In Stonewall , historian Martin Duberman writes:
Craig Rodwell—like Leo Laurence in San Francisco—wanted militant activism to be the touchstone of New York's homophile movement. He was thoroughly fed up with Dick Leitsch's controlling influence over Mattachine, for if Leitsch had once been a militant, he was now, in Craig's view, interested solely in the advancement of Leitsch. He had become a mere politician, concerned more with protecting and inflating his own role as the broker between gays and the city administration than with empowering gays themselves, through confrontational action, to build a proud, assertive movement. Craig was also fed up with the gay bar scene in New York— with Mafia control over the only public space most gays could claim, with the contempt shown the gay clientele, with the speakeasy, clandestine atmosphere, the watered, overpriced drinks, the police payoffs and raids. His anger was compounded by tales he heard from his friend Dawn Hampton, a torch singer who, between engagements, worked the hatcheck at a Greenwich Village gay bar called the Stonewall Inn. Because Dawn was straight, the Mafia men who ran Stonewall talked freely in front of her—talked about their hatred for the ”faggot scumbags” who made their fortunes. Indeed, the Stonewall Inn, at 53 Christopher Street, epitomized for Craig everything that was wrong with the bar scene. When a hepatitis epidemic broke out among gay men early in 1969, Craig printed an angry article in his newsletter, New York Hymnal, blaming the epidemic on the unsterile drinking glasses at the Stonewall Inn. And he was probably right. Stonewall had no running water behind the bar; a returned glass was simply run through one of two stagnant vats of water kept underneath the bar, refilled, and then served to the next customer. By the end of an evening the water was murky and multicolored. Craig also thought Stonewall was a haven for ”chicken hawks” —adult males who coveted underage boys. Jim Fouratt shared that view. He characterized Stonewall as ”a real dive, an awful, sleazy place set up by the Mob for hustlers, chickens to be bought by older people.” But this was, at most, a partial view. One segment of Stonewall's varied clientele did consist of street queens who hustled; but even for that contingent Stonewall was primarily a social, not a business place. Some sixteen- and seventeen-year-olds did frequent Stonewall, and were admitted with the friendly complicity of somebody at the door (the drinking age was then eighteen)—but not for purposes of prostitution. As in any club, of course, the occasional cash transaction undoubtedly took place. Figuring prominently in Craig and Jim's scenario is the figure of Ed Murphy, one of the bouncer-doormen at the Stonewall Inn, whom they accuse of purveying drugs and young flesh there. The indictment, though overdrawn, has some substance. Murphy did deal drugs, did lech after teenagers, did make ”introductions” (for which he accepted ”tips”), and was involved in corruption, simultaneously taking payoffs from the Mafia and the New York Police Department. (That is, until the police badly beat him up one night, and he stopped informing for them.) Sascha L., who in 1969 briefly worked the door at Stonewall alongside Murphy, began by thinking of him as a father figure— posing as a cop, Murphy had once rescued Sascha from an angry John wanting more than Sascha had been willing to give—but finally decided that Murphy was a run-of-the-mill crook. Sascha was eyewitness one night to an underage boy named Tommy turning over to Murphy, in the Stonewall basement, a bag of wallets stolen during the evening. But Murphy and the Stonewall Inn had many defenders. Murphy had been employed in gay bars and after-hours places since 1946 and in the course of that long career had made—along with detractors and enemies—some staunch friends. (Indeed, in later years the Christopher Street Heritage of Pride Committee would canonize Murphy as an originating saint of the gay movement.) And as for the Stonewall Inn, it had, in the course of its two-and-a-half-year existence, become, the most popular gay bar in Greenwich Village. Many saw it as an oasis, a safe retreat from the harassment of everyday life, a place less susceptible to police raids than other gay bars and one that drew a magical mix of patrons ranging from tweedy East Siders to street queens. It was also the only gay male bar in New York where dancing was permitted. Sylvia Rivera was among the staunchest defenders of Stonewall, and of its omnipresent bouncer Ed Murphy. When down on their luck, which was often, Sylvia and her street-queen friends always knew they could turn to Murphy for a handout. Some of them called him Papa Murphy, and Sylvia's friend Ivan Valentin seems to have been his special favorite. ”To me,” Ivan says, ”Ed Murphy never did anything wrong.” Murphy had a soft spot in general for hispanics like Ivan, and also for