Time passes, people move.: July 2008

BRIEF Summary of Michelle Durden's Article:

In the article "Not Just a Leg Show: Gayness and Male Homoeroticism in Burlesque, 1868 to 1877" Durden discusses the importance and the impact of the late 19th century Burlesque show on establishing/connecting the developing "gay subculture." Durden feels that the historical view of Burlesque as a "Leg Show" has blinded researchers from addressing the homosexual undertones present in Burlesque during this time period. The examples of, homoerotic lyric, homosexual myths, and the "stock" characters of burlesque are given to support her argument. The "Gay Young Swell" and the "Fashionable Belle" are discussed in great detail (but I'll just summarize).

The Swell:

Usually marked by his elitist sense of fashion (gloves, top-hat, monacle, silken suite) the Swell was the pretty-boy of the show (usually played by an actress). The swell had a marked lisp/way of speech, and a distinct gait. "The Cheeky Little Cove" was an example of a variation on the swell given by Durden. He would be brash and bold, very frivolous with his spending. "The Pet of the Girls" was portrayed as very effeminate - a non-smoker, a lover not a fighter. *Note: The Swell is usually a little less hairy, and a little more human than canine.

The Fashionable Belle:

Aka - "the Queen of Society" aka "the girl of the period." Usually a male in drag, donning a wig, make-up and "stylish dress." He will usually stereotypically strike a feminine pose, and sometimes even mimic famous women in power such as "Susan B. Anthony, Lucy Stone, and Amelia Bloomer."

Durden goes on to explore the language used, and the double meanings behind the lyrics and dialogue in a number of shows. "'The Pet of the Girls,' wears a 'gay mustache all twisted to a hair,' spends his time promenading 'gay Broadway,' and refers to the gay life, singing 'to be a swell is weally gay, I pwactice it both day and night!' (Cooper 5). The swells not only look and act gay, they are gay."

Conversational points:
I first had a problem with the terminology used, as I know that the term "gay" as an identity didn't really come to be accepted widely until 1960-1970s. Though Durden justifies the use of this terminology stating that gay was seen as something enjoyable to partake in - a gay activity, not so much a gay identity.

The evolution of terminology in the "gay subculture" is very interesting. Scientific and cultural labels were placed on the "variants." Gay wasn't accepted culturally for quite some time, and the term homosexual wasn't even "coined" until 1869. Using a term out of cultural context is something I have a hard time with. Like calling the Greeks homosexual, the term didn't exist - the activity they engaged in was homosexual, yet to call them homosexual would be misrepresenting the culture of the time.

The term sexual invert is also an interesting idea - the cultural/scientific view of gay men being the opposite sex on the inside helped coin the term. Though even in the 1870s there were men seen as "normal" who engaged in sex with men - such as in the case of Dan (used in Durden's article):
"He always came home to tea...
Wherever he might be...
This man call'd Dan
This regular man
He always came home to tea."
Coming to tea, references the "tearoom trade" - which implies anonymous sex between two men. This implied meaning by a "nonsensical" song shows that some people in the audience were very savvy with this type of humor.

The presence of the "Fashionable Belle" is a huge indicator of homosexuality - the play on gender is seen by Durden as a direct reference to the "fairy" archetype established in the social culture of the 1870s.

Interesting influence: The Drag - by Mae West (1920). In her series of plays in the "Sex" performance. Takes on the idea of the fairy, or the invert and the degradation of society. The Swell makes an appearance in the character of Rolly Kingsbury. The "Fashionable Belle" is The Duchess/half the cast in the Third Act. West uses excess amounts of camp in portraying her "inverts." The men are often using female pronouns when addressing each other - and the term "mol." (Which I believe is a shortened form of Molly).

The idea of camp seems to permeate throughout the gay culture today - Drag Queens are still outrageous and comic, and the theatre is still a gay haven.

Notable "Drag Queens"
William Horace Lingard (1870) - Quick Change/Comedic Artist