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.

Finocchio’s – a nightclub: Part I: the early years

Original version, January 2010.

Part I: the early years

Part II: post WWII 

Part I: the early years

Joe Finocchio (1897 - 1986) was born in Italy.  His father Bernardo Finocchio emigrated to San Francisco, and at age 14 Joe, the eldest child, joined him. His first job was in the produce market at $2 a week.  He served in the US army during the Great War (March 1918-February 1919).  Alcohol Prohibition came in January 1920, and in August and September that year Joe working in a restaurant was arrested three times in Prohibition raids.  In the third, officers confiscated two truckloads of wine and whisky, as well as liquor from the tables. A search produced more liquor stashed in various places throughout the restaurant.  Joe was bailed at $1,000.   Also that year Bernardo visited Italy and returned with the rest of his children, two girls and a boy.  He now owned the Hotel Maxwelton at 515 Bush Street (near Grant Avenue), and Joe took over the management there. He also worked in a speakeasy owned by his father.

By early 1925 Joe was married, to Marjorie Faxon (1891-1956), a divorcee with a teenage son and an upscale beauty shop.  In 1929 Majorie Faxon Finocchio bought the 201 Club, a speakeasy at 406 Stockton Street in the Tenderloin.  Joe worked there part-time.  The club attracted a mixed gay-straight crowd including writers, artists and thespians.  Some would perform for their friends, and as such for the other customers.  One night a customer in mufti performed an imitation of the legendary Sophie Tucker. This gave Joe and Marge the idea of a nightclub with men performing with all the glitter, sophistication and glamour of sophisticated women.   Initially the show was a female impersonator paired with a exotic dancer – hula or Chinese.  This arrangement attracted a gay clientele.  Harry Hay, the future gay activist, met men there. 

Elsewhere in California: 1932 had been a peak year for pansy revues (which featured female impersonation) with appearances in Los Angeles by Karyl Norman and Jean Malin, and the next year Hollywood made a record number of films with pansy content. However, from 1932 onwards, and especially after the end of Alcohol Prohibition in 1933, the Los Angeles Police Department (LAPD) started busting the pansy clubs. BBB's Cellar and Jimmie's Back Yard were raided repeatedly. The raid on The Big House in fall 1932 met resistance: the patrons fought back and a female impersonator attempted to escape through a window. The bar, renamed Buddy's Rendezvous, reopened, and the police returned eight months later and arrested five transvestites on vagrancy charges. In November 1933 another raid on Jimmie's Back Yard resulted in 90-day sentences for the owner, the mistress of ceremonies and the piano player. Three other female impersonators were each sentenced to six months – the maximum penalty. Harold Brown, arrested on suspicion of posing as a narcotics officer, was discovered to be female bodied and got a suspended 30-day sentence for masquerading. Three pansy bars were shut down in 1936, and another three the next year. Frank Shaw, the Los Angeles Mayor, ran a notably corrupt administration from 1933 until he was recalled in 1938. He was opposed by Clifford Clinton, a restaurateur, who with others filed a grand jury report that led to the recall. Part of Shaw's fight back was to step up the attack on 'sex pervert' bars.

With the repeal of Prohibition, the 201 Club had been able to promote itself more openly, and they hired more dancers and expanded the floor show. Freddie Renault, with experience in ballet and musical comedy joined the cast.

However performers mixed with the customers, and were paid on a percentage basis. This was not permitted by new police regulations.  San Francisco Police Chief William Quinn announced , “Lewd entertainers must be stopped!”  In the early morning of July 20, 1936, the 201 Club was crowded, and five female impersonators were doing a dance routine followed by a ‘vulgar parody’.  A police officer took the microphone and announced: “This place is under arrest. Patrons will not be molested. Those who have nothing to do with this place may leave without fear of arrest.”  120+ patrons quickly left.  10 persons remained, and were taken to the Hall of Justice.  Joe and Marge Finocchio and Jack Peterson the club manager were charged with keeping a disorderly house, selling liquor after 2:00 a.m., and employing entertainers on a percentage basis. However as the raid took place at 1:45 the Finocchios were able to challenge the charge of selling after 2:00.  The performers, Walter Hart (the male Sophie Tucker), Carroll Davis, Eugene Countryman, Jack Lopez, Dick Vasquez, and Frank Korpi were booked on vagrancy charges, a $1,000 fine.  The following day, the municipal judge  sentenced Hart and Davis to 30 days in the county jail.  The arresting officers said that Eugene Countryman took no part in the singing, so he was given a thirty-day suspended sentence. The Judge dismissed charges against the other performing defendants. The Finocchios asked for a jury trial, charging that the undercover police specifically requested songs in contention.  Apparently a settlement was reached in that there were no further reports in the press.

The publicity brought in even more customers.  That November there was a write up in the Chronicle on Joe Finocchio when he flew to South Bend, Indiana via Chicago to purchase a luxurious Studebaker Dictator Coupe, and drove it back to San Francisco, a trip that took six days.

