Francois-Timoléon de Choisy - cross-dreamer or out transvestist?

Part 1: Life, and the 1695 short-story

Part 2: discussion and bibliography

Was de Choisy more trans than a cross-dreamer?

Joan DeJean in her introduction to the 2004 edition of The story of the Marquise-Marquis de Banneville:

“Modern biographers and critics generally assume that Choisy's memoirs may be taken at face value. His tendency to hyperbole and self-aggrandizement makes me more than a bit skeptical with regard to the reliability of the memoirs.”

Paul Scott is the major advocate that de Choisy’s memoirs are mainly fiction. 

“I argue that these memoirs, from the time of their discovery, have been taken at face value and wrongly treated as autobiographical. It is my contention that, when they are examined with a degree of critical scrutiny, the inescapable conclusion is that they represent nothing other than an elaborate and sustained fantasy on their creator’s part. The primary problem in attempting to verify the accuracy of Choisy’s account is the absence of supporting evidence. This has been noted by some, if by no means the majority, of the scholars working on Choisy. It should be emphasized that this lack of substantiation is absolute and comprehensive, for there is not a single reference, allusion, or description, no matter how cursory, to Choisy’s cross-dressing escapades by any of his contemporaries.” [p15] 

… “The memoirs are filled with accounts of events that surpass any reasonable degree of plausibility. The level of social and, in particular, clerical acquiescence that the cross-dressed Choisy receives beggars belief. It is not only the parish priest, the curate, and M. Garnier, his confessor, who tolerate his unusual flamboyance, but also the cardinal archbishop of Paris. He becomes the principal collection-taker during Sunday offices at Saint-Médard and does not tone down his extravagant dress: ‘je m’y préparai comme à la fête qui devait me montrer en spectacle’ (‘I prepared myself for it as for the party that was to show me off’ p. 439). There is no question that parishioners do not realize that this lady is not all she seems, for Choisy boasts that ‘il est certain qu’il vint beaucoup de gens d’autres paroisses, sachant que j’y devais quêter’ ( ‘it is certain that many people from other parishes will come, knowing that I had to collect there’ p. 440). The pinnacle occurs with a mock marriage between Choisy, dressed as a bride, and her fourteen-year-old bridegroom, Charlotte, dressed in male garb, which is witnessed by a crowd comprising clergy, parishioners, and the girl’s family members (p. 448). The simulated nuptials are an extremely dubious occurrence in a period when marriages, and indeed all the other sacraments, were prohibited from being enacted on stage for fear of profanation,” [18-19]

… “In the fourth part, for example, Choisy goes to great lengths to explain his acquisition of a recently built chateau close to the city of Bourges, noting that the exact purchase price is 28,000 livres. The estate, called Crespon, belongs to a trésorier, M. Gaillot, and Choisy’s agent is named M. Acarel, to whom Choisy grants a procuration générale authorizing him to conclude the affair (pp. 479–80). Despite this detailed account, not one of these references can be verified or documented. There is not, and has never been, an estate called Crespon in the locality of Bourges, and no official named Gaillot working in local government. One critic has attempted to argue that Crespon might be identified with the chateau and estate of Vouzay, but this assumption can easily be refuted by the fact that it never changed hands during the seventeenth century. Choisy commissions a joint portrait of himself, dressed as Mme de Sancy, and his lover, Charlotte, vested as a boy, by a M. de Troyes, with sittings lasting for a month (p. 446). This is likely to be the society artist François de Troy (1645–1730), yet this painter did not begin to specialize in portraits until 1675, a full decade after he is supposed to have captured the cross-dressed pair. [p19-20]

By the late 17^th century literacy rates in France, using the very simple measure of being able to sign one’s own name, was 29% for man and 14% for women. This was lower in rural areas, and higher in Paris -- 74 percent of men and 64 percent of women in Montmartre could sign their names, and on some streets literacy rates reached 93 percent. Literacy was of course higher among the rich and titled – the top 1% - many of whom went to prestigious schools and universities. Many who attended the Royal court in Paris and Versailles, and their servants, kept diaries and wrote letters to each other – often containing gossip. Historians specialising in this group read theses diaries and letters – many have actually survived. What is not found in these documents are accounts of de Choisy en femme. This alone is sufficient to reject de Choisy’s posthumous memoirs as such and to categorise them as fiction, or cross-dreaming.

Scott’s examples of anachronisms and of details that simply do not check out further the argument.

Works by de Choisy:

• Quatre dialogues. I. Sur l'immortalité de l'âme. II. Sur l'existence de Dieu. III. Sur la providence. IV. Sur la religion (with Louis de Courcillon de Dangeau, also an Abbé), Paris, Sébastien Mabre-Cramoisy, 1684.
• Interprétation des Psaumes avec la Vie de David, Paris, Sébastien Mabre-Cramoisy, 1687 (reprinted 1690 and 1692)
• Journal du voyage de Siam fait en 1685 et 1686, Paris, Sébastien Mabre-Cramoisy, 1687 ; 1688 ; 1740; Éditions Duchartre et Van Buggenhoudt, 1930 ; critical edition by Dirk Van der Cruysse, 1995; reedited Orchid Press, 1999.
• Recueil de plusieurs pièces d'éloquence et de poësie présentées à l'Académie française pour les prix de 1687, donnez le jour de S. Louis de la mesme année, avec les discours prononcez le mesme jour (par MM. l'abbé de Choisy et de Bergeret) à la réception de M. l'abbé de Choisy en la place de M. le duc de Saint-Aignan, Paris, Pierre Le Petit, 1687
• La Vie de Salomon, Paris, Claude Barbin, 1687.
• Les Pensées chrétiennes sur divers sujets de piété, Paris, Claude Barbin, 1688.
• Histoire de France sous les règnes de Saint Louis… de Charles V et Charles VI, 1688-1695.
• Histoire de Philippe de Valois et du roi Jean, Paris, Claude Barbin, 1688.
• La Vie de Saint Louis, Paris, Claude Barbin, 1689.
• Histoire de Charles cinquième, roi de France, Paris, Antoine Dezallier, 1689.
• Histoire de Charles VI, roi de France, Paris, Jean-Baptiste Coignard, 1695.
• De l'imitation de Jésus-Christ, Paris, Antoine Dezallier, 1692.
• La Vie de Madame de Miramion, Paris, Antoine Dezallier, 1706
• Histoires de piété et de morale, par M. L. D. C., Paris, Jacques Étienne, 1710.
• Les plus beaux événements de l'histoire sacrée et de l'histoire prophanes rapportés à la morale par M. l'abbé de Choisy, Paris, Jacques Étienne, 1711.
• La Nouvelle Astrée, Paris, Nicolas Pépie, 1712. An adaptation of the novel byHonoré d'Urfé. 
• Histoire de l’Église, Paris, Jean-Baptiste Coignard, Antoine Dezallier & Christophe David, 1703-1723, 11 vol.
• Mémoires pour servir à l'histoire de Louis XIV, par feu M. l'abbé de Choisy, edited with a preface by François-Denis Camusat, Utrecht, Van de Water; Amsterdam, Jean-Frédéric Bernard et N. Étienne Lucas, 1727 ; new edition with notes by Georges Mongrédien, Mercure de France, 1966, 1983, 412 p.
• Mémoires de Madame la comtesse des Barres, à madame la marquise de Lambert, Bruxelles, François Poppens, 1736 ; reedited under the title : Aventures de l’abbé de Choisy habillé en femme en 1862 ; reedited under the title : Aventures de l’abbé de Choisy déguisé en femme en 1923 ; again reedited and retitled : Mémoires de l’abbé de Choisy habillé en femme, comme suite des Mémoires pour servir à l'histoire de Louis XIV, Mercure de France, coll. « Le Temps retrouvé » n^o 7, 1966).

