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Drag culture of Los Angeles: intangible heritage through ephemeral places

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Drag culture of Los Angeles: intangible heritage through ephemeral places

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Content DRAG CULTURE OF LOS ANGELES:
INTANGIBLE HERITAGE THROUGH EPHEMERAL PLACES
By
Jesús Barba Bonilla
A Thesis Presented to the
FACULTY OF THE SCHOOL OF ARCHITECTURE
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF HERITAGE CONSERVATION
May 2024

ii
Dedication
This work is dedicated to all people out there still fighting for their rights and recognition as
human beings, and to their allies.

iii
Acknowledgments
Foremost, I would like to express my gratitude to my committee for their continued support and
encouragement: Trudi Sandmeier, my committee chair; Katie Horak; and Dr. Meredith Drake
Reitan. I offer my sincere appreciation for the learning opportunities provided by my committee.
My completion of this master's thesis could not have been accomplished without the support of
my MHC cohort and Page and Turnbull coworkers, especially thanks to John Lesak for allowing
me the flexibility to write and Flora Chou for her most useful advice.
A special thanks to Sister Unity and Love Conni for sharing their stories with me and helping in
my research. To Minerva Devora Gonzalez and Maria de Lourdes Davila Delgado for believing
in me.
Finally, I thank my caring and supportive family, my parents, Jesus and Patricia Barba, and my
siblings, Patsy, Ricardo, and Alejandro. And to all my friends for their encouragement and
support throughout the pursuit of my degree. I could never have done it without them.

Table of Contents
Dedication....................................................................................................................................... ii
Acknowledgments..........................................................................................................................iii
List of Figures................................................................................................................................ vi
Abstract......................................................................................................................................... vii
Introduction..................................................................................................................................... 1
Definitions: ................................................................................................................................. 4
Chapter I – Drag Culture in Los Angeles ..................................................................................... 12
Drag Culture as World History................................................................................................. 12
Drag Culture within LGBTQ+ Communities in the United States........................................... 16
Drag Culture History in Los Angeles ....................................................................................... 20
Chapter II - The Drag Diaspora .................................................................................................... 25
Tracing the Los Angeles Drag Family Tree ............................................................................. 26
Important Characters in Los Angeles Drag Scene.................................................................... 28
1890-1939 Drag Los Angeles............................................................................................... 28
1940 – 1959 Drag Los Angeles ............................................................................................ 32
1960-1980 Drag Los Angeles............................................................................................... 37
Chapter III – Drag Historic Enclaves and Their Significance ...................................................... 46
The Vaudeville Era ............................................................................................................... 50

v
The Harlem of the West........................................................................................................ 54
The Pansy Craze ................................................................................................................... 58
The Run................................................................................................................................. 62
The War Era.......................................................................................................................... 64
The Gay Liberation and Human Rights Movement.............................................................. 66
The Rise of Studio City......................................................................................................... 73
The Pre-Mainstream Era ....................................................................................................... 76
Conclusion .................................................................................................................................... 82
Drag as an LGBTQ+ Subculture .............................................................................................. 82
Endangered Heritage and Mainstream Culture......................................................................... 83
The Ephemerality of Place........................................................................................................ 86
Drag Culture as Intangible Heritage ......................................................................................... 88
Bibliography ................................................................................................................................. 91