The Finocchios realized that tourist business was the growth portion of their clientele, and, as such, being located in the seedy Tenderloin was a problem. They elsewhere found a suitable nightclub space with a stage and orchestra pit at 506 Broadway above Enrico’s Café.  There was an outside stairway for easy access.  The sign outside was now ‘Finocchio’s’ and the club opened 15 July 1937.  They hired more impersonators, and enlarged the band to five performers. Marjorie planned the entertainment on a grand scale. She booked the finest entertainers, supervised and planned elaborate productions. Joe dealt with the drinks, and negotiated with the police. The club was allowed to exist because it became a tourist attraction, a symbol of the city’s sophistication. Joe had to promise the police that the entertainers would not mingle with the customers. Tourist magazines billed Finocchio’s as ‘America’s most unusual night club’. The club had always included ethnic impersonators, and this continued. Li-Kar did a Geisha dance; Billy Herrero recreated Hedy Lamarr in the film Algiers, 1938;  in 1940 the club developed an Argentine feature; later Juan Jose did a flamenco dance; Reene de Carlo a hula dance; Bobby de Castro did a striptease in a gorilla costume (this was supposed to be Cuban).    Top female impersonators were booked.  They advertised as “Where the entertainment is different, and how”.  That the performers were female impersonators was an open secret, but was not admitted within the show until the end when performers as per tradition removed their wigs.

Herb Caen, who would become a celebrity columnist at the San Francisco Chronicle and was noted for his sarcasm, joined the paper in 1938.  He often referred to Finocchio’s as the Italian-Swish Colony.  His put-downs of the club were taken in good-humor and were after-all publicity for the club.  The February – October 1939 Golden Gate International Exposition, a World’s Fair was held on an artificially built island in San Francisco Bay to celebrate the two new bridges, the San Francisco–Oakland Bay Bridge and the Golden Gate Bridge. Although not part of the Exposition, Finocchio’s benefited by being the main attraction down town. 

In late 1939, a newly hired waiter, George Dasch, was causing disruption in the kitchen by arguing the Nazi cause.  Marge quickly fired him.  (In 1942, he returned to the US as part of the Third Reich’s Operation Pastorius. Dasch betrayed his colleagues and defected to the FBI.  Most of the team were captured, tried and then executed.  Dasch, despite his defection, was sentenced to 30 years, but released and deported after 6.)

Marjorie

The ‘After Dark’ column in the Chronicle declared in January 1941 that Finocchio’s was one of the places that made San Francisco famous. In September 1941, Herb Caen was repeating gossip that the Finocchios had “rifted to the point where they’re discussing property settlement”, and the next day the Chronicle reported “Mrs. Joe Finocchio, soon-to-be-divorced wife of the No. Beach night club operator, fell off her new boat in the bay the other day – and was rescued by a sailor who got to her just in time”.  Joe had been seeing Eva/Eve Filippis, a recent immigrant from Italy, who had given birth to a daughter 1 February 1941 whom she named Concetta Finocchio.  It was claimed that Marjorie had divorced Joe for ‘extreme cruelty’ in 1941 and that then Joe and Eve were married – however recent researchers have failed to find the records.  Joe and Marge continued to live at the same address.  Marjorie made it very clear that Eve Filippis was never to enter the club.

Other than that, there was a little trouble at the club during the war years.  Many civilians moved to San Francisco to take jobs in the shipyards.  Accommodation was available in the Fillmore district from which the Japanese-Americans had been interned. The still underage Tony Midnight, who was working in munitions during the war, snuck into Finocchio’s using fake ID.

In 1942 military authorities declared Finocchio's "off limits" for selling liquor to WWII military personnel outside of authorized hours. That temporary sanction was lifted New Year's Eve 1943 after Joe Finocchio and other bar owners signed an agreement to limit liquor sales to military personnel to between 5 pm and midnight. Beer could, however, be sold between 10 am and midnight.

Despite the growing rift between Joe and Marjorie, they continued to collaborate and in March 1943 opened a new lounge adjacent to the main auditorium.

Harvey Goodwin moved to San Francisco and became a performer at Finocchio's night club.

Rae Bourbon had been arrested during a police raid while broadcasting live from Tait’s in San Francisoco in 1933.  A decade later she was back in town and headlining at Finocchio’s, as was Karyl Norman, billed as the highest paid female impersonator at the time.

In late 1941 Tex Hendrix from England became the emcee. He wowed the audiences by changing evening gowns for each of his 12 acts.

The ex-tight-rope walker from Barnum and Bailey’s circus, Nicki Gallucci came to sing at Finocchio’s.  Gallucci was a natural soprano, the only male coloratura soprano capable of reaching high D above middle C.

Carol Davis often sang in a tux behind the Theatre Bar.  His act was to look like a woman dressed like a man.