La marquise-marquis de Banneville,

• Anon. Histoire de la marquise-marquis de Banneville, nouvelle parue dans le Mercure galant, Feb 1695.
• Anon. Histoire de la marquise-marquis de Banneville, nouvelle parue dans le Mercure galant, Aug 1696. – extended version.
• Paul Bonnefon, “Les dernieres annees de Charles Perrault,” Revue d’histoire litteraire de la France, Oct.-Dec. 1906 : 606-75.
• Jeanne Roche-Mazon, ‘“Une Collaboration inattendue au XVIL siecle: L’Abbé de Choisy et Charles Perrault’. Mercure de France, Feb 1928: 513-42.
• Paul Delarue. “Les Contes merveilleux de Perrault: Faits et rapprochements nouveaux." Arts et traditions populaires 1.1, 1954: 1-22; 1.3, 1954: 251-74.
• Marc Soriano. « Une Enquête difficile » Les Contes de Perrault. Paris: Gallimard, 1968 : 55-71.
• François-Timoléon de Choisy, Charles Perrault, Mémoires de l'abbé de Choisy habillé en femme. Suivi de Histoire de la marquise-marquis de Banneville, Éditions Ombres, 1995.
• Deborah J Hahn. “The (Wo)Man in the Iron Mask: Cross-dressing, Writing and Sexuality in L'Histoire de la Marquise-Marquis de Banneville”. Paroles Gelees, 15, 1, 1997.
• Daniel Maher. « Monsieur ma femme? Le travestissement au XVIIè siècle » in Elzbieta Grodek (ed), Écriture de la ruse, Faux Titrenumber 2000.
• Francois Timoléon de Choisy, Marie-Jeanne L’Heritier & Charles Parrault, translated by Steven Rendall, introduction by Joan DeJean. The story of the Marquise-Marquis de Banneville. Modern Language Association of America, 2004.
• Caroline Jumel. Review of the 2004 The story of the Marquise-Marquis de Banneville. Marvels & Tales: Journal of Fairy-Tale Studies, 21,2, 2007.

Works by others who accept the Memoirs at face value:

• Abbe d'Olivet. La Vie de M. de Choisy de l’Academic Française. Lausanne: Bousquet, 1742.
• Oscar Paul Gilbert (translated from the French by Robert B. Douglas). Men in Women's Guise: Some Historical Instances of Female Impersonation. John Lane,1926: chp I-IV. The standard account.
• C J Bulliet. Venus Castina : Famous Female Impersonators Celestial and Human. Bonanza Books, 1928: 186-195.
• Pierre Vachet. “Histoire de l’Abbé de Choisy”. La Psychologie de Vice : Les Travestis. Editions Bernard Grasset, 1934 : 95-132.
• J.S. Thompson. The Mysteries of Sex: Women Who Posed as Men and Men Who Impersonated Women. Hutchinson, 1938. Causeway Books, 1974. Dorset Press, 1993: chp XX. Another standard account.
• Hector Uribe Troncoso. “De Choisy … Prince of Tranvestites”. Sexology: Sex Science Magazine, August 1953: 19-24.
• Edward Podolsky & Carlson Wade. Tranvestism Today: The Phenomena of Men Who Dress as Women. Epic Publishing, 1960: 36-44.
• Jacque Lacan, ‘L’Objet de la psychanalyse’. Online: 259-260.
• 
  The Abbé de Choisy, translated by R H F Scott. The Transvestite Memoirs. Peter Owen, 1973.
• Dirk van der Cruysse. L’Abbé de Choisy: androgyne at mandarin. Fayard, 1995.
  
• Nancy Arenberg. “Mirrors, Cross-dressing and Narcissism in Choisy’s Histoire de Madame la Comtesse des Barres”. Arenberg Cahiers, 17,2,2005.
• Pierrick Brient, ‘La Perversion normale de l’abbe´ de Choisy’, La Clinique lacanienne, 11 (2006), 195–202.
• Hervé Castanet. Tricheur de sexe: L'abbé de Choisy : une passion du travesti au Grand Siècle. Max Milo, 2010.

Works critical of the memoirs:

• Paul Scott. “Authenticity And Textual Transvestism in The Memoirs of The Abbe De Choisy”. French Studies, 69,1, 2014. 
• “Professor Casts Doubt on One of History’s Greatest Cross-Dressing Memoirs”. The University of Kansas, 02/20/2015.

Other:

• Catherine Ornstein. Little Red Riding Hood uncloaked : sex, morality, and the evolution of a fairy tale. Perseus, 2002: 198-200.

EN.Wikipedia          FR.Wikipedia.

Francois-Timoléon de Choisy (1644 - 1724), Part 1: Abbé, diplomat, author, cross-dreamer

Part 1: Life, and the 1695 short-story

Part 2: discussion and bibliography

François-Timoléon was born in August 1644, a week after the Battle of Freiburg which eventually led to the end of the Thirty Years’ War between Europe’s Catholics and Protestants.

François-Timoléon was a grandson of Jean de Choisy Jr. (1562 - 1652), receiver general of finances of Caen. He was the fourth and last son of Jean III from Choisy, lord of Balleroy (1598 -1660), a State Councillor, intendant of Languedoc, chancellor of Gaston d'Orléans, and Jeanne-Olympe Hurault de L'Hospital (1604-1669), a granddaughter of Michel de L'Hospital and an intimate of the Queen of Poland Marie de Gonzague. From the ages of 18 to 22, he studied philosophy and theology at the Sorbonne, and in 1663 became an abbé de cour (a low rank tonsured cleric, not usually connected to an abbey or a religious order, but with a sinecure). His mother’s death in 1669 left him an inheritance which he frittered away in Venice.

He returned impoverished, and lived off his sinecure. In 1676 he visited Rome as a part of the retinue of Emmanuel-Théodose de La Tour d'Auvergne, Cardinal de Bouillon (1643-1715), and was part of the Conclave that elected Pope Innocent XI. After serious illness in August 1683, de Choisy retired for a year to the seminary of Paris Foreign Missions Society, and co-wrote Quatre dialogues. I. Sur l'immortalité de l'âme, II. Sur l'existence de Dieu. III. Sur la providence. IV. Sur la religion. After that, in 1685, he accompanied the Chevalier de Chaumont on a year-long diplomatic mission to the Kingdom of Siam. It was there that he was finally ordained by Louis Laneau, bishop of Métellopolis, envoy of the Paris Foreign Missions Society and Vicar Apostolic of Siam. 

On return to France in June 1686, de Choisy wrote Interprétation des Psaumes avec la Vie de David, and in 1687 was admitted to the Académie Française on 24 July 1687. In 1689 he received the benefit of the priory of Saint-Benoît-du-Sault. From then until his death in 1724, de Choisy wrote a series of hagiographies on French monarchs, histories of France and tracts on Catholic devotions. 

In February 1695 an anonymous short story, a cross-dressing fantasy, Histoire de la marquise-marquis de Banneville, was published in Le Mercure galant, and then an extended version of the same story was published in in the same magazine in August of the next year.

De Choisy was given the deanery of the chapter Bayeux Cathedral, in April 1697.

He died aged 80 in October 1724.

His nephew and executor, the marquis d’Argenson, following his death, found among his papers an apparent autobiography. The manuscript was carefully written (unlike the majority of his other texts, which had been subject to additions and corrections). The document related that, when young, de Croisy had lived as a woman for at least two years in Paris, Bordeaux, and Bourges using three different personas, which he used to seduce young women and even dress them as boys. One result was the fathering a daughter - he paid for the upbringing and education of this child, later arranging a happy match for her. This account was first published as Mémoires de Madame la comtesse des Barres, 1736,

Who wrote La marquise-marquis de Banneville?

Summary of the story :

A young man raised as a woman and a young woman raised as a man. They meet and fall in love, unaware of each other's sex. They marry. On their wedding night, each lover reveals their secret, to their mutual surprise and relief. They decide to keep living in their chosen genders, move to the countryside, and conceive a child, ultimately achieving an unconventional happy ending.

There is obviously a similarity to the Mémoires de Madame la comtesse des Barres, first published 1736.

Three candidates have been proposed as the author of La marquise-marquis de Banneville, either alone or working together:

• Charles Perrault, a major advisor and bureaucrat at the court of Louis XIV who supervised the building of the Louvre and Versailles and wrote fawning biographies of prominent French men. Posterity remembers him for the fairy tales he wrote later in life, Les Contes de ma Mère l'Oye (Tales of Mother Goose) which includes "Little Red Riding Hood", "Cinderella", "Sleeping Beauty", and "Bluebeard".
• Perrault’s niece Marie-Jeanne L'Héritier, who also wrote fairy tales under her own name, and collaborated with her uncle. In her story, Marmoisan, a young woman takes her dead twin brother’s clothing, passes as a man, and becomes a courtier, a soldier, and a lover.
• Francois-Timoléon de Choisy whom Perrault knew in that both were members of theAcadémie Française … and as France’s most famous transvestite??

