Putting LGBT Harlem On The Map

The Sunday New York Times's Travel section for June 1, 2014 devoted several pages to LGBT travel. The one bit of information that especially caught my attention was that Fun Maps, a Maplewood, New Jersey-based company, was planning to publish a Harlem map, pinpointing all of the community's gay venues. As a longtime Harlem resident, I was delighted to learn about Fun Map's plan. The map would be similar to the company's other gay-oriented maps that focused on cities like San Francisco, Philadelphia, and Toronto. Fun Map's slogan on its maps was "30 years mapping the gay and lesbian world." The Harlem map was scheduled for publication in the summer of 2014.

Not long after, the Fun Maps of various cities were no longer available at the places where I would pick them up--the Gay Community Center in Greenwich Village, Les Hommes bookstore on the Upper West Side of  Manhattan, and the Suite, a bar also on the Upper West Side.

I learned later, via the Internet, that Fun Maps was no longer in business. The phone number printed on the maps was out of service.

It's too bad that Fun Maps didn't do the Harlem map before its demise. It would now be a collector's item.

Maybe Harlem Pride,the seven-year-old LGBT organization, would be interested in undertaking such a worthwhile and important project.

Cleve Jones's Former Roommate

When I read gay activist Cleve Jones's riveting memoir,When We Rise: My Life in the Movement, I was surprised to learn that he and historian Eric Garber were roommates in San Francisco at one time.

In 1982, at New York's Hunter College, I attended Garber's slide lecture on the gay and lesbian aspect of the Harlem Renaissance of the 1920s. I later interviewed him for the New York Native, the now-defunct gay weekly newspaper.

Garber's research inspired me to do further reading on the gays and lesbians of the Harlem Renaissance like the artist/poet/novelist Richard Bruce Nugent, who I wrote about for Joseph Beam's 1986 anthology, In the Life.

Note: See my 1983 New York City News interview with Eric Garber that I posted on this blog on April 20, 2013.

Three Projects Harlem Pride Should Consider Doing

Here are three projects Harlem Pride should consider getting involved in:

1. Establishing a gay and lesbian community center. (One location to consider is the former site of the Mount Morris Baths on Madison Avenue at 125th Street. The site has been vacant for several years.)

2. The erection of a statue or monument honoring the late novelist/essayist James Baldwin, a native son of Harlem.

3. The resumption of Gay Night at the Cotton Club, hosted by Harlem Pride. (I wrote an article for the New York Native about this weekly Friday night event in 1984.)

A Quotation Book Includes Black Gays And Lesbians

While browsing the "New Books" section of the New York Public Library's Morningside Heights branch, I came across a copy of Bartlett's Familiar Black Quotations. At $40, it is very pricey but it is a volume worth having in one's home library. I hope one day to own a copy. In the meantime, I will enjoy the library copy.

Of particular interest to me is the high representation of gays and lesbians throughout. Among those included are Keith Boykin, Melvin Dixon, Audre Lorde, Joe Beam, Pat Parker, Samuel R. Delany, Jewelle Gomez, Randall Kenan, and Essex Hemphill.

New York AIDS Forum For Black Men And Women

A forum on AIDS for black gay men and lesbians, sponsored by an ad hoc group of black gay and lesbian activists, was held Feb. 1 [1984] at Hunter College. One of the purposes of the forum was to counteract the widespread belief among black gay men, and the black community in general, that AIDS is a white disease. This perception is fostered by nearly exclusive media attention given to white gay men with AIDS and causes blacks to have a diminished interest in AIDS educational forums and events.

The first of February was chosen because of its significance as the beginning of Black History Month. Gwen Rogers, the forum moderator, said the event would demonstrate that black gay men and lesbians were "concerned about all aspects of our oppression." The forum, she continued, provided "the opportunity for us to raise issues of the struggle against AIDS, to raise the issue of AIDS as a health concern, and to raise the demand that health care is a right."