blacks; indeed, later gay bar owners who employed Murphy would worry that he would ”turn the club black” and—since racism has always been alive and well in the gay world—frighten off the white clientele. But though Sylvia and her friends enjoyed going to Stonewall, their bars of choice were in fact Washington Square, on Broadway and Third Street and, to a lesser extent, the Gold Bug and the Tenth of Always (an after-after-hours place that catered to all possible variations of illicit life and stayed open so late it converted by nine a.m. into a regular working-class bar). The Washington Square was owned by the Joe Gallo family, which also controlled Tony Pastor's and the Purple Onion (whereas the Genovese family operated Stonewall, Tele-Star, the Tenth of Always, the Bon Soir on Eighth Street, and—run by Anna Genovese—the Eighty-Two Club in the East Village, which featured drag shows for an audience largely composed of straight tourists). Washington Square was Sylvia's special favorite. It opened at three in the morning and catered primarily (rather than incidentally, as was the case with Stonewall) to transvestites; the more upscale ones would arrive in limos with their wealthy Johns and spend the evening ostentatiously drinking champagne. But others, like Sylvia, went there for relaxing nightcaps and gossip after a hard evening of hustling on the streets. The Mob usually provided only a limited amount of money to Family members interested in opening a club; it thereafter became the individual's responsibility to turn a profit. That meant, among other things, not investing too heavily in liquor. When Washington Square first opened, the Mafia members who ran the place lost twelve cases of liquor and fifty cases of beer during the first police raid. Thereafter, only a few bottles were kept in the club and the rest of the liquor was stored in a nearby car; when the bartender was about to run out, someone would go around the corner to the parked car, put a few bottles under his arm, and return to the club. (Other bars had different strategies, such as keeping the liquor hidden behind a panel in the wall.) By thus preventing the police from confiscating large amounts of liquor during any one of their commonplace raids, it was possible—and also commonplace—to open up again for business the next day. The Stonewall Inn had, in its varied incarnations during the fifties, been a straight restaurant and a straight nightclub. In 1966 it was taken over by three Mafia figures who had grown up together on Mulberry Street in Little Italy: ”Mario” (the best-liked of the three), Zucchi, who also dealt in firecrackers, and ”Fat Tony” Lauria, who weighed in at 420 pounds. Together they put up $3,500 to reopen the Stonewall as a gay club; Fat Tony put up $2,000, which made him the controlling partner, but Mario served as Stonewall's manager and ran the place on a day-to-day basis. Tony Lauria was the best-connected of the three. He had gotten a B.A. at Xavier, had married and divorced, and lived at 136 Waverly Place, a Mob-owned apartment building. It was home to a host of related Mafia figures involved in assorted rackets: vending machines, carting companies, and sanitation. Tony's two uncles and his father also lived in the building; the latter (whose other son was a stockbroker) was high up in Mob circles and sat on the board of the Bank of Commerce on Delancey Street, a bank that laundered a fair share of Mafia money. Lauria Senior did not approve of his wayward son's penchant for hanging around street mobsters and getting involved in the ”fag bar” scene. Fat Tony lived from 1966 to 1971 with Chuck Shaheen, an openly gay man in his mid-twenties of Italian descent. The relationship was secretarial, not erotic. Shaheen acted as a man Friday, serving at different times as everything from a Stonewall bartender to the trusted go-between who ”picked up the banks”—the accumulated cash—at the bar several times a night and carried the money home to his boss. According to Shaheen, Tony developed a heavy methamphetamine habit, shooting the crystal several times a day into his veins. Under the drug's influence, Tony lost about two hundred pounds, stayed up all night at clubs (at Stonewall, his favorite hangout, he would embarrass his partners by insistently doing parlor tricks, like twirling cigarettes in the air), and began, for the first time in his life, to go to bed with men—though, to Shaheen's relief, not with him. Tony's father stopped speaking to him altogether and Shaheen had to carry messages between them. Increasingly shunned, Tony, so the rumor mill had it, was later killed by the Family. Tony and his partners, Mario and Zucchi, had opened Stonewall as a private ”bottle club.” That was a common ruse for getting around the lack of a liquor license; bottles would be labeled with fictitious names and the bar would then—contrary to a law forbidding bottle clubs from selling drinks—proceed to