Scholars disagree about who wrote it:

• Paul Bonnefon, 1906, proposed L'Héritier alone.
• Jeanne Roche-Mazon, 1928, proposed Perrault and de Choisy together,
• Paul Delarue, 1954, proposed Perrault and L'Héritier together.
• Joan DeJean, 2004, proposed all three authors.

As Joan DeJean tells us (p x-xi):

“In February 1695, Jean Donneau de Vise, the editor of Le Mercure galant, an early French newspaper and the richest source of information on the doings of the French court and the lifestyles of its rich and famous, called his female readers' attention to the short story of the month, an early version of Marquise-Marquis. It was, he said, written by “someone of [their] sex" and displayed “charm" and “intelligence," as well as all the “delicate wit" that, he argued, “only women possess" (12-13). This was not at all an unusual thing for Donneau de Vise to say: he stands out among early journalists for his consistent desire to advertise women's accomplishments — Le Mercure galant published many women writers and promoted women's writing—and to cover news of particular interest to female readers. The paper gave so much space to every aspect of la mode, for example, that it can be thought of as the beginning of the fashion press. The story that followed Donneau de Vise's introduction opens with a prologue in which its author identifies her-self as a woman and addresses her self to readers of“[her] sex, assuring them that they can always be sure when a work is written by a woman and listing all the ways in which her style is typical of women's writing in general.

Fast forward to August 1696. In that issue of Le Mercure galant, Donneau de Vise included a far more extensive version of Marquise-Marquis. He claimed that its author, identified once again as a woman, “had forgotten" to include certain parts the first time around (171). In the meantime, in February 1696, Donneau de Vise had published another story, “Sleeping Beauty" (“La Belle au bois dormant"), which he introduced in this way: 

“We owe this work to the same person who wrote the story of the little marquise"

—in other words. The Story of the Marquise-Marquis de Banneville (74). Here is where the mystery of the story's authorship begins. No one has ever believed that “Sleeping Beauty" was written by a woman; it has been included in every edition of Perrault’s tales. Indeed as soon as the first collection of those tales was published, Donneau de Vise sang its praises in the January 1697 issue of Le Mercure galant and told his readers that all those who had enjoyed “Sleeping Beauty" were sure to want to read the rest of Perrault's stories.”

Based on the similarities between the Banneville story and de Croisy’s posthumous memoirs, it is generally assumed that he contributed to the story by example or by text. However De Vise’s editorials suggest L'Héritier as the likely author, and as he also attributes “Sleeping Beauty” to her, we wonder how much of Les Contes de ma Mère l'Oye was her work rather than her uncle’s. Further: it is possible that the similarities with de Croisy’s memoirs are because he drew up on the Banneville story, and, as several commentators have suggested, the Red Riding Hood story as well.

La Forest Potter (1855-1951), an early 1930s witness to queer New York

• 
  La Forest Potter. Strange Loves: A Study in Sexual Abnormalities. Robert Dodsley Company/ National Library Press, 1933.
  

Trigger warning: Some of the quotations from Dr Potter include words and opinions relating to sex and/or race that are today considered objectionable.

1933 was not a good year for being queer. The ending of alcohol prohibition in the US (good in itself) unfortunately led to the end of the Panzy Craze, and increased police raids on queer bars and nightclubs. In Germany, Hitler’s Nazi Party took control of the government. In the Soviet Union, Stalin’s OGPU started a reversal of the decriminalization of homosexuality that had resulted from the Revolution by arresting 198 gay men, and claiming that there was a link between homosexuality and fascism.  In England and France trans men and masculine women had been shaken after Victor Barker, John Radclyffe-Hall and Violette Morris had each lost in their very different law trials.

The New York that La Forest Potter describes falls in between that found in the earlier publications, Mowry Saben/Jennie June’s three books and the psychological study of five transvestites by Bernard Talmey, and the later study Sex Variants: A Study of Homosexual Patterns (1941) attributed to George Henry but based on the research of Jan Gay. 

George Chauncey’s Gay New York: Urban Culture, and the Making of the Gay Male World, 1890-1940, published 1994 mentions Potter in its notes as a source for details, but he is not in the book’s index, and there is no mention of him or his book in the text. 

The term ‘fairy’ was commonly used in this period for effeminate gays, trans feminine persons and drag performers. Chauncey’s book goes into a lot of detail on this.

Two anecdotes referring to the book’s influence

David K Johnson’s “The Kids of Fairytown: Gay Male Culture on Chicago's Near North Side in the 1930s” in Brett Beemyn’s Creating a Place for Ourselves: Lesbian, Gay, and Bisexual Community Histories, p111 tells us:

“Although most Chicagoans had never read a medical text on homosexuality, Harold's list of the books that introduced him to gay life did include one work by a medical expert. La Forest Potter's Strange Loves: A Study in Sexual Abnormalities was an attempt to bring medical expertise on the nature, causes, and curability of homosexuality to a general audience to help eradicate ‘the problem.’ But by outlining the prevalence of homosexuality — how America had ‘Gone Pansy;' as he titled one of his chapters — he inadvertently suggested that it was normal. Potter asserted that ‘homosexuality ... is diffused not only through all the anthropological forms of mankind — savage and civilized life — but also throughout every strata of society, and among every class of population.’ ” ... “To Harold and undoubtedly many others, Potter's line of argumentation intrigued more than it dissuaded.”

Robert Darby. “The Censor as Literary Critic”. Westerly, 31,4, December 1986: 37 tells us:

“Genuine scientific texts on sexual abnormality might be allowed in serious libraries for research use by approved scholars, but popular works were a different matter. Garran read Strange Loves, by La Forest Potter MD, as professing to be "a serious study of homosexuality", but he found its general style suggesting that it was, rather, "a book to excite curiosity". American authors, he remarked, "show no squeamishness in an open discussion of this subject; but I think its discussion in this way offends against present standards of decency in Australia." Allen agreed: ‘This book is not desirable for public bookshelves, and I should not regard it as in any way a serious contribution to medical science. It is a popularisation of information regarding sexual abnormality ... It is not well written: and in places is incorrect. For instance, it repeats mere garbled gossip about Socrates; and I do not believe that the author has read a word of the Symposium.’ ” 

Who was La Forest Potter?

La Forest Potter graduated from Boston University School of Medicine in 1884 and contributed articles to Physical Culture, the food faddist magazine run by Bernard MacFadden. He was apparently interested in 'cancer cures'; at one time he was associated with a proponent of the so-called 'grape juice cure' for cancer. Strange Loves was banned in Australia in 1936. He also wrote The psychology of health and happiness, 1897; A new treatment of cancer and chronic diseases, 1929 and various other popular medical texts. He lists membership in the New York County Medical Society, Massachusetts Medical Society, Boston Gynecological Society, Associate Professor of Rhinology, Laryngology, and Otology, New York School of Clinical Medicine, and Surgeon, Malden Hospital.

Potter's other books as listed on page opposite title page

The Advertisement

This is the advertisement that ran several times in the magazine Broadway and Hollywood Movies.

The chapters of interest:

Chapter IV THE “INTERMEDIATE SEX"

“For while admittedly there are mental hermaphrodites and mental deviates in uncounted numbers, the true “third sex, if we are to be really accurate in our description, consists only of individuals who are anatomically bisexual. … These individuals are unquestionably atavistic or retrogressive in their biological status. Nevertheless, true hermaphrodism is an extremely rare phenomenon. I stress the anatomical basis of this condition at this time in order to differentiate true hermaphrodism from pseudo -hermaphrodism -- or what I might term " mental " hermaphrodism.” 

So far, not too bad. 

However, Potter then has a sub-heading, REAL WORLD PROGRESS MADE BY HETEROSEXUALS where he proclaims that the “[homosexual] abnormality should be considered anti-social, anti-racial, and anti-biologic”.

