Badpuppy Gay Today |
Monday, 09 June, 1997 |
In the following portrait from Kay Tobin's out-of-print
classic, THE GAY CRUSADERS, a true hero emerges who, because
of revisionist history, is little-known except in archives, academia
or among those brave pioneers, still living, who labored hard
in the original Gay Activists Alliance.
The GAA was the extraordinary organization that first
embodied--on the spot-- the constructive spirit of Stonewall and,
through its wise direction of revolutionary passion, kept it alive,
strategic and successful. We today are the inheritors of that
spirit. Since this is the month--June-- that the entire globe
now celebrates 1969 at the Stonewall Inn, you are invited to enjoy
Kay Tobin's splendid dipiction of a pioneer who not only was there
at the Inn, but who made it truly count immediately afterwards.
To show just how much he made it count, it is only
necessary to know that in the heady days immediately before the
world's first Gay Pride parade in 1970, Marty Robinson's photograph--along
with his lover Tom Doerr--appeared on the cover of America's first
gay weekly newspaper.
Doerr, a graphic artist, had designed a symbol--the
Lambda--to represent the new movement. "It represents energy
too," he explained. Doerr's lover, Marty, was clearly a
young man with energy, a winning kind of vitality, truly macho
on the surface, but deeply caring within. Without him, the Stonewall
era would have been poorer indeed. New York's gay activists--
especially in those years after the Stonewall uprising--pointed
to the handsome journeyman carpenter with pride. They knew he
was one gay man who wasn't afraid to be, and that he spoke truth
with passion. With the Gay Activists Alliance President, Jim Owles
(See last week's People feature in GayToday's archives)
he walked without worry into the thick of battle, struggling hand
to hand, even, with oppressive police.
During the inception of the movement, there were
only few who caught this editor's attention as did Marty Robinson.
His brusque macho intensity could turn, in a split second, into
tenderness. The privilege of having met him more than once as
he walked proudly along Manhattan's streets, hand in hand with
his handsome friend, Tom, now evokes treasured memories of a great
legend in motion.
Marty Robinson's true dream was the same as that
of our nation's poet, Walt Whitman. Like Whitman, Robinson refused
to rest until he saw that it would be commonplace for men to walk
hand in hand through America just as he and his beloved Tom did
so often in New York, champions both who greatly helped birth
the sweet dawning of one of Love's boldest moments.
Jack Nichols,
GayToday
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Sassy! That's how Marty Robinson sees the gay liberation
movement. "It's sassy, arrogant, determined, head strong,
gonna win! There are lots of gays who think that way now. We're
growing!"
Marty is well known as a supermilitant who has given
hard zaps to Mayor Lindsay, Governor Rockefeller, and others.
He sees himself as a political theoretician as well. Catch him
bounding down Bleecker Street toward his tub-in-the-kitchen apartment,
and chances are he's in work clothes and coming either from his
job or from the Gay Activists Alliance Center.
"I love my work," be says. "I work
in the construction trade. I'm a hard-hat, a journeyman carpenter."
Marty's kind of skill is so much in demand in the New York area
that he can work when he wants to and take time off when there's
movement work to be done. Consequently, he's usually in the thick
of any GAA zap action. Over Italian coffee he talks about the
sassier side of gay liberation.
"Old-line gay groups react in dismay to the
new recklessness, the militancy, the honest forceful demand for total liberation. It's a joyous demand, and more
than that, it contains the potential for great political power.
By claiming that the rights of gays are too hot to handle, politicians
have reinforced society's conception of homosexuality as a joke
or as something to be feared, and they have further contributed
to gay oppression by allowing injustices to go unchallenged.
"But gays comprise one of the largest minorities
in America. They are capable of getting the representation they
need, but can only do so, it seems, by public confrontations that
make politicians face and respond to issues they otherwise avoid.
Right now, that part of the gay movement that's forcing the system
to respond is fighting its way up the liberals." Activists
like Marty are putting the squeeze first on liberals to make them
recognize that homosexuals' rights are a political issue. "Nothing
happens until you make it happen," he asserts.