do a cash business just like any other bar. The three partners spent less than a thousand dollars in fixing up the club's interior. They settled for a third-rate sound system, hired a local electrician and his assistant to build a bar and raise the dance-floor stage, and got their jukebox and cigarette machines— had to get them—from the local don, Matty ”the Horse” Iannello. As the man w ho controlled the district in which Stonewall was located, Iannello was automatically entitled to a cut in the operation. Shaheen never once saw Iannello in Stonewall, nor did he ever meet him, but Matty the Horse got his percentage like clockwork. The Stonewall partners also had to pay off the notoriously corrupt Sixth Precinct. A patrolman would stop by Stonewall once a week to pick up the envelopes filled with cash—including those for the captains and desk sergeants, who never collected their payoffs in person. The total cash dispensed to the police each week came to about two thousand dollars. Despite the assorted payoffs, Stonewall turned a huge weekly profit for its owners. With rent at only three hundred dollars a month, and with the take (all in cash) typically running to five thousand dollars on a Friday night and sixty-five hundred on a Saturday, Stonewall quickly became a money machine. Some of the profit was made through side gigs for which Stonewall as a place was merely the occasion. In Shaheen's words, ”all kinds of mobsters used to come in. There were all kinds of deals going on. All kinds of hot merchandise. They would deal the stuff out of the trunks of cars parked in front of the bar. You could buy all kinds of things at Stonewall.” Shaheen recalls vividly the time a Cuban couple was swindled out of a clay plate with multicarat diamonds hidden under the glaze; they had taken the plate with them when fleeing Castro. Fat Tony had a ring made from one of the bigger (five-carat) stones and, when he later fell on hard times, had Shaheen negotiate its sale to Cartier. Some of the Mob members who worked gay clubs were themselves gay—and terrified of being found out. ”Big Bobby,” who was on the door at Tony Pastor's, a Mafia-run place at Sixth Avenue and MacDougal Street, almost blew his cover when he became indiscreet about his passion for a Chinese drag queen named Tony Lee (who, though going lamentably to fat, was famed for her ballerina act). The Stonewall Inn seems to have had more than the usual number of gay mobsters. ”Petey,” who hung out at Stonewall as a kind of free-lance, circulating bouncer, had a thick Italian street accent, acted ”dumb,” and favored black shirts and ties; he was the very picture of a Mafia mobster—except for his habit of falling for patrons and coworkers. He took a shine to Sascha L., but they would have sex only when Petey was drunk, and no mention could be made of it afterward. Some of the other mobsters would take Sascha aside and question him—Sascha was openly gay—about whether Petey ”didn't seem a little funny.” Sascha would dutifully answer no, and as a reward—and perhaps, too, because his presence made Petey nervous—Petey got Sascha a better-paying job at Washington Square. Petey turned his attentions to a drag queen named Desiree, apparently figuring that if he were caught, getting a blow job from a drag queen would be far more forgivable than giving a blow job to a stocky male doorman. Besides, Desiree was Italian. A beautiful boy with shoulder-length hair and huge amber eyes, she had a figure so stunningly ”feminine” that she passed as a woman—as a gorgeous woman—in broad daylight. But even the beautiful Desiree was outclassed by blond Harlow. (Petey had developed a huge lech for Harlow, too, but he couldn't get near her.) Harlow rarely came to Stonewall, preferring a tonier, straight uptown scene, but when she did, her chic black dresses and real jewelry set the standard for aspiring queens on the Washington Square-Stonewall circuit. Harlow never had the luck to catch Andy Warhol's eye, and so never achieved the widespread notoriety of Holly Woodlawn, Jackie Curtis, and Candy Darling, who made it into Warhol's movies and were thereby elevated into mainstream New York stardom. But Harlow—at least according to drag-queen mythology—later achieved her own kind of stardom, purportedly marrying a congressman, getting a sex-change operation at his expense, and buying (again courtesy of the congressman) a club in Philadelphia. As for Desiree, she and Petey eventually ran off together to live outside of New York as a heterosexual couple. But—again according to the rumor mill—theirs was not a storybook ending: Petey subsequently turned ”bad” and, in a fit of jealousy, shot and killed Desiree. Most of the employees at Stonewall, and some of the customers, did drugs, primarily ”uppers.” Desbutal—a mix of Desoxyn and Nembutal—was a great favorite (though later banned by the FDA), and the bar was also known as a good place to buy acid. The chief