Then still in the same chapter WHEN MEN DON WOMEN'S CLOTHES, where he writes: “To the average person it would seem that all this bother is ‘much ado about nothing’. For it would be rather difficult to see what particular harm can come to the police force, or to society in general. … However, it may be because these transvestites, as they are called, suggest abnormality (whether they are abnormal or not) that they are arrested, hailed into court and fined.” 

In his next sub-heading, IS INVERSION COMMON AMONG TRANSVESTITES? Potter contrasts William Stekel who regarded trans persons as homosexuals with Magnus Hirschfeld who from a much larger sample knew otherwise. Potter attempts to reconcile this difference with the opinion of the psychoanalyst Andre Tridon who claimed that transvestites are in the majority of cases unconscious homosexuals. 

His final sub-heading in the chapter is THE SOCIAL LIFE OF THE GERMAN URNING. He writes:

 “While it may not react greatly to the prestige and glory of Berlin in the minds of many people, it is nevertheless true that this highly cultured city boasts perhaps a greater number of homosexuals than any other city in the world -- not excluding Paris, which, for several centuries, has been notorious for its sexual profligacy. Of course, it may be that this seeming preponderance of abnormals arises merely from the fact that, in Berlin, and in Germany and Austria, the urning comes out into the open, so to speak. He does not find it necessary to skulk and slink in the hinterlands of society, as he does in European and American centers generally. However, we may attribute this apparent epidemic of homosexuality to the fact that there is less hypocrisy in Germany and more real science than is to be found anywhere else on the face of the earth.” 

This of course had been previously true, but it is ironic, sad and frightening that by the time Potter’s book was published, the Nazis had become the German government, and the purge of queer culture and persons was ongoing.

Chapter VII FEMALE MEN AND MALE WOMEN

This is a rather nasty chapter where the question is should his readers 

“place these individuals either in the same category with burglars, swindlers, and automobile thieves, or else it would permit them to be recognized as men and women who are mentally and morally sick — neurotics who are no more to blame for their condition than they would be for having dyspepsia, or sciatica, or a deviated septum”. 

Potter quotes Dr. W. Beran Wolfe, Director of the New York Community Church Mental Hygiene Clinic who blames the second opinion almost exclusively on Otto Weininger’s Geschlecht und Charakter (Sex and Character), 1903. However he goes on to discuss opposite sex characteristics such as male gynecomastia and women with beards. He misleadingly connects this to homosexuals, whom he regards as having a female psyche. He has a brief discussion of the work of Eugene Steinach and his transplanting of gonads to animals of the other sex.

Chapter XI “The Drag”

I have previously written of the Hamilton Lodge Balls, the premier drag event in New York in the 1920s and 1930s, which attracted thousands each year. Potter does not mention them by name. He writes of the Philadelphia Mummers parade, Mardi Gras in New Orleans, The Rose Pageant in Pasadena, California. He quotes from Blair Niles’ 1931 novel, Strange Brother, but he wrote too early to include The Young and Evil, 1933 by Charles Ford and Parker Tyler. Both novels include scenes at the Hamilton Lodge Balls. 

He then comes to “THE DRAG BALL”. 

“These are the famous ‘Drag Balls’, held in many of our principal cities, on the average of once a year. The men, dressed in the clothes of women, are called ‘drags’. In New York City there are at least two outstanding Drag Balls yearly - one held at Webster Hall, in Greenwich Village, the other in the Manhattan Casino, up in Harlem. Of late years this place has had ‘the run’."

 And in a purple passage using terms, that no modern writer would, he refers to 

“the motley throng that surges and sways to the blood-boiling rhythm of a Negro band. Hundreds and hundreds of Negroes also- of every shade of black and brown— from the octoroon, hardly to be distinguished from a strikingly lovely brunette Caucasian girl, to the burly blackamoor, of pure Ethiopian type are crowded, cheek by jowl, into sense -maddening proximity. For the Harlem Drag Ball is a ‘mixed’ affair, attended by whites and blacks alike.” 

THE PARADE OF THE FAIRIES. 

“Finally the dancing floor is cleared by the police for the chief event of the evening. It is the big ‘kick’ for which most of the spectators have come -the ‘parade of the fairies’, with a prize of two hundred dollars to be awarded to the ‘fairy’ who displays the loveliest and most artistic costume.” 

$200 in 1932 = $4,700 today.

Reviews and comments

In December 1934, the pioneer gay activist Henry Gerber reviewed Potter’s book in his Chanticleer newsletter (as summarized by Jonathan Katz):

... I think the history of psychology is . . . damning evidence of man’s credulity and outright stupidity. The volume under review by Dr. La Forest Potter, who boasts of being a “late member of the New York County Medical Society, Massachusetts Medical Society,” etc., etc. . . . proves to me two significant facts: 1) that the medical authorities in America, of which Dr. Potter is a shining example, are about 100 years behind the times, and 2) that most psychologists in this country are mere yes-men who blindly and obediently follow the current authorized moral code without any regard to common sense or the results of modern scientific research ….

While the title of the book would indicate that the author had in view all phenomena of sex which seem strange to him and to the ignorant public alike, Dr. Potter deals mainly with homosexuality. . . . such a title is a profitable device for the sale of books, for the morons are always looking for something new and “strange” in sex matters. In other words, the book of Dr. Potter is just another instance of the morbid sex racket, a lurid description of sex abnormalities under the moral guise of condemnation of the queer sinners dealing in such “strange” loves in order to get the filthy details by the post office censors of “obscene” literature. Krafft-Ebing was perhaps the first author to start this racket and the volume in review is evidence of the sad fact that the end of it is not yet.

In the accepted fashion of Krafft-Ebing’s pot-boiler, Dr. Potter goes through the various artificial classifications of homosexuals. He has Chapters on the Riddle of Homosexuality . . . a chapter on the history of . . . the various unsuccessful attempts of “scientists” to solve the “riddle,” .. . special chapters on Lesbians (female homosexuals), in which the author makes the sensational statement that “there isn’t a man on earth who has a Chinaman’s chance against a Lesbian, once she has thoroughly seduced a woman to her wiles” (any doctor having knowledge of gynecology ought to know the reason to be due to the fact that males are very deficient in the fine art of satisfying a woman’s sexual needs.) [etc.] ….

.. . Dr. Potter views the psychoanalytical method of dealing with homosexuals and cites cases in which homosexuals have been “cured” by psychoanalysts. . .

But the author does evidently not think so much of this “cure” of homosexuals, for he cautiously warns that homosexuals can be cured only if they want to be cured. The only way to cure a [male] homosexual of his foible is to make him love women, a very simple process indeed, but Dr. Potter does not seem to realize that heterosexual men can be cured exactly in the same fashion from their love for women, by getting them to like men. By the same method, Pop-eye, the sailor cures children who do not like spinach by making them believe that spinach is really good for them and that every normal citizen must eat it.

Byrne Fone. A Road to Stonewall, 1969:

“Dr. Potter’s cliches resonate against the common currency of homophobic texts of the period and centuries before. He deploys the familiar accusations and links homosexuality not only with the destruction of what he suggests are virtually nationally encoded gender roles but clearly implies that homosexuality and homosexuals are effectively un-American. Because of the ‘infestation’ of homosexuality, however, the pioneer and heterosexual American virtues have been weakened and now the danger is clear and increasingly present: ‘Today there are homosexual ‘joints,’ ‘queer’ clubs, pervert ‘drags’ or homosexual plays in practically every considerable American city.’ Not only general society but American youth has been tainted by homosexuals, for ‘today there is scarcely a schoolboy who doesn’t know what a ‘pansy’ is’ ”. (p233-4)

Andrea Ens, Pain, Pleasure, Punishment, 2024:

“The book’s ad promised sophisticated adult readers clinical findings that would ‘tear away the veil of mystery that hides the facts behind homosexuality’ by demonstrating ‘the abnormal ties and the unnatural desires and erotic reactions of these twilight men and women’. But while Strange Loves’ marketers emphasized its titillating narratives of perverse sexual trysts hidden in darkness, the text itself repeatedly insisted ‘abnormals’ were often not malicious, intentional criminals, but ‘neurotics who are no more to blame for their condition than they would be for having dyspepsia, or sciatica, or a deviated septum’. This blamelessness – revealed by contemporary medical and scientific advances into the origins and impacts of ‘sexual abnormality’ – meant that American medical, social, and legal treatment of non-heteronormative Americans might allow their re-entry into ‘normal’ heterosexual society’. (p26)