The 1944 program designed by Ki-Lar

In 1945 there was a rumor that Errol Flynn, David Niven and two others had taken Finocchio’s Pussy Katt (then aged 16) and friends back to a hotel suite at the Fairmont for a night of ‘debauchery’. Gossip columnist Louella Parsons heard this, but couldn’t use it. Howard Hughes who had first met Katt when he escorted Ava Gardner to Finocchio’s, returned for another meeting, and became her lover. Later Hughes flew with Katt to Mexico City for an operation that made her America's first surgical transsexual, and she was paid $50,000. Afterwards he installed her in a villa in the new resort of Acapulco, and repeatedly visited her for almost two years.

Pre-Stonewall Trans peer-support groups

Outside of Europe and the Americas peer-supporting trans groups have thrived for millennia, the Hijra in India and the Kathaoy in Thailand being the best known. Many of the First Nations across the Americas had two-spirit roles with community support, but were repressed by European colonialism. The major trans community in the Roman Empire was the Cybele worshipping gallae, but they were repressed in the 4th century with the Christianisation of the Empire.

This account is of the recovery of trans communities in Europe and North America.

Peer-support groups as we know them do not appear until after WWII, but earlier trans persons sought out each other at clubs and balls and in select publications, and also found each other in unexpected places like POW camps. The major Female Impersonation nightclubs are also listed here, even where cross-dressed customers were discouraged, in that there was often back-stage peer support and information exchange for the performers re clothing and makeup, and later hormones and surgeries.

See also Three Centuries of Police raids.

1709 onwards Molly Houses

A new development in the early 18th century was that of houses where queers, some of them transvesting, sought their own kind. Their dressing was distinctly different from the cis cross-dressing found in the masquerade balls, and their gender-role sexual activities were very different from the heteronormative sodomy that had been common until that time. 

1860s Fanny and Stella

Fanny and Stella were the best known of a circle of trans women who frequented fashionable places in and around London, until Fanny and Stella were charged with 'conspiring and inciting persons to commit an unnatural offence'. Sodomy was not proved, and their acquittal established that transvesting was not a crime in England. GVWW

1897 - 1917 Storyville, New Orleans

The District, a 38-block area, was designated as the part of the city in which prostitution would be tolerated. This had been proposed by Alderman Sidney Story and the area became known as Storyville. Miss Big Nelly was the Madam of a gay brothel. The Frenchman’s was a small jazz club which was popular with trans women. The District played an important part in the evolution of early jazz, and was an area where queer persons were more comfortable.

1914 - 1918 Prisoner-of-war camps

All-male POW camps had theatricals and needed persons to play female roles - some of whom stayed in role off-stage. A major example was the German officer Emmerich Laschitz held in the Siberian camp of Achinsk until 1920.

1919 - 1933 Institut für Sexualwissenschaft, Berlin

In addition to Magnus Hirschfeld’s general support for trans persons, some also lived at the Institut, of whom the best known are Dörchen Richter, Toni Ebel and Charlotte Charlaque.

1920s Club D’Eon in Berlin

A transvestite social club. Hirschfeld’s associate Felix Abraham was on the committee.

1922 - 1923 Eldorado, Berlin

Three dance halls opened sequentially and run by Ludwig Konjetschni, where trans persons were welcome. GVWW.

1923 - 1941 London Life

The major British publication between the wars that paid attention to cross-dressing and similar topics and printed readers’ letters on such. Google Books.

1923 - 1938 the Faggots’ Ball or the Dance of the Fairies at the Hamilton Lodge, Manhattan.

This became the most popular gay event in town, attended by both black and white queers, and also artists and writers. About 800 attended in 1925 and fifteen hundred in 1926. Growing numbers of spectators attended not to dance but just to gawk, particularly at those in dresses. Three thousand spectators in 1929 watched two thousand dancers, and in the next few years a total of up to seven thousand spectators and dancers attended. GVWW.

1926 DamenKlub Violetta, Berlin

Run by female transvestite Lotte Hahm.

1929 Transvestitenvereinigung D`Eon, Berlin

Founded by Lotte Hahm for both male and female transvestites. This was so successful that a few weeks later they had to find a larger meeting place. Later the Association had its own dance events at Violetta. Its events were reported in Die Freundin.

1930s - The Lady Austin Balls, London

Mainly “Hotel Staff Dances” in private ballrooms attended by domestic servants and hotel staff, mainly men, but many cross-dressed. In 1932 it was raided and 33 men and 1 woman were arrested. GVWW,

1933 - 1940 La Paloma Club, outside Miami

A club of which it was said that the clientele included “homosexuals in evening gowns, trousered lesbians, and prostitutes”. It acquired nationwide fame in1937 when it was raided by the Ku Klux Klan. It was finally closed on charges of under-age heterosexuality. GVWW.

1933 - 1999 Finocchio’s, San Francisco

The most glamorous of the US Female Impersonation clubs, popular with celebrities and with tourists. It ran for 66 years, and most professional drag artists appeared there. GVWW.