vi
List of Figures
Figure 2.1- Sydney's Holidays Are in September, music by Kenneth Lyle, lyrics
by Fred Murray and Chas. Hibury, performed by Vesta Tilley. 1908.- Source USC
Digital Libraries............................................................................................................................ 30
Figure 2.2 - Finocchio, Marjorie, and Finocchio, Joseph. "Glamorous Unusual
Finocchio's (1946)." Program. 1946. Digital Transgender Archive,
https://www.digitaltransgenderarchive.net/files/rr171x509 (accessed August 23,
2023). ............................................................................................................................................ 33
Figure 3.1- Drag Venues of the First Half of the Twentieth Century, created by
author using Google Maps............................................................................................................ 48
Figure 3.2 - Drag Venues of the Second Half of the Twentieth Century, created by
author using Google Maps............................................................................................................ 49
Figure 3.3 - The Vaudeville Era and the Run, created by author using Google
Maps.............................................................................................................................................. 54
Figure 3.4- Spring Street and Ninth Street, Avodon Ballroom, Garland Building at
117 West Ninth Street. Source USC Digital Library. Dick Whittington
Photography Collection, 1924-1987. ............................................................................................ 56
Figure 3.5 - The Harlem of the West, created by author using Google Maps.............................. 57
Figure 3.6 - The Pansy Craze, created by author using Google Maps.......................................... 62
Figure 3.7 - The War Era, created by author using Google Maps................................................ 66
Figure 3.8 - Original site of Cooper Do-nuts inside Evans Cafeteria. Image
courtesy of the Evans Family via www.cooperdonuts.com.......................................................... 68
Figure 3.9 - Sir Lady Java and Redd Foxx standing in front of other protestors,
holding a sign which reads, "Java vs. Right to Work" in front of the Redd Foxx
club "Sir Lady Java with Redd Foxx." Photograph. 1967. Digital Transgender
Archive, https://www.digitaltransgenderarchive.net/files/vm40xr83g (accessed
October 05, 2023). ........................................................................................................................ 70
Figure 3.10 - excerpt of Damron's Adrress Book '69 - Bob Damron, Bob
Damron's Address Book 1969, San Francisco, CA: Calafran Enterrpises,.
https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cbibliograp
hic_details%7C3235514. .............................................................................................................. 72
Figure 3.11- The Gay Liberation and Human Rights Movement, created by author
using Google Maps. ...................................................................................................................... 73
Figure 3.12 - The Rise of Studio City, created by author using Google Maps............................. 75
Figure 3.13 - The Pre-Mainstream Era, created by author using Google Maps. .......................... 81

vii
Abstract
This thesis explores the history of the Drag culture of Los Angeles, its relevance to today’s
society, and why it is essential to preserve the tangible and intangible heritage of a marginalized
subculture experiencing a surge in popularity today.
Today, Drag culture has become popular after many years of being buried under society’s
“moral” prejudice. Existing in the shadows, most of the stories about this LGBTQ+ subculture
have been erased, even within the LGBTQ+ community.
This thesis analyzes the duality between Drag history and today’s mainstream Drag culture to
highlight its significance to the community and development of Los Angeles.
Because documentation of the stories of this culture is limited due to its nature and societal
biases, a significant portion of my research relies on oral histories, interviews with people in the
community and allies, and the LGBTQ+ archives at USC.
Many places where the Drag culture developed in Los Angeles are already gone, giving way to
new developments or leaving urban voids. However, these stories still need to be told. It is
important to identify enclaves in southern California that, in spite of their ephemerality, served as
the foundation of Los Angeles's Drag culture.

1
Introduction
This thesis research focuses on the Drag culture of Los Angeles, its history, its relevance to
today’s society, the places that allowed for its development, and why it is important to preserve
the heritage of a marginalized subculture that today is experiencing a surge in popularity. The
research aims to analyze the duality between erased histories, disappeared places, and today’s
mainstream Drag culture to reconcile their history and highlight its significance to the
community and the development of Los Angeles, utilizing LGBTQ+ archives at ONE Archives
and the University of Southern California (USC) and other pop culture sources, documenting
oral histories from Drag performers to map the significant places of Los Angeles Drag culture.
Today, Drag culture is well recognized after centuries of being buried under society’s “moral”
prejudice. Existing only in the shadows, most of the stories about this LGBTQ+ subculture have
been erased. Even within the LGBTQ+ community, the subculture has been cast out and looked
down upon. Gender non-conforming individuals have often been a vulnerable population, often
leaving their homes after experiencing rage or shame in their personal circles. Historically, this
pushed many early performers to neglect their gender expressions and/or to submit themselves to
conversion therapy.1
The early Drag as we know it today in Vaudeville circuits and burlesque shows provided a new
platform and escape valve for gender-nonconforming individuals on both sides of the
performance, stage, and orchestra. The characteristic sass and sexual expression made it an easy
target for an increasingly conservative society; however, Drag Culture prevailed in the shadows,
1 Lillian Gieseke, "Gladys Bentley’s Confessions." Center on Religion and Culture at Fordham University,
August 4, 2022.