Marty learned to revel in the zap while active in
New York's early Gay Liberation Front. In the fall of 1969, he and a dozen other GLFers went to a mayoralty candidates'
night sponsored by the League of Women Voters and held in the
large auditorium of Temple Torah in Queens. Candidates Procaccino
and Marchi were picked as targets, and Marty was picked to hurl
the challenge. "It's 1776, Mr. Procaccino! The homosexual
revolution has begunl" Marty shouted. Then he asked Procaccino
what he would do for the gay community if elected mayor.
"We created so much pandemonium we closed the
candidates' night down," Marty recalls. "All the young people and the progressive people rose to their feet
in our defense, calling out, 'Let them speak!' The establishment
people were freaked out. It was one big stage, one big theater.
Finally the police threw us out.
"We let Lindsay off without questioning him
because it was a close mayoralty race and we didn't want to jeopardize
his chances. There was no direct payoff from the zap except that
it established gays on the political scene. Later, of course,
after he'd been re-elected, we felt there was something to be
gained by zapping Lindsay."
Later turned out to be after Gay Activists Alliance
was formed, with Marty as one of the twelve founders.
He was GAA's first delegate-at-large and afterwards
chairman of the political action committee. From the start he
was a pacesetter, showing an audacity that inspired others to
uncork in the heat of a confrontation.
One of his first zaps after GAA's formation was a
lone action, following an extraordinary police raid on a Greenwich
Village gay bar in which 167 persons were arrested and one man
nearly lost his life trying to escape. Gays had put together a
huge protest demonstration within hours after the raid but had
no immediate plans beyond this. So Marty took matters into his
own hands. The next night, at a meeting of the Village Independent
Democrats (VID), an influential political club, Marty delivered
an impassioned attack on society's treatment of gays generally,
and demanded that the club assist gays in halting police harassment.
Result: a call for a moratorium on all such raids, directed at
Mayor Lindsay by the VID.
"I'd never heard a homosexual stand up and talk
that way to straight people before," said Tom Doerr at the
time. "It really took my breath away!" Marty and Tom
had just recently become lovers.
At GAA's first confrontation with Lindsay, Marty's
derring-do carried him beyond the group's formal plan for the
zap. The mayor was about to give a speech to celebrate the 100th
anniversary of the Metropolitan Museurn of Art. The first hundred members of the
public to get in the reception line were to be allowed to shake
the mayor's hand afterwards. Fifteen of that hundred were gays.
Suddenly Marty bolted from the reception line and
leaped up the steps of the museum to Lindsay's side at the portable
podium. "Mr. Mayor, I'm a member of Gay Activists Alliance
and I want to know when you intend to speak out on ____"
Marty learned the hard way not to use long introductory
phrases in a zap. Before he could add "___ fair employment
legislation for gays in New York City," he was hauled off
to the sidelines by police.
In the reception line afterwards, Marty and each
of the other gays in turn held on to the mayor's hand and asked
whether he would support a City Council bill for job protection
for gays. The mayor kept smiling and kept silent. Bodyguards intervened.
"It took three of them to separate one gay from the mayor's
hand," Marty recalls.
A similar "politician's response" was given
by Governor Rockefeller when he gave ~ speech in New York City
in September 1970. Marty and a dozen other GAA members shook the
governor's hand on the way out and asked what he would do to repeal
the state laws against sodomy and to probe syndicate control of
gay burs. Rockefeller played dumb and skirted the issues. A picture
of the zap in GAY for October 26 showed Marty almost nose-to-nose
with the governor, under the headline "Rockefeller Ignorant
of Sodomy; Says Gay Bars Not Mob Owned."
Mayor Lindsay was besieged several more times, once
in a most unlikely setting--opening night at the Metropolitan
Opera. It was a rare occasion, for Marty along with GAA cohorts
got suitably dressed to blend in with the crowd before sending
up chants of "End police harassment!" and "Gay
power!" But again Lindsay remained impassive as police escorted
the group out.
The zaps ultimately paid off. Many months after
a fair employment bill for gay people was launched in City Council,
the mayor finally broke his silence on gay issues and gave a nod
to the bill
"The fact that Lindsay responded to pressure
tactics from gays," says Marty, "is exciting and frightening.