1935 - 1950s. The Finnie Balls, Chicago

Following the raid on the Cabin Inn, Alfred Finnie organized a small extra ball on the South Side at 25¢ to get in, mainly attended by blacks. Each year it grew, and by the 1950s Finnie’s Balls attracted thousands both gay and straight, black and white, and was featured in Jet and Ebony magazines. Apart from the balls, Alfred worked as a club doorman and street hustler. He was killed in a gambling brawl in 1943, but the balls continued in his name. GVWW.

1939 - 1945 WWII Prisoner-of-war camps

As in WWI, all-male POW camps had theatricals and needed persons to play female roles - some of whom stayed in role off-stage. A major example was Bobbie Spong in Changai camp, Singapore.

1939-1972 The Jewel Box Revue, touring US

The Revue toured for 30 years, was racially integrated and was the best known drag show of its kind in the US. GVWW.

Mid 1940s - 1975 The Phil Black Funmaker Balls, Manhattan

The precursor of the later Voguing balls. GVWW.

1944 - mid 1950s Soldiers-in-Skirts Revues, England touring

About the only option in England at the time where assigned males could wear female clothes outside their homes. You had to have some inclination, if not actual talent, towards singing and dancing, although you did not have to have actually served in the forces. The first such show was actually a US import, Irving Berlins' This is the Army, which played the London Palladium for four nights in 1944. The initial idea had been to put men into dresses to make them look dreadful, but that soon started to change because the audience liked the prettiest ones best - which much suited the performers.  GVWW.

1947 - 1985 Le Carousel and Madame Arthur, Paris

Two clubs owned by Marcel Ouizman. While originally the performers had been the type who changed to male clothing before leaving, increasingly they were replaced by trans women who lived as women full time, took hormones and went to Casablanca for surgery. They were a community that shared advice and support, and exchanged addresses of doctors and electrolysists. Hormones were available in pharmacies without a prescription at that time. They also toured five continents, bringing an inconceivable example to countries where transgender surgery was not at all available.

1946 - 1956 The Garden of Allah, Seattle. 1946-1956

Seattle's most popular gay cabaret and one of the first gay-owned gay bars in the US. Local talent was encouraged. Unlike Finocchio’s in San Francisco, local queers were encouraged to attend, and amateur night contestants were often encouraged to become performers. GVWW.

1945 - 1981 Marie Schwidenhammer, Paris

After release from a German concentration camp and a forced resignation from the French Army, Schwidenhammer started living as female. She obtained diplomas in para-medical specialities and practiced as a masseuse therapist nurse, mainly in Paris. She was in contact with most French transsexuals and transvestites. It was she who happened to meet La Carousel star Coccinelle by chance on a train, and informed her of hormones, and of the possibility of transition. GVWW.

1944 - 1978 Louise Lawrence, San Francisco

The mother of trans organizing in the US. She networked with the performers at Finocchio’s, the homophile Mattachine Society, and educated professionals Karl Bowman, Alfred Kinsey and Harry Benjamin, and put trans women in touch with each other. GVWW.

1949 -1972 Club My-O-My, New Orleans

A performance venue in the West End of the city on the edge of Lake Pontchartrain. This was far enough out to avoid city rules and police harassment. For several decades it was a popular tourist stop. In 1972 the building was destroyed in a fire.  White performers and audience only. 

1945 -1969 the Dew Drop Inn, New Orleans

Renowned for music, drag and cross-dressing by performers, bar staff and customers. Patsy Vidalia hosted the Gay Halloween Ball each year. Unlike Club My-O-My not racially segregated.

1946 - 1973 Justice Weekly

A Toronto Tabloid that was published weekly with accounts of international criminal trials, but also accounts of and letters from readers re homosexuality, cross-dressing and fetishism.

195? - 1963 Chevalier D’Eon Resort, NY State

A country home in the Catskills, owned by Susanna Valenti and her wife Marie. It was an isolated 150 acres with a main house, a barn and several snug but unheated bungalows. For $25 ($200 in 2022 money) a weekend visitor from the city got food and board and lessons in passing as female. Of particular note is the gathering there of 71 transvestites at Halloween 1962 dominated by Virginia Prince. GVWW.

1958 - 2008 Chez Nous, Berlin

A nightclub at Marburger Straße 14 in Charlottenburg, the oldest surviving Travestietheater in West Germany. It was featured in the Michael Caine/Harry Palmer espionage film Funeral in Berlin, 1966. GVWW.

1959 - 1967 National Pageants, 1959, US touring

Jack Doroshow/Flawless Sabrina, drag performer and organizer of pageants. Through his company, The Nationals Academy, Jack organized 46 pageants a year from 1959-1967. As local laws almost always prohibited cross-dressing, he would meet with officials and propose a charitable donation, and in return the town would pass a variance to permit the pageant. Usually the town officials did not understand that local people would be performing. The 1967 finals held in New York was a much bigger affair. The Muscular Dystrophy Association was announced as the charity, and Lady Bird Johnson, the President’s wife, and Robert Kennedy as co-sponsors, but they quickly dropped out as the nature of the event became clearer. The event was filmed as The Queen, 1968, which was a sensation at the Cannes International Film Festival. GVWW.