supplier was Maggie Jiggs, a famous queen who worked the main bar at Stonewall, along with her partner. Tommy Long. (Tommy kept a toy duck on the bar that quacked whenever someone left a tip.) They were a well-known team with a big following. Maggie, blonde, chubby, and loud, knew everybody's business and would think nothing of yelling out in the middle of the crowded bar, ”Hey, girl, I hear you got a whole new plate of false teeth from that fabulous dentist you been fucking!” But Maggie loved people, had good drugs, was always surrounded by gorgeous men, and arranged wonderful threeways, so her outspokenness, and even her occasional thievery, were usually forgiven. Maggie and Tommy were stationed behind the main bar, one of two bars in the Stonewall. But before you could get to it, you had to pass muster at the door (a ritual some of the customers welcomed as a relief from the lax security that characterized most gay bars). That usually meant inspection, through a peephole in the heavy front door by Ed Murphy, ”Bobby Shades,” or muscular Frank Esselourne. ”Blond Frankie,” as he was known, was gay, but in those years not advertising it, and was famous for being able to spot straights or undercover cops with a single glance. If you got the okay at the door—and for underage street kids that was always problematic—you moved a few steps to a table, usually covered by members of what one wag called the Junior Achievement Mafia team. That could mean, on different nights, Zucchi; Mario; Ernie Sgroi, who always wore a suit and tie and whose father had started the famed Bon Soir on Eighth Street; ”Vito,” who was on salary directly from Fat Tony, was hugely proud of his personal collection of S.S. uniforms and Nazi flags, and made bombs on the side; or ”Tony the Sniff” Verra, who had a legendary nose for no-goods and kept a baseball bat behind the door to deal with them. At the table, you had to plunk down three dollars (one dollar on weekdays), for which you got two tickets that could be exchanged for two watered-down drinks. (According to Chuck Shaheen, all drinks were watered, even those carrying the fanciest labels.) You then signed your name in a book kept to prove, should the question arise in court, that Stonewall was indeed a private ”bottle club.” People rarely signed their real names. ”Judy Garland,” ”Donald Duck,” and ”Elizabeth Taylor” were the popular favorites. Once inside Stonewall, you took a step down and straight in front of you was the main bar where Maggie held court. Behind the bar some pulsating gel lights went on and off—later exaggeratedly claimed by some to be the precursor of the innovative light shows at the Sanctuary and other gay discos that followed. On weekends, a scantily clad go-go boy with a pin spot on him danced in a gilded cage on top of the bar. Straight ahead, beyond the bar, was a spacious dancing area, at one point in the bar's history lit only with black lights. That in itself became a subject for camp, because the queens, with Murine in their eyes, all looked as if they had white streaks running down their faces. Should the police (known as Lily Law, Alice Blue Gown—Alice for short—or Betty Badge) or a suspected plainclothesman unexpectedly arrive, white bulbs instantly came on in the dance area, signaling everyone to stop dancing or touching. The queens rarely hung out at the main bar. There was another, smaller room off to one side, with a stone wishing well in the middle, its own jukebox and service bar, and booths. That became headquarters for the more flamboyant contingent in Stonewall's melting pot of customers. There were the ”scare drag queens” like Tommy Lanigan-Schmidt, Birdie Rivera, and Martin Boyce—”boys who looked like girls but who you knew were boys.” And there were the ”flame” (not drag) queens who wore eye makeup and teased hair, but essentially dressed in male clothes—if an effeminate version with fluffy sweaters and Tom Jones shirts. Only a few favored full-time transvestites, like Tiffany, Spanola Jerry, a hairdresser from Sheepshead Bay, and Tammy Novak, who performed at the Eighty-Two Club, were allowed to enter Stonewall in drag (Tammy sometimes transgressed by dressing as a boy). Not even ”Tish” (Joe Tish) would be admitted, though he had been a well-known drag performer since the early fifties, when he had worked at the Moroccan Village on Eighth Street, and though in the late sixties he had a long-running show at the Crazy Horse, a nearby cafe on Bleecker Street. Tish was admitted into some uptown straight clubs in full drag; there, as he sniffily put it, his ”artistry” was recognized. Some of the younger queens were homeless and more or less camped out in the small park directly opposite the Stonewall bar. Bob Kohler, a gay man in his early forties who lived nearby, became something of a protector. (Kohler would later be prominent in the Gay Liberation Front, but had long since developed empathy for outsiders: In