. The way American soldiers until recently lived in fear of being outed under “don’t ask, don’t tell,” the entirety of the gay community lived in the post-War period.

That is, until Harry Hay came along. Hay started The Mattachine Society, the first gay rights group, two decades before anyone had heard of the Stonewall Riots. He took the bold step of signing his name to his founding principles, coming out, albeit in a limited media environment, at a time when being labeled as gay was career suicide, no matter what your profession.

He may, however, be the gay hero you’d never heard of. The Mattachine Society eventually failed, a noble first volley in a war that has not yet been won. But it and Hay deserve a lot of credit they too often don’t get; like Niccolo Tesla, they were upstaged by the Edison-like sparkle of Pride marches, Harvey Milk and the rainbow flag.

…………………

With The Temperamentals, about Hay’s triumphant effort (now at the Kalita courtesy Uptown Players) Jon Marans has masterfully crafted a work with a highly cinematic flavor. Scenes jump about quickly, like fast-cut editing, taking us from the bedroom of Hay (Gregory Lush) and his lover, fashion designer Rudy Gernreich (Montgomery Sutton) to the soundstages of Hollywood where closeted director (and Judy Garland spouse) Vincente Minnelli (Paul J. Williams) lends his checkbook but not his name to the cause.

But Marans’ real victory is in capturing the textures of gay life 60 years ago with a subtle, almost literary flair. You feel the prickly hesitation when a gay man asks for Rudy’s last name, and the self-hating aversion to seeming “too femme.” There’s a conspiratorial aura that feels absolutely authentic: Hay and his compatriots were conspirators, lurking in the shadows because that’s where society insisted they reside. The bravery it took to turn on the light astonishes you even today.

Director Bruce C. Coleman and multimedia designer Chris Robinson convey the cinematic quality with minimal sets and extensive use of video components both to place us in a host of settings and suggest their nature (a seedy urinal speaks volumes), as well as provide historic context with vintage photographs, although that can get heavy handed, especially a montage at the end which, while gratifying, goes on too long. (Coleman seems devoted to the notion, why suggest something when you can spell it out in capital letters.) Still, the abstractness of the production gives it an airy, timeless sensibility.

The cast is solid — Williams, Kevin Moore and Daylen Walton all succeed in multiple roles — with Lush holding the center steady as he escorts us through the halls of gay history.

If it sounds as though The Temperamentals is more educational than entertaining, that’s unfortunate; it is both. If you want to feel a real sense of gay Pride, watch how a few men paved the way.

…………………

Nobody captured the grandeur and foolishness of society as pungently and affectionately as Oscar Wilde. He was a living paradox, someone who turned a satiric eye on the superficiality of the upper classes, yet passionately and unapologetically loved everything about them. “How useless are people who have no actual jobs!” he seemed to say. “Why can’t I be one?”

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WILDE TIME | WingSpan’s production of ‘The Importance of Being Earnest’ aims for irony. (Photo by Lowell Sargeant)

The apotheosis of his social manifesto is The Importance of Being Earnest, a comedy of manners so sharply wrought that more than a century later, it seems as fresh and witty as a Jon Stewart bit. The script overflows with wordplay and repartee as Ernest Worthing (Andrew Milbourn) confides in his chum Algernon (C. Ryan Glenn) that although he intends to marry Algy’s cousin Gwendolen (Lisa Schreiner), with the approval of her abrasive mother, Lady Bracknell (Nancy Sherrard), his name is not, in fact, Ernest but Jack. This seemingly minor fib sets off a cascade of adventure and verbal slapsticks involving mistaken identity, money, sex and … well, just about everything. It’s a great play.

But WingSpan Theatre Company’s production, now at the Bath House Cultural Center, is not a great version. The dialogue is intact, and two performances in particular (the lovely Schreiner and Jessica Renee Russell as the comely young Cecily) capture the capricious, exuberant drama of silly people involved in silly behavior with very serious consequences perfectly; by the time Act 3 arrives, they are at full comic gallop, and the men eventually almost catch up with them.

Alas, that’s almost too late. The first act is saddled with an ugly set that lacks the requisite glamour of the era, and heavy, ill-fitting costumes that look like someone pulled them off the windows at the Von Trapp household, added a clunky bodice and washed their hands of further responsibility.

Another drawback is Sherrard’s interpretation of Lady Bracknell. The character, one of the funniest in all literature, is an imperious matriarch whose institutional arrogance rivals the monarchy itself. She cannot conceive that she is ever wrong — even when one of her beliefs directly contradicts another belief — because to acknowledge a mistake would be to undermine the social hierarchy.

But Sherrard plays her not as an aloof, self-justifying matron but as a sarcastic social climber. Seeing the first smirking roll of her eyes hits you like a 2×4 to the noggin: Is Lady Bracknell being… ironic? It hardly seems possible — she is a woman entirely bereft of irony. It’s as if she’s been modernized and lost her way entirely.

Still, there’s the music that is Wilde’s gift for the bon mot. There would never have been a Frasier without an Earnest, so if you’ve never seen a production before … well, even mediocre Wilde is better than none at all.

This article appeared in the Dallas Voice print edition October 14, 2011.

—  Kevin Thomas