• Henry Gerber, “More Nonsense about Homosexuals,” Chanticleer, Vol. 1, No. 12 (Dec. 1934), 2-3. Partially reprinted in Jonathan Katz (ed) Gay American History: Lesbians and Gay men in the USA: 595-6, and in Tracy Baim’s Out and Proud in Chicago: 38-9.
• Byrne Fone. A Road to Stonewall: Male Homosexuality and Homophobia in English and American Literature, 1750-1969. Twayne Publishers, 1995: 233-4.
• Byrne Fone (ed). The Columbia Anthology of Gay Literature. Columbia University Press, 1998: 669.
• Byrne Fone. Homophobia: A History. Henry Holt and Company, 2000: 386-8.
• "More Hilarious Zeitgeistiness". Autist's Corner, February 28 2009. Online. 
• Anna Lvovsky. Queer Expertise: Urban Policing and the Construction of Public Knowledge about Homosexuality, 1920–1970. PhD thesis, Harvard. May 2015: 34, 38, 39, 41, 48, 49, 53, 54, 60, 63, 64, 66, 67, 68, 69, 71, 72 81, 84, 86, 88, 89, 90, 91, 92.
• Alysha Maree Crossan. Liberals, Ground Breakers, and Graduate Students: Reinvestigating US Sex Surveys and Research Before Kinsey, 1900-1953. PhD thesis, University of Auckland, 2022: 46, 154, 155, 156, 157.
• Andrea Ens. Pain, Pleasure, Punishment: The Affective Experience of Conversion Therapy In Twentieth-Century North America. PhD Thesis, Purdue University, May 2024: 26-7, 47-8, 50-2, 55-6,

Potter's Bibliography

Three recent books about Magnus Hirschfeld

There have been three recent books about Magnus Hirschfeld and the Institut für Sexualwissenschaft:  Rainer Herrn's  Der Liebe und dem Leid; Brandy Schillace's The Intermediaries and Daniel Brook's The Einstein of Sex.    My problem with all three books is that so many of the known trans persons who consulted Dr Hirschfeld are not even mentioned.

The best book on German trans persons in the Kaiserreich and Weimer Republic remains Herrn's previous book from 2005, so I have included it below for compatison.

Rainer Herrn.  Schnittmuster des Geschlechts: Tranvestitismus and Transsexualitat in der fruhen Sexualwissenscaft. 2005 Rainer Herrn.  Der Liebe und dem Leid: Das Institut für Sexualwissenschaft 1919-1933. 2022 Brandy Schillace. The Intermediaries: A Weimar Story,2025 Daniel Brook. The Einstein of Sex: Dr. Magnus Hirschfeld Visionary of Weimar Berlin. 2025 Alma de Paradeda  . . . . Max Tilke  ✓ . . . Hermann von Teschenberg  ✓ ✓ ✓ ✓ Karl M Baer  . . ✓ ✓ Friederike Schmidt  . ✓ ✓ . Rosina Danner  ✓ . . . Katharina T ✓ ✓ ✓ ✓ Willi Pape  ✓ . . . Josefine Meißauer  ✓ . . . Gerda von Zobeltitz  ✓ . . Ruth Fischer . . . . Emi Wolters/Luz Fraumann ✓ . . . Berthold Buttgereit  ✓ ✓ . . Alex Starke  ✓ . . . Dörchen Richter ✓ ✓ ✓ ✓ Hertha Wind . . . . Joseph Einsmann . . . . Liddy Bacroft . . . . (Char)Lotte/Lothar Hahm  ✓ . . . Toni Ebel ✓ ✓ ✓ ✓ Charlotte Charlaque ✓ ✓ ✓ Lili Elvenes Elbe ✓ ✓ ✓ Gerd Katter ✓ ✓ ✓ ✓ Gerd Winkelmann  ✓ . . . Oskar Gades ✓ . . . Ossy Scho. ✓ . ✓ Helene N. ✓ . . ✓ Michel-Marie Poulain . . . .

Seppel Einsmann (1885 – 1959) factory worker

 Seppel was born Maria Mayer, the eldest child of a factory worker and a housewife, in Bruchsal, 20 km from Karlsruhe in the state of Baden-Württemberg. At age 27 in 1912, Mayer was working in Karlsruhe doing ironing, when she married Joseph Einsmann, a plasterer and one year older. The marriage did not go well, and they used the occasion of the husband’s military service during the Great War to separate. Herr Einsmann applied for an official dissolution of the marriage in 1923, but Frau Einsmann did not find out until much later.

During the War, Frau Einsmann worked in an ammunition factory in Pforzheim, and there met Helene Müller (né Banz) who likewise had separated from her husband during the war. When the War ended in late 1918, Frauen Einsmann and Müller and many others were obliged to give up their jobs in favour of the returning soldiers. Einsmann and Helene Müller moved to Mainz, in Rhineland-Palatinate, where they lived together. As in Pforzheim, the better jobs in Mainz were reserved for men. Einsmann had kept one of Joseph’s suits, and in one of its pockets were his pre-war identification documents. With a suitable haircut, Einsmann, using the name Joseph, obtained employment with the occupying French military forces – at a wage that supported two persons. Later Einsmann moved to a security and locking company. Einsmann was generally known to his fellow workers as ‘Seppel’. Helene worked as chambermaid.

In 1921 Helene gave birth to a girl, and Seppel registered the girl’s parents as Joseph and Maria Einsmann.

In 1925 Seppel took a position at Werner & Mertz which made shoe polish under the brand name Erdal. He was promoted to foreman supervising 20 workers. He was regarded as hardworking and always punctual, and was an active union member. He also sang tenor in two Mainz church choirs.

A second daughter was born in 1930. This time the Registry Office noticed that Joseph and Maria Einsmann were listed as divorced. Seppel therefore said that he had fathered the child illegitimately with ex-wife Maria Mayer, and the child was recorded with Maria Mayer as the mother. The tax office was notified so that Seppel paid less tax. He was regarded as a good example of a father.

In August 1931, Seppel had a work accident. His hand went into a cutting machine, and the little finger on the right hand was lost. The stay in the men’s ward at the hospital went smoothly. However the subsequent claim for temporary incapacity insurance ran into a problem. The Reich Insurance Office in Berlin realised that they had two disability cards both of which had been issued to a Joseph Einsmann and with identical data. This led to Seppel being questioned and thus outed. He was charged with false certification in changing civil status and lying about the parentage of the two daughters. There was also the matter that he had been Best Man at a wedding and thus signed that the marriage was legitimate. Seppel’s story was repeated in the press in subsequent months, both in Germany and abroad. 

Seppel sold photographs showing his masculine self, along with Helene and their two daughters. The court appointed two psychologists to give an opinion. The county medical officer Dr Wagner accepted Seppel’s claim that her cross-dressing was only to find work and to gain a family wage. Seppel was also sent to see Dr Felix Abraham at Berlin’s Institut für Sexualwissenschaft. Abraham diagnosed a „transvestite predisposition“. This opinion Seppel rejected.

The trial, 20 August 1932, lasted only three hours. Seppel, as obliged, was present in female clothing. The court accepted Dr Wagner’s opinion, not that of Dr Abraham. Maria’s ex-husband declined to testify. Both Einsmann and Müller were given suspended sentences – to the applause of the court visitors - but had to pay court costs. 

Werner & Mertz continued Seppel’s employment. Seppel, after consulting with the employer, took a vacation that was due, and then returned to work, this time as Maria. Maria and Helene continued to live at the same flat throughout the duration of the Third Reich, and moved to a different address in Mainz in 1945. Maria was referred to as ‘aunt’ by the children, and then by the grandchildren. She died in 1959 age 74. Helene died in 1991 age 98.

---------------

Apparently Helene almost never spoke to her children about Seppel’s life as a man.

There is no record from Helene or elsewhere about who did father her children.

“Einsmann” means ‘one man’, but ironically was two.

