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3 books match the query 'Male impersonators'

cover of Inventing Loreta Velasquez: Confederate Soldier Impersonator, Media Celebrity, and Con Artist

Inventing Loreta Velasquez

Confederate Soldier Impersonator, Media Celebrity, and Con Artist

William C. Davis

Southern Illinois University Press, 2016

She went by many names—Mary Ann Keith, Ann Williams, Lauretta Williams, and more—but history knows her best as Loreta Janeta Velasquez, a woman who claimed to have posed as a man to fight for the Confederacy. In Inventing Loreta Velasquez, acclaimed historian William C. Davis delves into the life of one of America’s early celebrities, peeling back the myths she herself created to reveal a startling and even more implausible reality.

This groundbreaking biography reveals a woman quite different from the public persona she promoted. In her bestselling memoir, The Woman in Battle, Velasquez claimed she was an emphatic Confederate patriot, but in fact she never saw combat. Instead, during the war she manufactured bullets for the Union and persuaded her Confederate husband to desert the Army.

After the Civil War ended, she wore many masks, masterminding ambitious confidence schemes worth millions, such as creating a phony mining company, conning North Carolina residents to back her financially in a fake immigration scheme, and attracting investors to build a railroad across western Mexico. With various husbands, Velasquez sought her fortune both in the American West and in the Klondike, though her endeavors cost one husband his life. She also became a social reformer advocating on behalf of better prison conditions, the Cuban revolt against Spain, and the plight of Cuban refugees. Further, Velasquez was one of the first women to venture into journalism and presidential politics. Always a sensational press favorite, she displayed throughout her life an uncanny ability to manipulate popular media and to benefit from her fame in a way that prefigured celebrities of our own time, including using her testimony in a Congressional inquiry about Civil War counterfeiting as a means of promoting her latest business ventures.

So little has been known of Velasquez’s real life that some postmodern scholars have glorified her as a “woman warrior” and used her as an example in cross-gender issues and arguments concerning Hispanic nationalism. Davis firmly refutes these notions by bringing the historical Velasquez to the surface. The genuine story of Velasquez’s life is far more interesting than misguided interpretations and her own fanciful inventions.
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cover of Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage

Just One of the Boys

Female-to-Male Cross-Dressing on the American Variety Stage

Gillian Rodger

University of Illinois Press, 2018

Female-to-male crossdressing became all the rage in the variety shows of nineteenth-century America and began as the domain of mature actresses who desired to extend their careers. These women engaged in the kinds of raucous comedy acts usually reserved for men. Over time, as younger women entered the specialty, the comedy became less pointed and more centered on the celebration of male leisure and fashion.

Gillian M. Rodger uses the development of male impersonation from the early nineteenth century to the early twentieth century to illuminate the history of the variety show. Exploding notions of high- and lowbrow entertainment, Rodger looks at how both performers and forms consistently expanded upward toward respectable—and richer—audiences. At the same time, she illuminates a lost theatrical world where women made fun of middle-class restrictions even as they bumped up against rules imposed in part by audiences. Onstage, the actresses' changing performance styles reflected gender construction in the working class and shifts in class affiliation by parts of the audiences. Rodger observes how restrictive standards of femininity increasingly bound male impersonators as new gender constructions allowed women greater access to public space while tolerating less independent behavior from them.

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cover of King of Hearts: Drag Kings in the American South

King of Hearts

Drag Kings in the American South

Baker A. Rogers

Rutgers University Press, 2022

While drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff.  
 
King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. 
 
Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.
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