1959 - 1986 Transvestia Newsletter

Published by Virginia Prince and sold by subscription and later in adult book stores. It would become influential in introducing heterosexual transvestites to each other.

1960 Hose and Heels Club, Los Angeles

The first group organized by Virginia Prince.

1962 Full Personality Expression (FPR), Los Angeles and then nation wide.

Virginia Prince attempted to organize Transvestia's readership into a nationwide group. FP (from FemmePersonator) also stood for Full Personality. What was needed was Full Personality Expression (FPE). That was Hellenized into Phi Pi Epsilon in the fashion of university sororities. The Hose and Heel Club became the Alpha Chapter. Homosexuals, transsexuals and fetishists were not admitted. Soon afterward there were three other FPE chapters: Beta in Chicago, Delta in Cleveland, and Theta in Madison, Wisconsin. GVWW.

1960s Stella Minge was running the last Molly House in Silvertown, London.

A queen herself, she often encouraged younger queens. GVWW.

1964 - 1969 Casa Susanna, NY State

In 1963, Susanna and Marie sold their resort property as it was unprofitable. In early 1964 they bought another 150 acre property with a large house, close to Hunter, New York. This became Casa Susanna, and like the Chevalier D’Eon Resort was frequented by the transvestite crowd. GVWW.

1964 - 1977 Erickson Educational Foundation (EEF)

Reed Erickson, trans man, scion of wealth, philanthropist, founded the Erickson Educational Foundation (EEF), financed entirely by himself. He employed Zelda Suplee to run the EEF. She met with transsexuals and others who asked for help, and Erickson made the final decision whom to donate to. The EEF financed gay and trans organizations, and research into New Age activities such as acupuncture, homeopathy, dolphin communication and altered states of consciousness. The EEF published booklets on various aspects of transsexuality, sponsored addresses to various professionals, and sponsored two of John Money’s books, and three of Vern Bullough’s. It donated money to the Harry Benjamin Foundation, until Erickson fell out with Benjamin in 1968. It subsidized the transsexuality program at the Johns Hopkins Gender Identity Clinic. It sponsored three symposia that grew into the Harry Benjamin International Gender Dysphoria Association (HBIGDA).         GVWW.

1965 l'Aide aux Malades Hormonaux (Amaho), Paris

Marie Schwidenhammer managed to register under the French law re voluntary associations.

1965 Dewey’s Coffee Shop, Philadelphia

Dewey's was a Philadelphia chain restaurant. The Dewey's at 208 S 13th St was the 'fag' branch where drags queens, hustlers, lesbian and cops ate and drank side by side. The other branches, especially the 17th St branch wanted it that only the 13th St branch be so. They started refusing service to known homosexuals and "persons wearing non-conformist clothing". 150 protesters staged a sit-in and the police were called. 3 protesters were arrested. At a second sit-in a week later the police declined to take any action, and the management agreed to end discrimination.

1965 onwards. Beaumont Society, England

Alice Purnell, Alga Campbell from Dublin, Giselle, a US expatriate, and Sylvia Carter, met in 1965 and agreed to found the Beaumont Society which was initially much the same as Prince’s FPE.

1966 Compton’s Cafeteria, San Francisco

This branch of Compton's was one of few places in the city where trans persons could go. However the staff started calling the police to arrest trans persons. By August a picket was launched. One night friction exploded into riot, dishes were smashed and the windows were smashed. The next night was a repeat.

1967 Change: Our Goal

A peer-support group in San Francisco. However it lasted only a year or so.

1968-1973 National Transsexual Counseling Unit

A peer-run counseling service established in San Francisco. Funded by EEF.

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

Of course, after Stonewall, many peer support groups were founded. 

Francis Blair (1913–?) performer

Charles Schultz was born in West Seattle. By early teenage, Schultz had acquired a trunk full of female clothing, and often rode on the city streetcars where she passed easily.

She got work at the local Florence Theatre. Her family and friends were aware, and proud of her professional photographs. She took the stage name of Francis Blair.

In the 1930s Francis was in the chorus line of the Rivoli Burlesque. Her gender was known and her dressing space was separated from that of the cis women by a screen. She sometimes played the organ for the show.

She was in the dishwashers’ union in case no theatre work was available; she was an officer in the performers’ union.

Very unusually for the time, Francis wore her hair long, and did not have to wear a wig. When out in male persona, he concealed it under a hat.

Francis was one of the first performers to join the Garden of Allah in 1946. Syndicated columnist Walter Winchell wrote about Francis as ‘the boy with the million-dollar legs”. She was known for her singing, but also danced, stripped, produced shows and designed costumes.

During the Korean War, Francis did shows for the United Service Organizations (USO) which provided entertainment for the US Military. A rather prim hostess of the show had a fit when Francis stripped down to only a G-string.