It signals the political potential of our movement. Gays are now
wielding political power and eventually they will wield much more
power. And that's scary -- to be a part of bigtime power politics!"
But it's essential for the gay movement, in Marty's view. For
example, while he admires the late Dr. Martin Luther King, Marty
maintains that the black leader "depended too much on moral
righteousness and not enough on his political muscle.
"Our approach to government is really very grassroots
Americana yet very avant-garde. If we proselytize the fact that
the function of government is to enforce and secure the rights
of the people, and to serve the people, it brings out a whole
new attitude. It puts government in its place, and puts it to
work for us instead o£ against us."
He refers again to the job protection bill. "If
that legislation passes, it will mean the granting of minority-group
status to homosexuals in New York City which is hardly liberation,
but certainly a step forward. Gay people shouldn't be forced to
come out of the closet, but it should be made possible for them.
"The establishment isn't even aware it's having
a strong influence on gays, keeping them in the closet and preventing
them from organizing. Society has given us all a place as outcasts,
and demanded, under threats of reprisal, a uniform hiding, a public
self-denial unto death."
Though Marty himself was never in the closet, he
did have a brush with private self-denial. "At one time,
before I got into gay liberation, I was working on emotional problems
that I should have seen as political problems. For example, for
a while I thought it might be better to go straight, that life
would be easier. But an older gay told me that if I did that,
I would be giving up the essence of myself." Today Marty
views the lure of comfort in conformism as part of the oppression
of homosexuals.
That essence of himself, he became aware of rather
late. Marty was twenty when he "matured into homosexuality,"
as he puts it.
Born in Brooklyn on November 25, 1942, Marty Robinson
went to both public and private schools in the area. "I was
a lousy student. I never studied. I got two years' worth of credits
in three years at Brooklyn College, where I majored in biology.
I wanted to be a doctor because my father is a doctor. I'm a Jewish
soul."
He dated and had sex with women until he was twenty,
and with one young woman he had a relationship for over two years.
Then one day when he was walking down a street in Brooklyn, a
young man caught his eye. A casual pickup provided Marty with
his first homosexual experience. "It was sudden and it was
nice," he says. "And I just didn't care from the day
I became gay if anyone found out.
"My parents tried to bribe me off with a trip
to Europe if I'd give up being gay! But they have to change their
attitudes. The more realism, the more truth I've injected into
my relationship with my parents, the more I can approach them
as an adult and show them what I have to teach them as a homosexual.
I have to bring them up to an understanding of the movement."
How do they react to his working for gay liberation? "They'd
rather I be a doctor."
Marty took up carpentry while living with his first
lover. "We decided we didn't like office work. So we bought
a table saw and put an ad in The Village Voice that said,
'Expert carpenters and cabinetmakers. Custom work done.' We had
no experience at all. We just started doing the work and learning
as we went.
"When we broke up, I went to an agency and said
I had seven years' experience, and they sent me out on a job.
I'd run up to the third floor to see how the carpenters there
were doing things, then I'd run down and do my work on the second
floor! I kept doing this until I learned."
Does he actually wear a hard hat on the job? "Yes,
sometimes. A blue one." And do his co-workers know he's gay?
"If the subject comes up, I tell them I'm gay. I don't make
any pretense."
Marty was one of the members picked to represent
GAA on the Dick Cavett Show. (The producers had agreed to have
gay guests under threat of a zap for Cavett's anti-gay jokes.)
Appearing-in blue jeans and a GAA shirt, Marty told late night
viewers that what homosexuals want is "to be open in the
society, to live a life without fear of reprisal from anybody,
to live a life of respect."
"Good morning, celebrity!" his boss said
the next day. Marty recalls, "We all rapped at lunch and
exchanged ideas on organizing. They're very right-wing and thought
I should have worn a suit and tie."
As a controversial figure in the gay movement, he
is an inspiration to some and an irritant to others. "I'm
not always able to convey the warmth I feel," Marty says.
I have an aggressive way of dealing with people and
talking with people. I have great self-confidence and I come on
strong, stronger than I have to on occasion. But you have to understand
what it's like to be a tradesman. At work I can call someone a
motherfucker and give him an order. This kind of aggressiveness
has affected my career in the movement."