Abraham’s diagnosis of “transvestite predisposition” was rather blunt, but as Seppel maintained his male persona outside work as well as in, and kept it up day and night 365 days a year, for 12 years, – and sang tenor in two church choirs - he probably was a type of trans. After 1932, social pressure and public knowledge compelled adherence to a female presentation. The mainstream press went along with the opinion expressed in the court that the male presentation dressing was only to find work and to gain a family wage. However Paul Weber, writing in the lesbian/trans Die Freundin shortly after the trial, wrote “For all of us this matter is no ‘exceptional case,’ but rather the dream of what the reality of a thoroughly masculine woman can look like.”

Would it not have been easier to list Helene Müller, the actual mother, as the mother on the birth registration?

• „Frau Vater. Eine als Mann verkleidete Frau arbeitet seit 12 Jahren auf dem Bauplatz und in Fabriken“. Mainzer Tagesanzeiger, 16 August 1931.
• “Feminine ‘Father’: Woman Who Worked as Man Since the War”. Birmingham Evening Despatch, 16 April 1932: 1.
• “12 Years Pose as Man“. Swindon Evening Advertiser, 22 August 1932: 4.
• "Maria Einsmann, eine tapfere Frau!".Mainzer Volkzeitung. 22 August 1932. 
• “Josef Maria Einsmann,” Die Freundin, 35, 2 September 1931: 2f.
• Paul Weber, “Das Urteil gegen Frau Einsmann,” Die Freundin, 36, 7 September 1932: 2.
• Katie Sutton. The Masculine Woman in Weimar Germany. Berghahn, 2013: 113, 115.
• Eva Weickart, (2020). "Die Frau in Männerkleidung. Der Fall Maria Einsmann. Presseberichte aus den Jahren 1931 und 1932". mainz.de, 2020. Online. (The enclosed PDF includes a lot of press reports on the cas)
• Barbara Trottnow (dir). Frau Vater – Die Geschichte der Maria Einsmann, ZDF German 29 mins 2022.

DE.Wikipedia(Maria Einsmann) EN.Wikipedia(Maria Einsmann)

--------------

The expatriate writer Anna Seghers used Einsmann’s life as the basis of her 1940 novel Der sogenannte Rendel, written while she was in exile in Mexico. She also wrote a film script based on the story, Hier gibt's keine Katharina ('There is no Katharina here'), but it was never filmed.

Berthold Brecht, the German playwright, also wrote a fictional version of Einsmann, Der Arbeitsplatz oder Im Schweiße Deines Angesichts sollst Du kein Brot essen, which is included in the collection of the same name. It was translated into English in 1983.

Barbara Trottnow, a filmmaker from Mainz, made a film in 1995 based on parts of Segher’s script. 25 years later she made a 29 minute documentary directly about the Einsmanns, which included a contribution from Helene’s granddaughter, Erkens.

In 2014 the city-district of Mainz-Altstadt named a square after Einsmann and called it Maria-Einsmann-Platz, using only what should have been his dead name, and with no mention of his wife, Helene.

• Anna Seghers. Der sogenannte Rendel. Volk u. Wissen, 1940.
• Bertold Brecht. The job or By the sweat of thy brow shalt thou fail to earn thy bread. Methuen, 1983.
• Barbara Trottnow (dir). Katharina oder: Die Kunst, Arbeit zu finden. Scr: Anna Seghers, with Heidi Ecks as Katharina. ZDF German 80 mins 1995. IMDB
• Barbara Trottnow (dir). Frau Vater – Die Geschichte der Maria Einsmann, ZDF German 29 mins 2022.  Webpage.

Finocchio’s – post WWII

 Original version, January 2010.

 Part I: the early years

Part II: post WWII 

In 1946, Joe, and other club owners, were having problems with the Board of Fire Prevention and Investigation after a fire at the Herbert Hotel and Backstage Cocktail Lounge in which four firemen had lost their lives.  Temporarily the number of patrons was limited to 250, until required structural changes were made.  

During this time Majorie was absent.  On 16 July it was reported that she had married another clubman, Percy Harman of San Mateo, in Calexico on the Mexican border, but only four days later, back in San Francisco, she obtained a separation and the restoration of her Finocchio name.  She explained that immediately after the marriage, Harman had pestered her for large sums of money.

In September 1947 a burglar entered the home of Joe and Marjorie and took $40,000 in furs and a safe containing $15,000.  While the break-in occurred at about 10.30 pm, it was not discovered until the 350lb house safe was discovered by a motorist at 1:45am southwest of the city.  The safe had been punched open.  The Finocchios, still at the club were informed by the police, and hurried home.

Howard Hughes grew bored with Pussy Katt. However, he did finance a drag club for her in Acapulco which they called Finocchio’s South.  In later years she performed at Madame Arthur’s in Paris.

William Stoffler, a San Francisco stockbroker, married and noted for his good looks, became a dancer at Finocchio’s, and an occasional date of Howard Hughes.  His suspicious wife discovered his second life, and divorced him. 

In 1948, the Finocchios sued four former employees, Ray Bourbon, Jackie May, Johnnie Magnum, and Francis Russell, for putting out records and advertising with the words “The new Bourbon Records presents the world’s foremost female impersonators from Finocchio’s of San Francisco”.  Later that year Joe and Marjorie travelled together to England. 

The 5^th edition of Where to Sin in San Francisco, 1948, asked “Is it true what they say about Finocchio’s?”, and answered: 

“Yes, it is. Even if the girls were women, the shows would be provocative. But the artists in the costly gowns are not women. Without saying what they are, twinkling Marjorie Finocchio does declare, “They’re the only stable ones in the country.” Tall, beautiful, stable Freddie Renault, the $200-a-week MC, has been here fourteen years. . . . Cute, Oriental Li Kar, double stable after ten years, is both a dancer and the club’s costume designer. . . . Stablest of all is Walter Hart, $275-a-week specialist in murky songs.”

Walter Hart, had been at Finocchios since 1933.  He was billed as the male Sophie Tucker, and the real Sophie Tucker was delighted.  She gave him many of the gowns and furs he wore and never failed to catch his show when in the city.  However in 1948, as Herb Caen wrote: “ After 15 solid years on the job, Entertainer Walter Hart is out of Finocchio’s, on acct. some verbal twanging with Mrs. F. That’s sort of like the last ferry leaving the Ferry Bldg”.  However Hart soon found employment at the Tivoli.

Lucian Phelps took over the “male Sophie Tucker” persona, and, as with Walter Hart, the real Sophie Tucker caught his act and sent him gowns and furs. 

The 1949 San Francisco Real Property Directory listed only Marjorie as the club owner.

By 1950 the City Directory listed Joseph and Eve Finocchio living at the same address.

The local competition was the Black Cat Bar, which was developing from being a bohemian and Beat bar, to being more gay.   Jose Sarria entered a competition to get a gig at Finocchio’s, but did not get it, and then went to the Black Cat where he started as a waiter, and graduated to being the major singer, openly gay, openly in drag, singing a re-working of Bizet’s Carmen.  Unlike Finocchio’s, customers were permitted to dress as they chose.  In 1951 the State Board of Equalization suspended the Black Cat's liquor license in that known homosexuals ate and drank there.

The other competition was Jewel Box Revue, and many of the impersonator stars worked for both the Revue and Finnochio’s at different times.  As a touring revue, the Jewel Box was in San Francisco only intermittently.  However, even when the Revue was in town, Finocchio’s was filled to capacity, four shows a night, six nights a week, attracting locals, tourists and celebrities such as Bob Hope, Frank Sinatra, Bette Davis and Tallulah Bankhead. 

1954: UCLA psychologist Evelyn Hooker started her groundbreaking work comparing the psychological adjustment of homosexual and heterosexual men that showed that gay men were not significantly different.  Her research included a visit to Finocchio’s.

Marjorie died in 1956 after a lingering illness.  Joe then married Eve, and Eve was finally allowed into the club, and quickly took over Marjorie’s role. She took over with a vengeance.  Her brother George Filippis also came in as club manager, her sister Maria Filippis as the cashier and Eve’s teenage daughter Concetta as the official photographer.   Joe continued to oversee the bar and the door.   The huge photos of the performers which were hanging in the club and outside on the street were all taken down. The club was redecorated – the décor was said to be based on that of Le Carrousel of Paris – and at the same time Le Carrousel star Les Lee was hired. 

Another new hire was Lavern Cummings, who sang as both soprano and baritone, and who stayed until 1982.