The audience, numbering between 90 and 100, some of whom were white, heard the following panelists: Leonard Brown, M.D. ("The Medical Facts of AIDS"); Raymond Jacobs, resident recreation therapist at Beth Israel Medical Center in New York ("Psycho-social Issues"); Jessie Cadet ("The Impact of AIDS on the Haitian Community"); and Bruce Hall, a black man with AIDS ("Reflections of a Person with AIDS"). Diego Lopez, a social worker who was called to speak at the last minute, expressed his concern for quality health care and asked the audience to help him and others reach the black gay community with AIDS information.

The ad hoc committee, while planning this forum, said Rogers, a psychologist, did not "view the AIDS question in isolation," but saw it as being part of the overall concern for better health care delivery within the total black community. They also saw the socio-economic ramifications of the disease, which has a 40 percent mortality rate. Rogers saw the forum as something that will help unify the gay, as well as the black, community.

Dr. Brown's presentation of the medical facts on AIDS included the by-now familiar rundown on symptoms and treatments. Jessie Cadet's presentation was short and to the point: "There is an urgent need for more money for AIDS research and the oppression of Haitian immigrants by U.S. officials must end."

The two speakers who gave the most interesting presentations in terms of information, if not style, were Hall and Jacobs.

Hall, a 29-year old ex-New Yorker, now living in Chicago, was diagnosed with AIDS in September 1983. He felt, following the diagnosis, that it was unfair for him to have come down with this disease, especially after several years of abstinence from drugs, alcohol, and sex with multiple partners. He's presently involved in a monogamous relationship, and although he and his lover have not refrained from having sex, they do not exchange body fluids. Hall is also in a self-imposed program of hypnosis, weight-lifting, and bicycling. Although it's part of his battle against AIDS, he's not sure if any of it works.

Jacobs spoke of the isolation and psychological crisis AIDS people endure, leaving them angry, guilty, and ashamed. He's observed a tendency to moralize and to believe that having the disease is due to the wrath of God.

Jacobs placed AIDS people in three categories: those with the disease who have not contracted a major illness; those with a major illness who are working their way towards death and dying; those, like Hall, who have recently been diagnosed.

Hall told this reporter in a later interview that he visits AIDS people in hospitals so they know that someone cares and that there are people with AIDS who are able to function. These visits, he feels, "might give them some hope."

A question-and-answer period followed the prepared presentations.

This is article was originally published in the Gay Community News of Boston (February 18, 1984).

Voices In The Wilderness?

Bob Law, the host of the National Black Network's "Night Talk" (heard in the New York area on WWRL-AM) announced near the end of a broadcast in mid-April that Rev. Calvin Butts, the pastor of Harlem's famous Abyssinian Baptist Church, had spoken out against the persecution of gays and lesbians. The statement was made, said Law, at a rally held at Canaan Baptist Church, also in Harlem.

Law, who was present at the meeting, told his radio audience that Butts "thought  that everybody had a right to determine their own destiny and that God be the final judge, which is consistent with his Bible that says, 'Judge not that ye not be judged.'" The talk show host,  who has a black nationalist philosophy, went on to say that Butts's position is not a popular one in the African-American community and that it "is definitely not popular in the Baptist church." (I've been told that a considerable number of gays attend Canaan.)

Knowing that "he was standing by himself," continued Law, he made the statement anyhow, because he was "follow[ing] a course of action based on what he believes is in principle correct," and that this belief had nothing "to do with how many people stand with him, how much money is in it for him, what kind of guarantees there are further down the line. That's the kind of leadership we [blacks] need and that's the kind of leadership we should support."

Before you start gloating that Butts and Law advocate homosexuality, check out Law's reply to a statement of concern expressed by a homophobic female listener, who sees homosexuality as "very bad" for the black community.

According to Law, Butts "didn't say he thought they should be encouraged or that he supported it or that he was not frowning on it. If there was going to be a discussion between him and a homosexual, he might try to convince the homosexual not to be homosexual."

How does one do that? I think we should send Bob Law a correspondence course in Homosexuality 101. I agree with much of Law's philosophy on achieving political and economic strength in the black community, but when it comes to gay and lesbian issues, he could use some consciousness-raising.