His natural aggressiveness has also been misread.
"Just a month or two before the Stonewall riots, I was ap-
proached by someone in the New Left to start a Pink Panthers,
to create a new butch image for male homosexuals. The whole idea
was a big turn-off to me. There's nothing worse than to try to
be a l950's butchl"
Shortly after he came out at twenty, Marty recalls,
he went through an "ultra-butch" phase, then swung to
the other extreme and tried "a little screaming and camping.
I thought this was what was expected, this was the way to be gay.
I got over that."
Though Marty wasn't willing to be a Pink Panther,
he was ready for gay liberation. He was present at the Stonewall
uprising and witnessed gay people for the first time retaliating
against police with both angry physical resistance and proud ingenuity.
`'It was beautiful!" he exclaims. "As the
TPF riot squad were coming down the street, about twenty-five
gays broke into a chorus line. It was defiant camping!" Marty
contends that in this instant, gays discovered their homosexuality
to be something precious, something worth fighting for.
"After the Stonewall, I lay awake in bed and
couldn't sleep for about six hours. I was thinking about the responsibility
of being in the movement and the importance of doing things that
are good for people." From this night on, he was firmly committed
to the movement. Still he had lots of room for another kind of
commitment. In fall 1969, Marty met his lover, Tom, through a
mutual friend. "Today I have a beautiful relationship with
a beautiful person. I fell in love fast. A couple of days after
I met him I found myself on my way to his apartment on Bleecker
Street, carrying champagne and flowers. I was hooked!"
Marty soon moved in with Tom, who's a talented graphics
artist. Together they manned GAA's mimeo machine in their apartment
and turned out dozens of colorful leaflets and fliers. "Dance
your ass off!" with a unisex ass drawn by Tom was one of
their sassier productions.
As assertive at the conference table as he is in
public zaps, Marty once laid it on the line to then Police Com-
-missioner Howard Leary in a meeting with several GAA representatives
in July 1970: "We're here about a social condition-- syndicate
control of gay bars and payoffs to police. The bars are run shabbily
and are a bad influence on young kids just coming out who patronize
these places, and who already don't know what to make of themselves
because of the way society receives them. Such gay bars shouldn't
be tolerated in these years. We can't live with it. We want to
see legitimate bars where there's no guy at the door with a cigar
in his face saying to kids, "Welcome to your life --this
is it, your subculture, your subterranean existence.'
"Commissioner, our desire now is what anyone
who's honest can get into business and stay in without a shakedown,
and can get police protection." Leary gave assurances this
would be the case, but shortly thereafter he resigned from office.
Things went on as usual until gays took matters into
their own hands and now New York has viable alterna- tives to
gay bars and "the guy at the door with the cigar in his face."
GAA and Daughters of Bilitis did it: DOB by renovating a loft
into its Lesbian Center, GAA by converting a former firehouse.
Both the Lesbian Center and the GAA Center (also called simply
the Firehouse) parallel gay-owned-and-run centers in other major
cities, including San Francisco, Minneapolis, Seattle, Los Angeles,
and Chicago.
Like other gay crusaders, Marty doesn't put down
the gay bar culture completely. He sees it as an interim step:
"Bars have been a primitive but important means for gays
to get together, to mass. But the fact is, almost all bars and
gathering places in New York and many other cities are under the
domination or outright ownership of the mob. This doesn't help
create a free society with cultural alternatives for gays, beyond
what the syndicate deems profitable. But now we are capable of
establishing a secure gay environment within the larger society.
Now at last we have the chance to step outside a life designed
for us by a tradition of oppression."
Marty put his skills to work for the GAA Center and
was at the heart of the renovating effort. "The first two
weeks were murder. Most days I worked twelve hours a day. I felt
like a gay caterer, getting the place ready for that first dance.