A chorus line, Las Vegas style, were introduced known as the Eve-ettes, after the second Mrs Finocchio. Eve quickly cut the number of musicians from five to three, and refused to be addressed as ‘Madame’ as that was how Marjorie had been addressed.

1958: Francis Blair, star of Seatle’s Garden of Allah, also performed a comedy drag routine with Ray Francis, “Two Old Bags from Oakland” which they did at Finocchio’s that year.

In the summer of 1959, the future Aleshia Brevard, moved to Los Angles and found a Catholic priest lover who, after giving her gonorrhea, took her to San Francisco and to see the show at Finocchio’s.  Lucian as Sophie Tucker fabricated a story about having a training school for impersonators, and picked out Aleshia in the audience and said "And this, ladies and gentlemen, is my star pupil.   Isn't she beautiful?   Stand up and take a bow."   Aleshia then knew what she wanted.  “I auditioned at Finocchio's, based solely on a photograph I'd submitted.   Before having that audition photo taken, I'd never been in female attire. Talk about an untrained 'New Nanette'!   I would have never gotten hired at the most prestigious impersonation club in the country if it had it not been for Stormy Lee, Finocchio's star exotic dancer.   People HATED Stormy, I'm well aware of that, but she put me under her protective wing on the night of my audition.”   Aleshia was given the stage name of “Lee Shaw” by the MC Lestra Lamonte. Aleshia had the looks and developed an act as Marilyn Monroe singing "My Heart Belongs To Daddy".  The real Monroe came one night to see the act.

'Lee Shaw' and Eve

Aleshia and Stormy had extra kudos in that they each had a boyfriend. Off-stage Aleshia became a patient of Harry Benjamin during his summer sojourns in San Francisco – it was Stormy who shared her Premarin and then took Aleshia to her first appointment with Harry Benjamin.  The aspect that Aleshia hated most was “having to remove my makeup and despised dressing in men's clothes before leaving the club - but that was the law.   What I detested most was how Mrs. Finocchio's sister, Maria, who sold tickets, would call out ‘Good night, Lee Shaw’ - or whomever, as we were exiting the club.   She was pointing out to lingering customers how impersonators looked 'off stage'.   I always felt that was very unkind.”

Libby Reynolds, two years after his tryst with actor Raymond Burr, and then selling the story to Confidential Magazine, was hired in 1962.  

Aleshia/Lee Shaw left the club in 1962, and was one of the last trans woman to have surgery with Dr Elmer Belt in Los Angeles.  This was to the chagrin of the Finocchios who threatened that she would never work again.

There was a shortage of dancers at the club.  Reggie Dahl was in the hospital, a Spanish dancer by the name of Néstor had a mental breakdown, and the only dancer left at the club was Stormy Lee.   Robin Price, previously of the Jewel Box, heard of the vacancy and came from Los Angeles to audition, and was not hired.  However Price was phoned a few days later, asked if she could do the Can-Can, and after a second audition was hired.

Concetta, Eve’s daughter, graduated from UC Berkeley.  In 1963 she married Eric Jorgensen, and they called their first child Eric.

Stormy had surgery the next year with Dr Burou in Casablanca.  Lestra Lamonte, the emcee died, and Price became the new emcee.  Price fell out with Eve Finocchio when she tried to tell him not to visit a certain club on his own time, despite her sister going to the same place.  They stopped talking until the last day of Price’s contract, when Eve finally wanted to talk, but Price simple packed bags and left.

The Black Cat Bar,  following some 15 years of unrelenting pressure from the police and the Alcoholic Beverage Control (ABC) finally closed in1963.

Carroll Wallace, who had a sideline as a real-estate investor, became the emcee. As such he  had to do the stage lighting and sound, which was not easy and it was very tiring on his feet to be standing for the whole show.

David de Alba joined as a star performer in 1971, and he did hair-styling and wigs for the other performers.  Two years later, he asked permission for four days off for plastic surgery.  However on returning he found that he had been fired, and was told to pick up his costumes, make-up cases, wigs and musical charts.  He still did wigs and hair styling for the other performers, and was often contracted as a guest star.  “What I didn’t realize at the time was that there was a new cost cutting trend going on at the club.   Mrs. Finocchio was getting rid of the main supporting acts and replacing them with members of her beloved chorus line, 'The Eve-ettes'.   They now had two jobs, being in the chorus and then as main supporting acts.   So there you had it, two acts for the price of one!”

Lucian Phelps, 65, who had performed at Finocchio’s since 1949, died after a long illness in 1973. 

An ad 1977 

A wildfire destroyed the area surrounding the Jorgensen house, but not their house.

Jae Stevens, 27, was a performer at Finocchio’s when she was murdered in Golden Gate Park in 1974.  The police actually pulled over her car, presumably driven by her murderer, but, after a chase and a crash into a house, the man escaped.

Mr and Mrs Jorgensen had three more children, and then were divorced, leaving Concetta as a single mother of four.  The very same year she was diagnosed with Multiple Sclerosis.  She became a disability activist, did publicity for the club and despite her disability – and she was eventually a paraplegic - she was 30 years on the Alameda County Consumer Affairs Commission.

In 1981, in an interview in the San Francisco Chronicle, Joe was quoted: “We always keep our eyes open. It’s easy to get fellows in women’s clothes. But we don’t allow any filth, and most of them resort to filth.”  Eve did the first interview, and if Joe agreed, Eve made arrangements for costuming and rehearsals.  At that time dancers were paid $80 to $125 a week.  Eve arranged for Holiday Tours and Gray Lines to add Finocchio’s to their tour lists.  Gray Lines included a Finocchio’s photograph in its brochure.  During the 1970s, as topless and then bottomless revue bars had opened, there had been fears that business at Finocchio’s would decline. But with time the topless bars became passé and Finocchio’s was still going.  In the late 1970s it managed as many as 300,000 customers a year. There were four shows a night, each running about an hour. The shows had themes that were not always the same from show to show, and guests could stay for extra shows.

Joe Finocchio died of a stroke in January 1986, aged 88. This left Eve as the sole owner.  She brought in Eric Jorgensen, Concetta’s eldest son, then 23 to be groomed as a future manager – which he was by 1989.  Eve continued to manage the shows and performers, but the zest was declining.  Gray Lines dropped Finocchio’s in 1988, but later restored it.   An article in the Chronicle in 1989 claimed that Finocchio was grossing $2 million a year.  However in 1990 they upped the cover charge from $10 to $15, with a new two-drink minimum, and now opened only four days: Tuesday, Thursday, Friday and Saturday.

Again in 1991, a wildfire destroyed the surrounding area, but again not the Jorgensen house.  A television movie was made of the event, Firestorm: 72 Hours in Oakland. Actress Jill Clayburgh played a character based on Concetta Jorgensen. 

 A few years later Finocchio’s started presenting lip-synching performers – weakening what had made the club special.  Eve later fired the band and it became all lip-synching.  The press paid less and less attention.  Openings were reduced to only three nights: Friday to Sunday, and only three shows a night.  Sometimes there were no customers, and the show was cancelled.

Eve Finocchio decided to close the club in November 1999 because of a major rent increase and dwindling attendance.

Eve died 2007, age 92.

Concetta Finocchio Jorgensen, daughter of Eve died in 2012, age 71, survived by 4 children and 12 grandchildren.

Lavern Cummings died in 2018 age 91 in Las Vegas after being hit by a car.

Other artists who performed there include: Katherine Marlow, Holly White, Russell Reed, Val DeVere, Ted Hendrix, Harvey Lee, Francis Stillman, Jeri-Lane, Frank Doran, Jackie Philips, Bobby Johnson, John Lonas, Vaughn Auldon, Johnny Mangum, Del LeRoy, Milton La Maire, Ray Francis, Francis David, Paul La Ray, Mike Michelle, Bobby Belle.