She was also a comedian and in contrast to her usual glamor act did a double act with Kenny Bee as ‘Two Old Bags from Tacoma’ where they wore old clothes with holes in their stockings. They took that act to Finocchio’s in San Francisco as ‘Two Old Bags from Oakland’.



Years later, Francis and her husband of 20 years took a vacation in San Francisco, and they were attacked in Golden Gate Park. The husband and their dog were killed. Francis was left to drive home to Seattle alone, and was killed in a car crash in Oregon.

*Not Charles Schultz the cartoonist.

• Don Paulson. “Gay History: Francis Blair - Seattle's quintessential female impersonator”. Seattle Gay News, no date. Online.
• Don Paulson & and Roger Simpson. An Evening at the Garden of Allah: A Gay Cabaret in Seattle. Columbia University Press, 1996: 135-141.
• Gary L. Atkins. Gay Seattle: Stories of Exile and Belonging. University of Washington Press, 2003: 63.
• Melissa Gohike. “San Antonio’s Drag Culture of the 1930s and 40s”. The Top Shelf, October 22, 2012. Online.

Queer Music Heritage     David de Alba     

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

As with Jackie Starr, there is no mention of Francis in either Lawrence Senelick's The Changing Room or F Michael Moore's Drag! Male and Female Impersonators on Stage, Screen and Television.


It is odd that we do not have a date, not even a year, for Francis’ unfortunate demise.

A miscellany of unknowns

The Garden of Allah, a gay-owned cabaret was open in Seattle 1946-56. It featured mainly female impersonation, though some male impersonators also performed.

Bill Plant took the name Peewee Nattajon in homage to an older performer called Nattajon (born 1895, died late 1960s). The elder Nattajon had been a character actor. Bill Plant says that he was in 13 Hollywood movies, including Beauty and the Beast and The Picture of Dorian Gray. However there is no Nattajon listed in IMDB. He is probably listed under another name – but which?
____________________________

Finocchio’s, the famous San Francisco nightclub that featured female impersonators, was owned by Joe and Marjorie Finocchio. Marjorie died in 1956, and Joe remarried to Eve. Rachel Harlow in Philadelphia was also born with the Finocchio name. No relationship has been established between them.

Concetta Finocchio Jorgensen (1941 – 2012) daughter of Joe and Eve Finocchio had a short failed marriage that left her to raise four children alone. She worked doing publicity for her parents’ nightclub, but later was afflicted by MS, and became a disability activist. The husband who left was called Jorgensen. Surely not a relative of Christine? Probably not, but it is intriguing to find two of the most famous names in TG history born by the same person.

____________________________

Who is Gregory G Bolich?

The Amazon Author Page lists only the following:

Karl Barth and Evangelicalism, 1980
Authority and the Church, 1983
Christian Scholar: An Introduction to Theological Research, 1985
God in the docket: The problem of good and evil, 1992
Psyche’s child: The Story of Psychology, 2000
12 Magic Wands: The art of Meeting Life’s Challenges, 2002

WorldCat tells us that Bolich did a Ed.D, at Gonzaga University in Spokane in 1983: On dating James : new perspectives on an ancient problem, and a PhD at the Union Institute in Cincinnati in 1993: Serving human experience : the boundary metaphor.

He also has several book published through Lulu, but not listed in Amazon.

Scripture Study and Scholarship, 2015
Brick by Brick on the Road through OZ: Recovery from Sexual Abuse Trauma, 2007

Transgender and Religion, 2009
Transgender Realities, 2009
Transgender and Mental Health, 2013
Crossdressing in Context (5 volumes) 2007-2010
Asaph’s Dream (a US Civil War novel), 2011
Conversing on gender: a primer for entering dialogue, 2007

There is no web site for GG Bolich, and no reviews of his books. The transgender books are much more expensive than the theological ones. His books are not in the library. If I were to purchase his transgender works it would cost me hundreds of dollars. I cannot find any reason why I should do so. Does he have anything original to say, or are his books a regurgitation of the usual stuff? I do not know. How would I find out?

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

Toni Ebel, post-op Hirschfeld patient in Berlin, fled Germany in 1934 after the Nazi takeover. She arrived in Czechoslovakia, claiming to be a Jewess. She settled in Prague using the name Antonia Ebelová. In 1937 she moved to Brno. Karl Giese, Hirschfeld’s lover, had also fled to Brno.

In October 1938, Nazi Germany occupied the Sudetenland; in March 1939 Germany occupied the rest of Czechoslovakia.

Giese killed himself before the Germans got him. Somehow Toni Ebel survived the war, and in 1949 became a citizen of the newly created German Democratic Republic (DDR). She was able to claim compensation from the DDR as a victim of Nazism. She was a minor painter and was recognized at the Akademie der Künste in East Berlin. She died in 1961 at the age of 80.

We do not know how she survived the Nazi occupation.