2
encouraging society to embrace the self-gender expression of future generations. High
architecture theaters in the Beaux-Arts and Deco, among other styles, were hotspots for the
overall LGBTQ+ community development, and this side of the story needs to be recognized,
embraced, documented, and told.
The New York’s Ball Room culture of the last quarter of the twentieth century and the Drag
House phenomenon played a critical chapter in the LGBTQ+ history of the United States,
providing a support network for marginalized individuals and becoming the backbone of the
community during the Gay liberation movement and then the 1980s AIDS pandemic.2 The
courage and resiliency of Gays, Lesbians, and, above all, Transgender individuals fueled by Drag
Culture helped initiate the arguably most influential moment in LGBTQ+ history, the Gay
liberation movement at both ends of the United States, including major protests and unrest at
Stonewall, Cooper Do-nuts, and the Black Cat. Drag Houses, as the nuclear structure of the
community, also provided one of the most robust support networks during the darkest moment in
LGBTQ+ history, the 1980s AIDS pandemic. The cultural, economic, and political landscape
and development conditions of Los Angeles prompted a different growth of the Drag
community, resulting in a unique community equally as important as its East Coast counterpart.3

Throughout time, Drag has provided a space for the empowerment of minorities and
underrepresented communities within the LGBTQ+ community; Drag culture became the basis
for the empowerment of many transexual activists through history, activism that led to necessary
2 Although commonly called the 1980s epidemic, I personally think the proportions of the spread were of a
pandemic nature. The virus spread across international borders without means of containment, other than
discrimination, for years, targeting specifically the LGBTQ+ community across the world.
3 Paris is Burning. Directed by Jennie Livingston. Produced by Miramax Home Entertainment. Performed
by Barry Swimar, Nigel Finch, Lacy Davis, Dorian Corey, Pepper LaBeija, Venus, Xtravaganza, et al.
Jennie Livingston, 1990.

3
reforms in civil rights and law improvement making America what it is today. Marsha P.
Johnson and Sir Lady Java became the cornerstone for the Stonewall riots in New York and the
fight against Rule 9 in Los Angeles, respectively.
Drag culture is also part of mainstream show business, constantly bridging the gap between a
conservative audience and a world everyone would otherwise look the other way from. Through
satire, comedy, and patience, Drag Queens and Kings have shown the world the insides of the
LGBTQ+ community, always carrying a message of acceptance, community, and inclusion.
Drag culture's cultural, social, and legal contributions are essential not only to the LGBTQ+
community but also to the development of the present society.
As it evolved, Los Angeles created the perfect pool for Drag Culture to develop. Heavily linked
to the different stages of development throughout history, clusters were formed around the city
where specific conditions created new forms of acceptance and entertainment. Theaters provided
a safe space during the Vaudeville era, and the high flux of the Army Corps prompted
completely different spaces during WWII.
In general, documentation of the stories and places in Drag culture is scarce because of its nature
and societal biases. This research relies on oral histories, primary source pictures, era
propaganda, and interviews with people in the community and allies to try to uncover Drag
personalities and landmarks in the Los Angeles area. Most of the places where Drag culture
developed in L.A. are already gone, giving way to new developments or even leaving urban
voids behind; however, these stories still need to be told. It is important to localize and recognize
enclaves in Southern California that, under their ephemeral nature, became the foundation of the
Drag culture. The performers and site information are ordered chronologically by periods herein.

4
The terminology I use in this document is LGBTQ+ terminology accepted at the moment as part
of an inclusive language; some terminology is used as a reference to archaic ways of referring to
performers and people. This section includes some definitions of the terms used throughout the
document as a basis of what I am referring to since terms and language evolve with time.
Definitions:
Lesbian, Gay, Bisexual, Transgender, Queer, Plus (LGBTQ+):
LGBTQ+ refers to lesbian, gay, bisexual, transgender, queer, and the plus sign acts as an
umbrella that includes the rest of the subcultures and identities within the community like
transexual, and pansexual, to mention some.
Drag
Drag as an artistic form is the art of combining different elements of performance, such as
fashion, makeup, character creation, dance, and comedy. The performer transforms themselves
into exaggerated glamorous personas that challenge traditional gender norms. There are various
styles and genres of Drag, allowing Drag Kings and Queens to explore their creativity and push
boundaries of self-expression.
Some of the key elements of Drag performance are:
Characterization: Drag performers create unique characters by adopting stage names, personas,
and backstories. The characters vary from glamorous divas to comedians or avant-garde
personalities. The creation of a different persona is crucial in Drag performance.