This article ws originally published in the New York Native (August 11-25, 1985). It was an item in a "Media Watch" column I wrote for the paper.

Exploring Racial Diversity In The Gay Community

Patrick Merla, Editor
New York Native
249 West Broadway
New York, NY 10013
June 15, 1984

Dear Patrick:

In August 1983 the Native published a supplement called "Harlem Rising." I contributed two pieces to it. It would be a good idea to bring the supplement back, possibly in August. However, this time I would like to be the guest editor. And instead of calling it "Harlem Rising," it should be called "Hue: Black Gay and Lesbian Supplement." The new name would underscore the fact that blacks range in color from very fair to very dark.

The supplement would contain five or six articles, covering a wide range of areas: politics, the arts, religion, etc. One article that I would try to include in the supplement is an address delivered by James Baldwin two years ago at the BWMT [Black and White Men Together] meeting that dealt with being black and gay (BWMT has the tape). There would also be photos and artwork.

I would like to discuss this with you either on the phone or in person because I think it is important for the Native to continue to deal with issues and events of concern to the black gay and lesbian community. I appreciate the Native's willingness to publish black-oriented articles. It shows that the paper realizes that not everyone in the gay and lesbian community is white and middle class. I am looking forward to a long association with the Native.

I hope the answer will be affirmative. I think this supplement will be better than the last one.

Sincerely yours,
Charles Michael Smith

Note: The Native published the supplement under my guest editorship. It was called "Celebrating Ourselves," a title novelist and poet Melvin Dixon (and supplement contributor) suggested to me. The supplement was published in October 1984. It did not include the James Baldwin address that I suggested. This was the first and only time that the Native published a poetry centerfold that was part of the supplement.

Racism Should Not Be A Part Of Gay Pride

Letters to the Editor
The Village Voice
842 Broadway
New York, NY 10003
June 28, 1984

Dear Editor:

James Baldwin, in his interview with Richard Goldstein [Voice, June 26], hit the nail on the head when he pointed out that "the gay world as such is no more prepared to accept black people than anywhere else in society."

Racism, as Baldwin knows, is very much a fact of life within the gay community. It is evident in the discriminatory admission policies of gay bars and discos across the country and in the near total exclusion of blacks and other third world gays in gay magazines and newspapers. The "invisibility" of black gays and lesbians is what prompted me to write articles in the gay press pointing up the fact that blacks are a vocal and active part of the gay community. The white, middle-class male image being projected in these publications (and subsequently carried by the straight media) helps to foster the homophobic view in the black community that homosexuality as well as AIDS is a "white disease."

Until the white gay community is willing and able to accept black gays and lesbians as full and equal partners in the struggle against heterosexist oppression, they have no right to complain about homophobia. They too have become oppressors. That's not my idea of Gay Pride.

Sincerely yours,
Charles Michael Smith

This letter was not published.

Gay Harlem Of The 1920s: An Interview With Historian Eric Garber

Out of the Harlem Renaissance of the 1920s, which lasted about ten years, came such creative notables as Langston Hughes, Zora Neale Hurston, Countee Cullen, Claude McKay, and Jean Toomer. For Hughes and others, the Harlem Renaissance was a time of race-consciousness and pride.

"Many of the key figures who  made the [Harlem] renaissance possible were lesbians and gay men," says Eric Garber, a gay San Francisco-based historian. Among these gay men were such luminaries as writer and critic Wallace Thurman, scholar Alain Leroy Locke, and poet Claude McKay. Garber describes Wallace Thurman as a man who was "a productive character" but one who "was very dark-skinned and had real contradictions around it because he received some prejudice around it. He would hate it and then two days later, he'd love it and hating it and hating light skins. Same way with his homosexuality." Another important gay figure at the time was Carl Van Vechten, the white novelist, journalist, and critic, who wrote the novel called Nigger Heaven (1926), "which became a bestseller for the white public and got a lot of white people interested in Harlem in a way that I'm sure he had not intended. I think it paved the way for a great deal more exploitation than certainly  he had intended. I don't think he intended his book to be taken the way it was taken. I think that was total naivete on his part. Foolishness almost. I don't think Nigger Heaven works at all. I found it rather offensive personally even though I like most of his other stuff." However, says Garber, ""some of his black peers at the time [such as the late James Weldon Johnson and Bruce Nugent, both writers] found nothing wrong with it." On the other hand, the black intellectual "[W.E.B.] Du Bois hated it."