_____________________

In the photographs included in Harry Benjamin’s The Transsexual Phenomenon, 1966, the 6th and 7th pages (not in the PDF version) are the before and after of an actor, both in a stereotyped pose more typical of silent films than of the 1960s. This actor has never been named. How an actor can transition in stealth and keep working is intriguing.

The US trans actors of the 1960s such as  Candy Darling were non-op (however, of course, several of the stars of Le Carrousel in Paris were in films in at that time). The first US trans actor known to have surgically transitioned was Ajita Wilson who did so in the mid-1970s. The unnamed actor in the photograph is the true pioneer in her field, and we know nothing of her.

____________________

Harvey Goodwin (1912 – 1992) performer

Harvey Wilson Goodman was born in Little Rock, Arkansas. He suffered from tuberculosis from an early age. He was interested in theatre and his father made a makeshift stage for him out of canvas and drapery.

After he graduated from high school in 1930, he quickly made his way to Washington, DC where he was employed as a clerk in the Bureau of Public Health. He also studied music and dance, and built up a female wardrobe. He first appeared as a female impersonator at a dance recital in 1933.

The City Slicker, 1936

He resigned from the Bureau of Public Health in 1934 when he was hired by Club Richmond in New York City, where he adopted the stage name of Harvey Lee. Lee played the part of a female performer in a Warner Bros-Vitaphone movie, The City Slicker. He was billed as the male Jean Harlow.

However in 1936 he was rushed to hospital with a 104-degree fever and was diagnosed with tuberculosis. He was in a sanatorium until 1941. Harvey then returned to Arkansas and worked as a clerk at an army base.

Word got out about his show-biz experience and he was coaxed to perform, which his drag persona did in 1942 at the Arkansas Ordnance Plant to a capacity crowd of 5000 with two full orchestras. He did three more victory balls.  In 1943 he moved to San Francisco and became a performer at Finocchio's night club. In 1945 Harvey acquired a white borzoi (Russian wolfhound) whom he then featured in his act. He toured with the Jewel Box Revue, performed at the My-O-My club in New Orleans and the Moroccan Village in New York, and won first prize for female

impersonation at the 1952 Mummers Parade in Philadelphia.

In 1952 he had another bout of tuberculosis. Until 1957 he worked in clerical positions in New York. Harvey Lee performed on stage in France and Germany, but he returned to clerical work again the next year. In 1964 Lee returned to Finocchio's to be the MC, and then worked sporadically in California. He retired in 1984.

After the 1989 San Francisco earthquake Goodwin returned to Little Rock, where he was honored as a judge of the Miss Gay Arkansas Pageants.

He died at age 81.

• Vincent Astor. “The Incomparable Mr. Harvey Lee.” The Triangle Journal, July 1992: 20.
  
• "Biographical Note". Harvey Goodwin Collection, 1913–1992. Center for Arkansas History and Culture. University of Arkansas at Little Rock, Little Rock, Arkansas. www.ark-cat.com/browse/fulldetail.aspx?id=1636.
  
• Brock Thompson,. The Un-Natural State: Arkansas and the Queer South. Fayetteville: University of Arkansas Press, 2010: 35-8, 61-2
  
• Kaye M. Lundgren. "Harvey Wilson Goodwin (1912 – 1992) aka: Harvey Lee". The Encyclopedia of Arkansas History & Culture, 2013. www.encyclopediaofarkansas.net/encyclopedia/entry-detail.aspx?entryID=6510.
  
• Vincent Astor. "Harvey Lee". Find a Grave, 2007. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=21546691.
  

William Stoffler (192?–?) stock broker, showgirl.

In the late 1940s, William Stoffler was a San Francisco stockbroker. Noted for his good looks, he was married to Helen, who was very suspicious.

Unknown to his wife, Stoffler was a transvestite performer and a dancer at Finocchio's, from where his female persona was dating millionaire Howard Hughes (See also Pussy Katt). Helen followed her husband one night and found out about his private life.

She filed for divorce, her private detective discovered Hughes' involvement, and she was to cite him in her divorce petition.. A minion of Hughes made considerable payments to both parties to keep his name unmentioned. Hughes also discontinued the affair.

• Darwin Porter. Howard Hughes, Hell’s Angel: America’s Notorious Bisexual Billionaire, The Secret Life of the U.S. Emperor. New York: Blood Moon Productions 2005: 733-4.

Ray Bourbon (?1892 – 1971) performer.

Born possibly as Hal Wadell in Texarkana, Texas in 1892, or as Ramon Icarez near Chihuahua, Texas in 1898, Ray Bourbon enjoyed embellishing his life story. He claimed that his first lover was the ranch foreman who was subsequently murdered, that Pancho Villa helped his mother at this time, and that he ran guns (in drag) for Pancho Villa, as the mysterious ‘La Senora Diablo’, that he was the illegitimate son of Franz Joseph of Austria and Louisa Bourbon, and that he was a student at the Tulane Medical School in New Orleans.