the early sixties, his talent agency on West Fifty-seventh Street represented a number of black artists no one else would take on.) Kohler would give the young queens clothing and change, or sometimes pay for a room in a local fleabag hotel; and when out walking his dog, he would often sit on a park bench with them and listen to their troubles and dreams. He was able to hear their pain even as he chuckled at their antics. Once, when he went down to bail out Sylvia Rivera's good friend, Marsha P. Johnson, he heard Judge Bruce Wright ask Marsha what the ”P” was for. ”Pay it no mind,” Marsha snapped back; Judge Wright broke up laughing and told Kohler to “get her out of here.” Yet for all their wit and style, Kohler never glamorized street queens as heroic deviants pushing against rigid gender categories, self-conscious pioneers of a boundary-free existence. He knew too much about the misery of their lives. He knew a drugged-out queen who fell asleep on a rooftop and lay in the sun so long that she ended up near death with a third-degree burn. He knew ”cross-eyed Cynthia,” killed when she was pushed out of a window of the St. George Hotel in Brooklyn—and another ”Sylvia,” who jumped off its roof. He knew Dusty, ”ugly as sin, never out of drag, very funny, big mouth,” who made the mistake of calling the wrong person ”nigger” and was stabbed to death. And he knew several queens who had themselves stabbed a recalcitrant customer—or a competitive sister. The queens considered Stonewall and Washington Square the most congenial downtown bars. If they passed muster at the Stonewall door, they could buy or cajole drinks, exchange cosmetics and the favored Tabu or Ambush perfume, admire or deplore somebody's latest Kanecalon wig, make fun of six-foot transsexual Lynn's size-12 women's shoes (while admiring her fishnet stockings and miniskirts and giggling over her tales of servicing the firemen around the corner at their Tenth Street station), move constantly in and out of the ladies room (where they deplored the fact that a single red light bulb made the application of makeup difficult), and dance in a feverish sweat till closing time at four a.m. The jukebox on the dance floor played a variety of songs, even an occasional ”Smoke Gets in Your Eyes” to appease the romantics. The Motown label was still top of the heap in the summer of 1969; three of the five hit singles for the week of June 28—by Marvin Gaye, Junior Walker, and the Temptations—carried its imprint. On the pop side, the Stonewall jukebox played the love theme from the movie version of Romeo and Juliet over and over, the record's saccharine periodically cut by the Beatles' ”Get Back” or Elvis Presley's ”In the Ghetto.” And all the new dances—the Boston Jerk, the Monkey, the Spider—were tried out with relish. If the crowd was in a particularly campy mood (and the management was feeling loose enough), ten or fifteen dancers would line up to learn the latest ritual steps, beginning with a shouted “Hit it, girls!” The chino-and-penny-loafer crowd pretty much stayed near the main bar, fraternizing with the queens mostly on the dance floor, if at all. (”Two queens can't bump pussy,” one of them explained. ”And I don't care how beefy and brawny the pussy is. And certainly not for a relationship.”) The age range at Stonewall was mostly late teens to early thirties; the over-thirty-five crowd hung out at Julius', and the leather crowd (then in its infancy) at Keller's. There could also be seen at Stonewall just a sprinkling of the new kind of gay man beginning to emerge: the hippie, long-haired, bell-bottomed, laid-back, and likely to have ”weird,” radical views. Very few women ever appeared in Stonewall. Sascha L. flatly declares that he can't remember any, except for the occasional ”fag hag” (like Blond Frankie's straight friend Lucille, who lived with the doorman at One-Two-Three and hung out at Stonewall), or ”one or two dykes who looked almost like boys.” But Chuck Shaheen, who spent much more time at Stonewall, remembers—while acknowledging that the bar was ”98 percent male”—a few more lesbian customers than Sascha does, and, of those, a number who were decidedly femme. One of the lesbians who did go to Stonewall ”a few times,” tagging along with some of her gay male friends, recalls that she ”felt like a visitor.” It wasn't as if the male patrons went out of their way to make her feel uncomfortable, but rather that the territory was theirs, not hers: ”There didn't seem to be hostility, but there didn't seem to be camaraderie.” * * * The Stonewall management had always been tipped off by the police before a raid took place—this happened, on average, once a month—and the raid itself was usually staged early enough in the evening to produce minimal commotion and allow for a quick reopening. Indeed, sometimes the ”raid” consisted of little more than the police striding arrogantly through the bar and then leaving, with no arrests made. Given the size of the weekly payoff, the police had an understandable stake in keeping the golden calf alive. But this raid was different. It was carried out by eight detectives from the First Division (only one of them in uniform), and the Sixth Precinct had been asked to participate only at the last possible second. Moreover, the raid had occurred at one-twenty a.m.