5
Makeup and Costume: Drag performers work hard to create a unique fashion and makeup style.
Their often handmade costumes are an extension of their Drag persona, pushing boundaries in
fashion and style in dramatic and exaggerated looks. They also use theatrical makeup techniques
to create a unique makeup style that often becomes their personal Drag signature.
Performance: Drag is a performative art form. The performers develop one or different
performance skills that go from lip-syncing to singing, dancing, comedy, and interpretations. The
performances are energetic and always linked to their Drag persona. They use their performance
to entertain, advocate, engage, educate, and be altruistic. Most performers have a regular or side
job that helps them pay their bills. Drag performances are characterized by evoking emotional
responses in their audiences.
Drag provides a platform for self-expression and artistic freedom. It allows performers to
challenge societal norms, explore gender identity and sexuality, and experiment with different
styles, themes, and concepts. Drag artists often incorporate social commentary, humor, satire,
and personal narratives into their performances, creating provocative and engaging experiences.
The Art of Drag has evolved over time, influenced by diverse cultures, communities, and
movements. It has gained significant mainstream recognition through television shows like
RuPaul's Drag Race and has become a powerful tool for promoting inclusivity, diversity, and
acceptance. Drag celebrates individuality, creativity, and the power of self-expression,

6
captivating audiences and fostering a sense of community and belonging within LGBTQ+ and
broader artistic circles.4
To dress in Drag:
To dress in Drag, in its most common form, means to present oneself in clothing, makeup, and
accessories associated with a different gender for the purpose of performance or self-expression.
When someone dresses in Drag, they adopt extravagant and exaggerated styles, fashion, and
aesthetics. For example, a person assigned male at birth can dress in attire typically linked to
females by using dresses, wigs, and makeup to create a character opposite to the gender assigned
at birth. However, a person can dress in Drag of the same gender, as Drag is not exclusively
associated with portraying the opposite gender.
Drag King and Queen:
A Drag King is an entertainer who performs in drag, presenting themselves in a masculine or
male-identified persona embracing its expression. They may embody a range of masculine
archetypes, from suave and debonair figures to rugged and charismatic personas.
A Drag Queen is an entertainer, typically (but not exclusively) male-bodied or assigned male at
birth, who adopts a feminine character through Drag. Drag Queens are known for their creativity,
artistry, and ability to embody femininity in ways that challenge traditional gender norms and
expectations.
4 Simon Doonan, Drag: The Complete Story (A Look at the History and Culture of Drag), Laurence King
Publishing, 2019.

7
Drag Kings and Queens often perform in venues such as bars, clubs, or LGBTQ+ events,
showcasing their talents. The performances are humorous, satirical, thought-provoking, and
emotional but always reflect their individual styles and creative expressions. Drag performers
may lip-sync or sing live, dance, and engage in comedic or dramatic performances. They often
embrace elements of Camp, humor, and satire to entertain and captivate audiences.5
Drag plays an important role within LGBTQ+ communities as a source of empowerment,
visibility, and cultural expression. Drag Kings and Queens have been influential figures in the
history and development of LGBTQ+ rights.
While Drag performers predominantly identify as part of the LGBTQ+ community, it's important
to understand that not all are gay or transgender. Drag is a form of artistic expression and
performance rather than a reflection of an individual's gender identity or sexual orientation.
Nonetheless, the art of Drag often provides a safe platform and space for individuals still
discovering their gender. Performers come from diverse backgrounds, and the motivations for
pursuing Drag can vary from personal expression to entertainment and activism.6
Butch vs. Femme:
In gay culture, the term "butch" is slang used to describe individuals, usually lesbians or queer
women, who exhibit a masculine or androgynous appearance, and behavior is also linked to a
strong or aggressive character. The term originated within Black lesbian communities in New
5 Camp is a deliberately exaggerated and theatrical style, typically for humorous effect. It is associated with
the Gay liberation movement and the New York Ballroom Culture.
6 Katie Horowitz, “Drag, Interperformance, and the Trouble with Queerness” 1st ed. United Kingdom,
Routledge, 2019.