It does seem that he was in England in 1913 and managed to get small roles in shows in Music Hall. He returned to the US in 1917, and began using the name Ray or Rae Bourbon. He married for the first time, and a son was born in 1918.

Ray may have won a Photoplay contest resulting in work at a Hollywood studio. He had cameos in a variety of silent films, including as the stuntman for Estelle Taylor and a stand in for Clara Bow. He has been identified in some of the Rudolph Valentino pictures, and played an old woman in Pola Negri’s Bella Donna, 1923. As Ramon Icarez he was a ‘fire dancer’ at the opening of the Los Angeles Coliseum in 1923.

In the mid-1920s he was working with Bert Sherry and later toured with the Martin Sisters. By 1932 he was working fulltime as a female impersonator. His performance at Tait’s in San Francisco in 1933 was being broadcast live when the club was raided by the police. He was one of the big names of the Pansy Craze of the last years of Prohibition. He had a small role as a dancer in the film Golddiggers of 1937. He worked at Finocchio’s drag nightclub in San Francisco, and with Mae West in her shows Catherine was Great, 1944, and Diamond Lil, 1948.

After arraignment, 1956  Beverly Hills

In 1956 Rae claimed he had approached Johns Hopkins Hospital to have had a sex change, but was told that it was impossible. He then went to Dr Emerick Szekely, a Hungarian refugee from the Nazis living in Juarez, who had performed the operation. Rae at different times claimed that she had had the operation to avoid cancer, and to avoid local laws against cross-dressing. However he still stood to urinate, and off-stage still lived as man. In a club in West Hollywood in 1956, Rae was billed as ‘not a female impersonator’, and was charged and convicted of impersonating a female.

Rae was also charged with female impersonation in Seattle, El Paso and New Orleans in the next few years. However in Miami she was arrested for impersonating a man.

In the mid-1960s he toured with the Jewel Box Revue. He released dozens of LPs, probably more than any other female impersonator. He toured more than other female impersonators, and for many gay men in the US at that time, Ray Bourbon was the only drag act that they ever saw.

In 1967 his car caught fire in Texas. Rae saved his dogs, and lodged them with Blount’s Pat-A-Zoo. Rae couldn’t pay the bill and A.D. Blount sold them for medical research. Rae was upset by this and wrote to the Governor of Texas and the newspapers about it. In December 1968, two young acquaintances drove Rae’s car to Texas using his money, and, while roughing him up, one of them killed Blount. The two young men were convicted of murder with malice, and Rae, accused of paying the men to kill Blount, was convicted of accomplice to murder. Rae was 75 and in ill health: he had a serious heart attack while awaiting trial. He was sentenced to 99 years in prison.


He accidentally escaped once when a door was left open, but merely went to sleep around the corner. He obtained a typewriter from his lawyer, and started writing his memoirs. He wrote 300 pages before dying of leukemia complicated by a heart condition.

He was married twice to women, and fathered a son. He had both male and female lovers, and was said to fancy young men, but never referred to himself as gay or bisexual.

• “Female Impersonator Gets Sex Operation in Juarez”. El Paso Herald-Post. May 23, 1956. Online at: www.queermusicheritage.us/drag-bourbon3.html.
• George Capozi Jr. ‘Female Impersonator Needn’t Fake Again – Says Surgery Made Him a Her’. New York Journal America. May 28, 1956. On the back of the LP sleeve to Let Me Tell You About My Operation. Online at www.coolcatdaddy.com/bourbon-doc-operat-ja.jpg.
• Rob Cole. “Death in prison for the queen of them all”. The Advocate. November 11-24, 1970. Online at: www.queermusicheritage.us/drag-bourbon6.html.
• “Jail ‘escape’ bitter irony; Bourbon wishes he’d been shot”. The Advocate. Dec 23-jan5, 1971. Online at: www.queermusicheritage.us/drag-bourbon6.html.
• “Rae Bourbon dead of leukemia at 78”. The Advocate. August 18-31, 1971. Online at: http://www.queermusicheritage.us/drag-bourbon6.html.
• Dick Leitsch. “The Life of Rae Bourbon: ‘One Man’s Meat is Another Man’s Cigar!’ “. Gay. September 13, 1971.
• Rae Bourbon. The Autobiography. Unpublished. 300 pp 1971. Summary at: www.coolcatdaddy.com/bourbon-autobiography.html.
• Don Romesburg. Ray Bourbon : a queer sort of biography. PhD University of Colorado. 2000.
• Randy A. Riddle. Don't Call Me Madam: The Life And Work Of Ray Bourbon. www.coolcatdaddy.com/bourbon.html.  Includes discography, and a list of possible films.
• Joanne Meyerowitz. How Sex Changed: A History of Transsexuality in the United States. Cambridge, Ma, London: Harvard University Press. 363 pp 2002: 86, 89.
• “Ray Bourbon” in “Pansy Craze”. Wikipedia, the free encyclopedia. en.wikipedia.org/wiki/Pansy_Craze#Ray_Bourbon.