 

--------------------------------

• “Police Raiders Arrest Ten in S.F. Night Club: Patrons Rush for Exits as Officers Visit Finocchio’s”.  San Francisco Chronicle. July 20, 1936: 5.
• Ki-Lar Finocchio’s.  Finocchio’s program, 1944. Online.
• “Ex-Finocchio Wife Divorced: ‘Quickie’ Marriage to San Mateo Man Aired in Action”. San Francisco Examiner, Aug 2, 1946,
• “Finocchio Defies Order To Close S.F. Night Club: Fire Marshal Threatens to Jail Owner For Disregard of Safety Rules”.  San Francisco Examiner, Aug 24, 1946: 5.
• “Finocchio Home Looted of Furs”.  San Francisco Examiner, Sep 11, 1947:11.
• Jack Lord and Lloyd Hoff, Where to Sin in San Francisco, 5th ed. (San Francisco: Richard F. Guggenheim, 1948), 145.
• “In Memoriam: Lucian Phelps”.  Drag, 3, 10, 1973:40. Online.
• “In Memoriam: Jae Stevens 1947-1974”.  Drag, 4, 16, 1974:34. Online.
• “San Francisco drag bar owner Joseph Finocchio dies at 88’.  Santa Cruz Sentinel, Jan 15, 1986:10.
• Norman Melnick. “Deaths: Joseph Finocchio”.  San Francisco Examiner, Jan 15, 1986: 19.
• Jacqueline Frost. “Home alone: ‘House of mixed blessings’ in lunar landscape: Fire survivors lament lost neighborhoods”. Oakland Tribune. Jan 27, 1992:1.
• Tracie Reynolds.  “Star Struck: Survivor to give proceeds to son, who suffered burns: Firestorm victim with multiple sclerosis sells story to TV”. Oakland Tribune. Nov 9, 1992:1.
• Michael Tuchner (dir). Firestorm: 72 Hours in Oakland. With Jill Clayburgh playing a character based on Concetta Jorgensen.  US 104 mins 1993. IMDB.
• Les Wright. “San Francisco”. In David Higgs (ed). Queer Sites: Gay Urban Histories Since 1600. Routledge, 1999: 171-2.
• Jesse Hamlin.  “Strutting Into History / Laughter gives way to tears as Finocchio's ends 63-year drag-show run”,  San Francisco Chronicle, 29 November 1999.
• Jesse Hamlin.  “What a Drag: Finocchio’s to Close/Cross-dressers have entertained at club for 63 years”.  SFGate, Nov 4, 1999.  Online.
• Nan Alamilla Boyd. Wide Open Town: A History of Queer San Francisco to 1965. University of California Press, 2003: 49,52-6,187.
• D.J. Doyle. “Finochio’s”. Queer Musical Heritage.   http://www.queermusicheritage.us/oct2002f.html. 
• “David de Alba on Finocchio's”.   www.david-de-alba.com/david4.htm.  www.david-de-alba.com/david5.htm.
• “David de Alba on Shaw”. www.david-de-alba.com/aleshia.htm.
• “David de Alba on Price”.  www.david-de-alba.com/Price.htm.
• Mel Gordon et al. "UC Berkeley Interview on Finocchio Club Legend: David de Alba". http://david-de-alba.com/Berkeley%20Interview.htm
• Aleshia Brevard. The Woman I Not Was Born to Be: A Transsexual Journey. Temple University Press, 2001:
• Darwin Porter.  Howard Hughes: Hell’s Angel.  Blood Moon Productions, 2010: 575-6, 593-5, 733.
• Aleshia Brevard. The Woman I Was Born to Be. A Blue Feather Book, 2010:
• Kathleen Brosnan & Amy Scott.  City Dreams, Country Schemes: Community and Identity in the American West.  University of Nevada Press, 2011: 248-250.
• Chris Treadway. “Berkeley disabled rights activist dies at 70”. The Mercury News, January 11, 2012. Online.
• David Artavia.  “Trans Trailblazer Aleshia Brevard Dead at 79”.  The Advocate, July 25, 2017.  Online.
• James Smith.  “Finocchio’s club: A San Francisco Legend”.  The Argonaut, 28, 2, Winter 2018. Online.
• James Smith. “Finocchio’s” Except from San Francisco’s Lost Landmarks.  Online.
• Susan Stryker. “Finocchio's, a Short Retrospective”.  FoundSF: the San Francisco digital history archive.  Online.
• Michail Takach & B J Daniels.  A History of Milwaukee Drag: Seven Generations of Glamour.  History Press, 2022: 64-6.
• Margot Canaday.  Queer Career: Sexuality and Work in Modern America. Princeton University Press, 2023: 95-99.
• Lucas Hilderbrand. The Bars are Ours: Histories and Cultures of Gay Bars in America, 1960 and After.  Duke University Press, 2023: 74-5, 77.

 

EN.Wikipedia    GLBT Historical Society   Online Archive of California    Queer Music Heritage     Digital Commonwealth 

 

Discussion in other books:

Canaday: 

“For the trans women who performed at Finocchio’s, this was more than just a job. The actress Aleshia Brevard was first taken to the night club by a man she was involved with and “instantly felt she had to be there. …  It was common, she remembered, for trans women to dance at Finocchio’s just long enough to earn the money for surgery and then leave. As a result, Finocchio’s eventually preferred hiring cross-dressers to trans women because they tended to stay on the job.”  

She also includes a footnote Chp 2 n167 

“Friedman thought (citing letters between the sexologists Harry Benjamin and William Masters) that a date with a performer at Finocchio’s (usually made through a waiter) could be arranged for around $50. The higher price was because these women were, according to some, considered exotic. Certain young gay hustlers “who ordinarily might not have cross-dressed” did so in order to command a higher wage.”  

This is taken from Harvey Friedman. Strapped for Cash: A History of American Hustler Culture, 2010: 124-5.  This in turn is based on Harry Benjamin & R E L Masters. Prostitution and Morality, 1964: 305-9, which does not actually mention Finocchio’s but the comment probably does apply to it. 

“Impersonators  working  in  clubs,  and  making  their  contacts  there,  earn  far  more  money  than  do  other  types  of  male  hustlers,  for  the  reason,  no  doubt,  that  they  are  to  some  extent  “celebrities.”  Fifty dollar  fees  are  not  unusual,  and  at  the  club  most  intensively  studied,  a  $20.00  fee  for  a  single  sexual  act  was  the  absolute  minimum  the  prostitutes  would  consider.”

Takach &  Daniels: 

“Despite offering drag shows for seven decades, Finocchio’s was never really a gay-friendly destination. The club capitalized on its gay performers for amusement, but its owners never really wanted to deal with gay customers.  While Joe Finocchio provided gainful employment to generations of gay men who might otherwise struggle to survive in San Francisco, he was always more interested in running a profitable tourist attraction than a LGBTQ safe space, social outlet or historical landmark. … Joe’s first wife, Marjorie, was the front face of the operation. … Robyn Raye, an impersonator … said of Marge Finocchio, ‘I don’t think she liked gay people, but she certainly knew how to use them.’ … ‘Marge Finocchio made millions off drag queens. We made that woman rich.’ “

My comments:

’finocchio’ is Italian for fennel and by extension a negative word for gay. Some say that this is because its bulb looks like male genitals, but the corresponding word in Portuguese, ‘fanchono’ would seem to be cognate.

Rachel Harlow in Philadelphia was also born with the Finocchio name.  However there does not seem to be any connection between the San Francisco Finocchios and those of Philadelphia.  Likewise there does not seem to be any connection between the San Francisco Jorgensens (the family of Concetta’s husband), and the family of Christine Jorgensen in New York City.  The fact that Concetta bore both names, Finocchio and then Jorgensen, is a fascinating trivium – but without significance.

Many – less informed - articles maintain that it was Joe Finocchio who built up and ran the 201 Club.  However it was Marjorie who used her money to buy the first club, and then chose the acts and ran it, and afterwards Eve – who despite despising her – stepped into her shoes.  Marjorie ran the club 1929-1956, 27 years.  Eve ran it less well, but for longer, 1956-1999, 43 years – and carried on after Joe’s demise.

The requirement for the performers to arrive and leave in male drag also applied at the 181 Club/Club 82 in New York.   But not at Le Carrousel in Paris.  The Finocchios were strict, sometimes shouted at their employees and threatened blacklisting if a performer left without permission.  However the 181 Club/Club 82 was mafia owned – by the Genovese family - and if you crossed them, worse things could happen.   

I could not have written this without James Smith's  “Finocchio’s club: A San Francisco Legend” in  The Argonaut.