Garber points out that "in the second page of the book, he [Van Vechten] explains that nigger heaven is the balcony of the theatre, the only place blacks were allowed to go to."

Van Vechten, says the blond, blue-eyed 28-year-old historian, "had a real fascination and love for Harlem and blacks in general" and expressed that love by focusing on "a lot of public attention of a great many black writers and artists," in his capacity as a journalist.

Among the places blacks and whites , artists, writers, socialites, and gays and lesbians could rub elbows was at A'Lelia Walker's Harlem apartment or her Hudson River estate. A'Lelia was the daughter of the black millionaire Madame C. J. Walker, whose wealth came from her hair straightening process. A'Lelia used the money her mother left her to "throw huge parties. I don't know if she was gay, but I do know she loved lesbians and gay men. She loved having them around her all the time. She loved the artists and writers."

Alexander Gumby's salon was another gathering place for creative lesbians and gay men. Gumby, who came to Harlem in1909 and was a butler turned postal clerk, was "very entranced," says Garber, "with the theatrical world and the artistic world and set up a salon basically to have parties. He also collected books." (That explains why his salon was called Gumby's Bookstore.)

As far as gay bars are concerned, "My understanding is there were no real gay bars. There were bars that sort of catered to gays but not in the sense that we know gay bars now.
"They [gay bars] started in really large numbers in the '40s definitely. I'm not sure about in Harlem, but nationwide it would seem like prior to the '40s, there were some places where you could go to pick people up."

"There were some gay places [that would have drag shows] that were very tourist-oriented where straight people would come to look at gays. There were also lesbian bars that had male impersonators. Prior to the '20s, at one point, female impersonators and male impersonators were considered quite respectable. No one had any idea that there was a sexual connotation to it. The ones that were just [for] socializing tended to be tourist places. They were listed in tourist guides. They were quasi-gay bars. But not like what we know today when there were only gay people there and [where you can] socialize and party and be yourself and let your hair down."

What was Harlem's reaction to homosexuality? Was there any homophobia? "It doesn't appear to be that way," replies Garber."Particularly among the artists and writers, there doesn't appear to have been censure at all. [Writer and artist] Bruce Nugent wrote "Smoke, Lilies, and Jade" [a 1926 short story about black male homosexuality] and he received a little cold shoulder for a couple of weeks. But he was openly homosexual throughout the period and went to the drag balls with [writer and NAACP executive] Walter White and his wife. For him there was no problem. There might have been for the very flamboyant female impersonators. Just thinking about the words that were used within the black community for homosexual like 'sissy' and 'people with freakish ways' and stuff so much different than words in the white community, which were things like 'deviate,' 'pervert,' and 'degenerate.' It would seem as though the attitude at least was less condemning. Certainly not open-armed embracing but not quite as condemnatory."

This is an edited excerpt from an article that was originally published in the now-defunct gay publication the New York City News (June 22, 1983).

Gays Are Black, Too

In the black community, homosexuality is a very controversial subject. So much so that the thought of having a relaxed and meaningful conversation with a gay person is as unthinkable as shaking hands with the grand dragon of the Ku Klux Klan.

Writes Shelby Sankore: in Players magazine: "Homosexuality of any kind seems to find less acceptance among Afro-Americans than other groups in this country." This negative attitude is largely based on a host of myths and stereotypes that have been perpetuated for decades.

Because of this attitude, the gay black youths I spoke with have not revealed their gayness to their families. (I've been told of cases where kids have been thrown out of the house after announcing to their parents their feelings for members of their own sex.)