8
York and has since been adopted by a broader LGBTQ+ community. When applied to Drag
performers, it denotes the masculine traits of the individual while still calling out the femininity
of the Queen. For example, a “butch Queen” is usually a Drag Queen that impersonates a
masculine personality and mannerisms. The term can also be applied to individuals of other
sexual orientations who embody masculine qualities or present themselves in a masculine or
aggressive way.7
"Butch" is often contrasted with "femme," which refers to individuals who exhibit feminine
appearance and mannerisms. The concepts of butch and femme are not static; these are fluid and
self-defined expressions of gender and identity and part of the Drag culture’s ever-evolving
vocabulary. The understanding and interpreting of what it means to be "butch" or “femme” and
its interchangeability depend mostly on the context and the individual.8
Crossdresser:
A crossdresser is an individual who wears clothing associated with a gender other than the one
assigned at birth. Crossdressing is a form of self-expression and identity exploration. It does not
indicate a person's gender identity or sexual orientation. The motivations for crossdressing can
vary, ranging from personal enjoyment to exploring different aspects of one's identity or seeking
7 Bianca D.M. Wilson, "Black Lesbian Gender and Sexual Culture: Celebration and Resistance,” Culture,
Health & Sexuality, 2009, 11 (3): 297–313; Asia O’Hara, post. A Clarification of the term “Butch Queen,”
Reddit web source.
8
M. Reuel Friedman, PhD, “Butch Queens Up in Pumps: Gender, Performance, and Ballroom Culture in
Detroit by Marlon M. Bailey (review).” The Michigan Historical Review 40, no. 1, 108–109, 2014.

9
personal comfort and fulfillment. Crossdressing is a personal choice that aligns with personal
views of aesthetics and identity as clothing, in my opinion, has no gender.9
Impersonator (male/female):
A female or male impersonator is an entertainer who imitates the appearance, mannerisms, and
behavior of a different gender. Drag culture stems from early impersonators’ entertainment
industry as sexuality and gender identity concepts broadened through the years. Impersonators
often focus on imitating iconic characters in entertainment and pop culture media. This is one of
the key aspects of Drag culture. Impersonating personalities of the opposite gender is not strictly
linked to sexuality and gender identity, and historically, most early impersonators were not
identified as queer. However, these facts are not clear and biased due to the poor understanding
of gender identity at the time.
Cisgender, Gender-conforming and non-conforming:
Cisgender, or simply Cis, describes a person whose gender identity aligns with the sex they were
assigned at birth. Gender-conforming and gender-nonconforming describe individuals' adherence
or deviation from societal Cis normativity regarding gender expression. Gender-conforming
refers to individuals whose gender expression aligns with the Cis norms and its expectations
associated with their assigned sex at birth. Gender-nonconforming, gender nonbinary, or gender
diverse, refers to individuals whose gender expression differs from society’s Cis norms and
expectations. They may express themselves in ways that challenge traditional gender binaries
9 Alisa Grigorovich, “A Queer Aesthetic: Representations of Gender and Sexuality in Sadie Lee’s Tomboys
and Crossdressers,” Queer Studies in Media & Pop Culture 2, no. 3, 293–308, 2017.