—the height of the merriment—and with no advance warning to the Stonewall management. (Chuck Shaheen recalls some vague tip-off that a raid might happen, but since the early-evening hours had passed without incident, the management had dismissed the tip as inaccurate.)” * * * But evidence has surfaced to suggest that the machinations of the Sixth Precinct were in fact incidental to the raid. Ryder Fitzgerald, a sometime carpenter who had helped remodel the Stonewall interior and whose friends Willis and Elf (a straight hippie couple) lived rent-free in the apartment above the Stonewall in exchange for performing caretaker chores, was privy the day after the raid to a revealing conversation. Ernie, one of Stonewall’s Mafia team, stormed around Willis and Elf's apartment, cursing out (in Ryder's presence) the Sixth Precinct for having failed to provide warning in time. And in the course of his tirade, Ernie revealed that the raid had been inspired by federal agents. The Bureau of Alcohol, Tobacco and Firearms (BATE) had apparently discovered that the liquor bottles used at Stonewall had no federal stamps on them—which meant they had been hijacked or bootlegged straight out of the distillery. Putting Stonewall under surveillance, BATE had then discovered the bar's corrupt alliance with the Sixth Precinct. Thus when the feds decided to launch a raid on Stonewall, they deliberately kept the local police in the dark until the unavoidable last minute. When the raid, contrary to expectations, did get going, the previous systems put in place by the Mafia owners stood them in good stead. The strong front door bought needed time until the white lights had a chance to do their warning work: Patrons instantly stopped dancing and touching; and the bartenders quickly took the money from the cigar boxes that served as cash registers, jumped from behind the bar, and mingled inconspicuously with the customers. Maggie Jiggs, already known for her ”two for the bar, one for myself” approach to cash, disappeared into the crowd with a cigar box full of money; when a cop asked to see the contents, Maggie said it contained her tips as a ”cigarette girl,” and they let her go. When questioned by her employers later, Maggie claimed that the cop had taken the box and the money. She got away with the lie. The standard Mafia policy of putting gay employees on the door so they could take the heat while everyone else got their act together, also paid off for the owners. Eddie Murphy managed to get out (”Of course,” his detractors add, ”he was on the police payroll”), but Blond Frankie was arrested. There was already a warrant outstanding for Frankie's arrest (purportedly for homicide; he was known for ”acting first and not bothering to think even later”). Realizing that this was no ordinary raid, that this time an arrest might not merely mean detention for a few hours at Centre Street, followed by a quick release, Frankie was determined not to be taken in. Owners Zucchi and Mario, through a back door connected to the office, were soon safely out on the street in front of the Stonewall. So, too, were almost all of the bar's customers, released after their IDs had been checked and their attire deemed ”appropriate” to their gender—a process accompanied, as in Sylvia's case, by derisive, ugly police banter.” As for ”Fat Tony,” at the time the raid took place he had still not left his apartment on Waverly Place, a few blocks from the Stonewall. Under the spell of methamphetamine, he had already spent three hours combing and recombing his beard and agitatedly changing from one outfit to another, acting for all the world like one of those ”demented queens” he vilified. He and Chuck Shaheen could see the commotion from their apartment window but only after an emergency call from Zucchi could Tony be persuaded to leave the apartment for the bar. * * * As for ”Fat Tony” Lauria, he was quick to see the handwriting on the wall. He and his partners, Mario and Zucchi, decided that with the pending investigation of corruption within the police department by a special commission, and with Stonewall now notorious, the bar could never again operate profitably. Fat Tony soon sold the Stonewall lease to Nicky de Martino, the owner of the Tenth of Always, and had the satisfaction of watching him fail quickly—even though, with the help of Ed Murphy, de Martino got some street queens to parade around in front of Stonewall with balloons for a week or two.
A biographical summary of Carlo Gambino states:
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