A 20-year-old male college student told me, "I've never mentioned it to my mother because I have an uncle who's gay and my mother doesn't like him at all. She's turned off by it. But I don't fear being thrown out. She's very attached to me. That's why I know she would never throw me out. She would worry too much. But she would make my life miserable if I were to tell her."

This article is intended to encourage, in the words of Dr. June Dobbs Butts, an assistant professor of psychiatry at the Howard University College of Medicine, the emergence in the black community of "men and women who respect one another for the ways in which we are alike as well as the ways in which we are different. Only then will we understand that our sexual similarities outweigh our sexual differences." (The emphasis is hers) For the record, Dr. Butts identifies herself as heterosexual.

Above all else, gays are part of the human family. Whether we agree with their lifestyle is unimportant. We should concern ourselves with the content of the person's character, not what he or she does in the bedroom--and with whom.

To paraphrase a National Gay Task Force pamphlet, if the person is loving and responsible today, he'll be that way tomorrow. His gayness changes nothing, except perhaps our attitude toward him.

I'm not saying I have no misgivings about some aspects of the gay lifestyle. I do. But so do the young gays I spoke with. For example, they disapprove of those gays who are into sado-machischism. They disapprove of man/boy relationships. One of them is totally opposed to cruising and prefers "a monogamous relationship. One to one."

The point is, we should be willing to allow people the freedom to choose how they will live their lives--without fear of slurs, violence, and discrimination. So long as they are forcing their lifestyle on others, why should we care?

It should be acknowledged that none of us can say for certain whether we would ever engage in a homosexual affair, just as none of us could say for certain whether we would resort to cannibalism if we found ourselves stranded in some frozen wasteland with no other  food source.

Says Truman Capote, "People are whatever they are under different circumstances, under whatever particular pressures there are."

Dr. Dorothy Harris of Penn State echoes Capote's sentiments: "Circumstances and basic human need have a lot to do with your behavior at a particular time."

It is estimated that gays represent anywhere from 10 to 13 percent of the population. No one can be sure since there are gay people who have escaped detection by  masquerading as straight people. But what if we discovered that a close friend was gay. In what ways would this alter the friendship? Would it make Jenny or Joe any less the person we've come to know and trust? Think about it.

And while you're thinking, consider this thought from Dr. Butts: "...Our minds cannot function when we are gripped by fear." Once we overcome this fear and see others as people first--be they homosexual , heterosexual, bisexual, or celibate--it will go a long way toward breaking down barriers to communication.

This article was originally published in the Oregon Journal in Portland (August 15, 1981).

Note: It was syndicated nationally by the Los Angeles Times to replace Andrew Young's column. Young had to give up his column when he ran for mayor of Atlanta. The L.A. Times editor was initially reluctant (homophobic?) to send this column out because Andrew Young never wrote about homosexuality in the black community in any of his columns.

An Interview With Rev. Renee McCoy, Pastor Of A Church In Exile

"Unwilling to separate our lifestyles as lesbians and gay men from our experiences as Blacks in America, we are left to bring about our own liberation without the support and expertise of the larger Black community, and without the strength and guidance of the church."--Rev. Renee McCoy, pastor, Harlem MCC Church ("We are Exiles from Our Own Communities," Insight: A Quarterly of Lesbian/Gay Christian Opinion, Vol. 4, #4, pg. 8).

Harlem Metropolitan Community Church is one of 200 churches worldwide that form the Universal Fellowship of Metropolitan Community Churches. These churches serve the lesbian and gay community as an alternative to the traditional churches where much homophobia is present.

Rev. Renee McCoy, a native of Detroit who attended Wayne State University, saw a need for a church that addressed itself to the needs and concerns of black lesbians and gay men. In November of 1981, she founded Harlem MCC.This was a little more than two years after she arrived in New York as a student clergy from the Detroit MCC church. "I wanted to learn New York," she said explaining her move East. "I wanted to leave the Midwest. I'd been there 28 years. I was tired of it. I loved Harlem. I always wanted to work in Harlem. And I came to MCC New York in the Village and I was licensed. I was credentialed out of there. And then I started Harlem MCC right after I was credentialed."