And it was a horrible feeling. I thought, this isn't what a revolution's
about! It takes more than a roof and music to produce a cultural
revolution. We're going to have to work to make this place more
relevant to the gay movement When we had that first dance, we
had one of the best gay bars in town. But we wanted a lot more
than that-"
Soon the "more" was available. Outside
The Firehouse every weekend were long lines of gays waiting for
space inside. While some came to dance on the main floor or to
relax in the coffee bar on the second, many headed for the top
floor to watch videotaped shows of gay movement activities. The
multiple facets of gay liberation were also brought together in
a 40-foot-long mural that Marty helped put up on the main floor
in July 1971. This "agitprop art," as he calls it, is
a photo collage of events and persons on the gay movement scene.
"If we had the bread to go into it," says
Marty, we'd be ready for Madison Square Garden. But for now we
have the center, and it's a dream. It's three scoops of ice cream,
heavy on the syrup, with lots of whipped cream--and all for thirty-five
cents. There's no place like it m town. It's honest. It's good.
And it's going to take one helluva fight with the syndicate to
keep it open. But we can win that fight!"
This kind of no-mission-impossible talk is Marty's
trademark. There are some missions, however, that he flatly refuses
to undertake. In his ideological orbit, "militant gays spend
no time arguing with traditional critics.
They know that a successful challenge to centuries
of oppression can only be accomplished with political power. Scorning
the debate some gays carry on with those traditional critics called
psychiatrists, Marty says that gay people look at their own lives
and they know that psychiatric allegations of sickness are lies.
"You don't talk to an absurdity!" he exclaims.
"Instead of relating to any crackpot who comes
along," he wants gays to deal with people who hold power.
"Instead of talking at a level which is insulting to us--are
all gays child molesters? we're talking about the oppression of
gays and putting the debate on the level at which it belongs is
that of civil rights." The shift of framework will, he maintains,
prove the most efficient way to change straight peoples negative
attitudes about homosexuality.
He will have no part of efforts to directly educate
straights. "Fuck trying to change attitudes! There's only
one way gays will get ahead, and that's with power. Only with
political power can we make a massive cultural change happen,
enabling gays to be openly gay. I want to walk hand in hand with
my lover through Main Street U.S.A. and have nobody bat an eye.
"Gay liberation has come as a great shock to many people.
Our coming out helps to remove old myths,
and will eventually bring those presently overcome by shock to
calm down and move on to more rational consideration "Someday
I hope our efforts will leave people with one less hate they can
easily rationalize"
Kay Tobin, author of this portrait-interview
describing Marty Robinson, is herself a legendary portrait-making
strategist who, at strategic moments was at the right place and
knew exactly what to do about it. Among many of her little-known
accomplishments, Kay Tobin was the first photographer to place
true-life lesbians' faces on the nation's first lesbian journal,
THE LADDER. Her
long-time, ever-constant companion is a woman she greatly treasures,
as all do who know that woman, Barbara Gittings, 1997's New York
City Gay Pride Co-Grand Marshal, an honor Barbara Gittings deserves,
and more. Barbara was the truly militant editor of THE
LADDER, responsible in the early Sixties
for its then-daring subtitle, "A Lesbian Review" She
is, in the mind of GayToday's editor, the Grand Mother of Modern
Gay and Lesbian Liberation.
Here's a secret about the book from which this essay
about Marty Robinson was excerpted, THE
GAY CRUSADERS.
Kay Tobin and "Gay Crusader" Randy Wicker (the first
openly gay man using his legal name--to go on radio and TV as
such) supposedly co-wrote this book, THE
GAY CRUSADERS, together. But no! Randy
did not co-write THE GAY CRUSADERS. The publishers
required, using commercial reasoning, the addition of a man's
name in the byline. Randy Wicker, as far as I know, has been the
only man ever to have appeared in a cover-ad for THE
LADDER itself, so Kay Tobin faced this
ultimatum, it seems, with Randy as a logical choice.
Kay Tobin wrote THE GAY CRUSADERS
alone, as Randy Wicker quickly admits. It was published in 1972
and is described on the cover as: "In depth interviews with
15 homosexuals--men and women who are shaping America's newest
sexual revolution." New York: PaperBack Library, 238 pp.
1972. also--in hardback-- reprinted in New York: Arno Press:
Series on Homosexuality: Lesbians and Gay Men in Society, History
and Literature in (1975). This book is, without doubt, a primary
text currently out of print.
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