to use queer coding to subtly introduce gay characters, roles or themes, without it being noticed by censors, such as with Gore Vidal adding in a gay relationship in Ben-Hur. The Motion Picture Production Code also led to the elimination of depictions of bisexuality in the film version of Truman Capote's novel Breakfast at Tiffany's. In the book, the male "artsy gigolo-writer" had "male and female clients", but in the movie, he is only shown with Holly Golightly. As well, the Code led to the elimination of a gay relationship in the film version of Tennessee Williams' play Cat on a Hot Tin Roof. In the play, Brick Pollit is depicted as being the lover of a family patriarch named Skipper. In the 1958 film version, the story arc of the gay relationship is replaced with a story of Skipper's frustration over his faded football career and a heterosexual sexless marriage. Historical accounts of lesbian suffragettes Eva Gore-Booth and Esther Roper in some cases straightwash their sexuality, with the historian Gifford Lewis denying they were lesbian or queer in his biographies of them. Some letters by the composer Pyotr Ilyich Tchaikovsky in which he expressed his homosexual feelings remained censored and unpublished until 2018. The New York Times published no more than two front-page articles per year that made any kind of references to gays from the end of World War II through until 1965. It did not improve much over the following 20 years either. It was rare that anything published was positive; most saw gays as security threats in the time of the Cold War. Gross (2001) pointed out gays' invisibility in this time period along with their concerns being publicly excluded. In 1981, the AIDS crisis also received little media attention, even with the death rate rising rapidly. The New York Times did not mention AIDS until years after the outbreak and finally made the front page in 1983. Edward Alwood (1996), James Kinsella (1989) and Randy Shilts (1987) all commented on The Times silence in relation to LGBT issues, especially the AIDS crisis. Coverage in the New York Times remained infrequent until the mid 1980s and then increased dramatically. This change in media is seen to be reflective of changes in society. Rock Hudson's death, Ronald Reagan's statements on AIDS in 1987, and President Bill Clinton's 1992 campaign proposal and the early 1993 congressional debate over