The church began at the Union Theological Seminary at Columbia University where "we averaged 23 in attendance on Sunday which meant that sometimes our attendance went from a low of eight or nine to a high of 46, 50." But the church, said Rev. McCoy in her Morningside Avenue apartment in Harlem, decided "we wanted to be more than a Sunday church. All we had was chapel space at the seminary on Sundays and we used the [MCC] church in the Village for whatever programming we did and we visited people's homes. We wanted to provide more counseling services for the church. We wanted to do regular Bible study in one single space so that people would know we were stationary, that we were part of the Harlem community." The church then moved to Hamilton Place and 143rd Street, in a brownstone owned by a black gay man. But after one week of occupancy, he evicted Harlem MCC because "he couldn't deal with the Sunday meetings and didn't want anybody on the block to know that he was gay. We were a church in exile for two months. We met in the Village at MCC New York until we could secure a place. We found a loft and moved into the loft on November 7, 1982. At that time the attendance was up to 46. Averaging 25 people on Sunday."

More problems continued to plague the church. This time it was the attitude of some of the members of the church toward the neighborhood the church took up residence in. Unlike Morningside Heights or the Village, the neighborhood could not be used as "a hideaway. You could slip into the seminary. No one would see you. It didn't look like Harlem. Nobody knew what you were doing when you came there." Also, said Rev. McCoy, there were congregation members who expressed fear of the neighborhood. "People who were somewhat supporting the church financially could not deal with facing Harlem. They couldn't look at themselves is what it was. 'I can't park my car there,' 'I'm scared of the neighborhood,' "I'm afraid to walk in Harlem.' These are black gay people. Things got rougher at that point. The loft base that we did eventually lease during the winter didn't have heat. We had problems with the toilets. We had problems with the lights. And as a result, attendance dropped. Especially the people who had children. The amount of money lessened."

At present [1983] there are 18 members. It is a church whose members come mostly "from Harlem and the Bronx, Upper West Side of Manhattan, Midtown Manhattan, still some from Brooklyn."

Harlem MCC is now located at 356 West 123rd Street, making this their fourth move in almost two years. The community organization that is subleasing the space to them has done so, said Rev. McCoy, "as a community gesture. We can do things now that we couldn't do, like we had a cookout. It's a small, intimate space." However, she went on, "We"re looking for a permanent space that we can afford. It's rough because every time we move, we lose people. It's almost like building from the ground up." Right now, she said, the church is in need of a piano, preferably a small one.



This is an excerpt from an article that was published in the New York Native in 1983, in its special supplement called "Harlem Rising." It was one of the earliest articles I did for the paper.

Two Gay Plays In Brooklyn

The newly-founded Rainbow Repertory Theatre proudly bills itself as a company whose aim is to develop and promote the plays of gay and lesbian playwrights of color. However, its artistic director Reginald Jackson, himself a playwright, does not "want to just appeal to the gay community."

In fact, Rainbow Rep's first offerings--Kids and Enormous Insignificancies (both directed by Jackson)--have more straight characters in them than gay. "We [as gay people] really don't live in a vacuum," explained Jackson, "so I don't see any purpose in doing pieces in a vacuum."

Both one-act plays will be presented back to back March 6  and 13[1988], starting at 7 p.m., at the Alonzo Players Theatre, 317 Clermont Avenue, Brooklyn, under the umbrella title: "Kuumba: A Night of New Theatre." (Kuumba means "creativity" in Swahili.)

Kids, a play with music by Charles Pouncy, deals with self-identity and self-acceptance. The focus is on two adolescent brothers--Jacob, who is openly gay to the point of being effeminate and David, who, when confronted by his mother, denies his homosexuality. "This would be a wonderful piece for gay and lesbian youth of color to come to," said the 24-year-old director, a native of Queens, "because Kids is about them. It's about me, too. I've lived it. But they're living it now. They've got no sense of validation."

While Kids, with its musical soliloquies and humorous touches, can be quite entertaining, its companion piece, Enormous Insignificancies by Hector Lugo, about a Puerto Rican playwright dying of AIDS, can be very unsettling. "What do you want me to do," asks Gaston, the playwright (played by Lugo), as he lay on a psychiatric couch, "go up to this man, the only human being who has been kind to me, who I love, and say I've got--I'm going to die and maybe you've got it, too? I can't, I can't, I can't."

Enormous Insignificancies, recalled Jackson, "was originally done at City College for the one-act festival last year. I didn't see it, but I knew Hector. We were at the college together. [After reading the script], I told him if he was interested in rewriting it, I would consider doing it."

Although the playwrights involved with Rainbow Rep must be gay or lesbian, that rule does not apply when Jackson goes about the task of selecting the cast. "There are 11 people in the total production--five gays and six straights, at least that is their public image. I'm not going to pull people who are in the closet, out of the closet. My political stance is that I don't particularly condone being in the closet, but artistically it's irrelevant. As far as I'm concerned, the actors are asexual on stage. The audience shouldn't be trying to figure out who's gay and who's straight. That defeats the purpose."

A future project waiting in the wings is "a theatrical dialogue" between gay men and lesbians. "It'll be two different pieces," said Jackson,"running about 45 minutes each, comprised of poetry and prose exploring how we feel about each other, what are the myths, the stereotypes, the misconceptions, the questions, the fears that affect the whole relationship. I've got ideas on what I think will probably come up in it, but I have no idea what the overall gist or structure will be." That would be left up to the poets and playwrights "who would get together on a Saturday or a Sunday for three hours, four hours," continued Jackson, and "brainstorm" on how they would "create the written work into a theatre piece; linking the pieces and building a script."

This article was originally published in the Philadelphia Gay News (March 11, 1988).

"Growing Up, Out, And Powerful": An Excuse To Rant

Alternating between militancy and humor, Growing Up, Out and Powerful is a semi-improvisational, autobiographical theatre piece. "[Its intent is] to detail and dramatize the process of becoming a sane, healthy, lesbian/gay, progressive person of color in a world that tends to be otherwise," said John Patterson, the director.

Through poetry, songs, monologues, and discussion, the five performers (Patterson, Colin Robinson, Pam Lewis, Nestor Millan, and Lourdes Perez) attempt to fulfill that promise.

It runs through June 27 [1987] at the Castillo Cultural Center, 7 East 20th Street, in Manhattan, in six evening performances. Each of  those shows spotlights different guest poets, and is part of an overall celebration of Gay Pride Month.

Of the five, Patterson was the only experienced actor, which was obvious--he was the one who gave an unstilted, self-confident, and joyful performance.

Surrounded by the audience on three sides, Patterson and company occupied a sparsely furnished set that represented, said the press release, a living room in a railroad flat. Frankly, I couldn't tell where it was supposed to be.

Initially, the dialogue was lively and humorous as they exchanged reminiscences about being black or Latino homosexual adolescents. After about the first 20 minutes, the show began to go downhill. With the exception of Patterson, the autobiographies began to ramble; nothing significant was said. Other problems I found annoying were Nestor Millan's heavily accented English which made it hard to understand him and Pam Lewis's soapbox histrionics. In addition, the show ran close to three hours, with no intermission. It should have been cut to 90 minutes, have as its main focus the lives of three people, not five, and have a more cohesive structure.

As for the special guests--poets Cheryl Clarke and Jewelle Gomez, on the night that I attended--they should not have been isolated in a separate segment but integrated among the regular cast members in a five-minute cameo appearance. In so doing, they would have been given the chance to share a few lines of poetry as well as some thoughts in a manner that would not have destroyed the theatre piece's continuity.

It became apparent to me that Growing Up, Out, and Powerful was an excuse to put forth political ideas endorsed by the New Alliance Party, the left-leaning group that runs the Castillo Cultural Center. But then again, that fact should come as no surprise to anyone familiar with NAP and their tactics.

This article was submitted to the New York Amsterdam News on June 19, 1987. It was not published.