10
and usually adopt inclusive pronouns such as “They/them.” Additionally, gender expression is
separate from gender identity, which refers to an individual's internal sense of their own gender.
Gender nonconforming individuals may identify as transgender, nonbinary, or have other gender
identities. 10
Drag House:
Originating during the 1960s Ballroom scene, Drag Houses function as chosen families for
members of the LGBTQ+ community and allies; these provide a support system and mentorship
for their members, offering guidance, acceptance, and a sense of belonging. Each House has a
“Mother,” who is the matriarch of the House and often a legendary figure within the community.
Houses adopt new “children” who eventually may go and create their own House, passing on the
knowledge acquired.
11
Latinx:
A gender-neutral term referring to someone living in the United States who was born in or has
ancestors from Latin America, it is an alternative to the masculine (Latino) and feminine (Latina)
forms. The word came into usage in the early twenty-first century as more people rejected binary
categorization of gender and sought greater inclusivity.12
10 Gay and Lesbian Alliance Against Defamation, "GLAAD Media Reference Guide, 8th Edition.
Transgender Glossary of Terms"; Laurel Wamsley, "A Guide To Gender Identity Terms," NPR, June 2.
2021. https://www.npr.org/2021/06/02/996319297/gender-identity-pronouns-expression-guidelgbtq#:~:text=Cisgender%2C%20or%20simply%20cis%2C%20is,the%20sex%20assigned%20at%20birth.
11 Wendy Martinez, “How the Queer Ballroom Scene Shows Us the Meaning of Family,” Moms Rising
Education Fund, June 30, 2023, https://www.momsrising.org/blog/how-the-queer-ballroom-scene-showsus-the-meaning-of-family.
12 T. Editors of Encyclopaedia Britannica, "Latinx." Encyclopedia Britannica, November 14, 2023.
https://www.britannica.com/topic/Latinx.

11
Chapter I explores the history of Drag as an artistic expression worldwide, in the United States of
America and specifically in the Los Angeles metropolitan area, from early cultures and medieval
theater to the twentieth-century cultural censorship and uprising of civil rights. Chapter II
uncovers the Los Angeles Drag diaspora, the particular Houses existing in the city, and their
correlation to the New York Houses. Then, I document the significant Drag personalities in Los
Angeles during the twentieth century, dividing it into three different time periods corresponding
to the city’s major periods of development. Chapter III showcases the places and the people that
allowed for Drag culture development in the city, explains why these are significant, and
documents some successful preservation efforts taken. These significant places are clustered
together by similarities in social, cultural, and economic environments, as exact dates of the
opening, closure, and Drag performances are not available in most cases.

12
Chapter I – Drag Culture in Los Angeles
Drag Culture as World History
There are different theories of how the term Drag was coined. It is believed that the term
originated in theater. “According to an explanation from Drag Queen Trixie Mattel for Them
online magazine, nineteenth century male actors would play women characters, donning
petticoats that would drag across the stage.”13 According to Sister Unity, the term’s origins are
more complex. During one of our interviews, she explained the term comes from Polari, an early
made-up language based in slang, as it was the way gay people could communicate with each
other, as drag meant dress. Slang is a considerable part of the Drag culture; wordplay and puns
are part of a Drag performer’s lexicon.14
Because Drag was, in modern times, perceived as a “perversion” and people who practiced it
experienced a great deal of discrimination, the amount of available documentation depicting the
way people lived within the Drag circles is minimal. This is also true for most places they used
to frequent and their performances.15 Most available information comes from performers’
13 Visit West Hollywood, “Wigs and Wonder: West Hollywood’s Drag Legacy,” January 12, 2022,
Accessed Jan 23, 2023. https://www.visitwesthollywood.com/stories/drag-culture-celebrated-westhollywood/.
14 “Until 1967, homosexual sex was illegal in England and Wales. To avoid imprisonment, gay men used
Polari, a language that the Oxford English Dictionary says is “made up of Italianate phrases, rhyming slang
and cant terms.” It had sprung up in the 1700s and 1800s as a secret language vagrants, itinerant
performers, sailors and “gypsies” – many of its words, in fact, derive from the Romany people scattered
across Europe.” BBC, "BBC Culture." “Polari: The code language gay men used to survive,” February 12,
2018, Accessed February 13, 2023. https://www.bbc.com/culture/article/20180212-polari-the-codelanguage-gay-men-used-to-survive.
15 Discrimination against Drag Performers was common even within the LGBTQ+ community. During the
Gay Liberation Movement, Cis-gay males became the accepted stereotype of Gays. Queer, Transgender,
and even Lesbians experienced discrimination in gay bars for not being cis-gender looking.

13
photographs without names and demonizing newspaper articles about raids and incarcerations
largely filled with derogative terminology and questionable facts.
During his interview with Drag performers, Sam Sanders suggests that Drag has been present
since the beginning of time.16 Drag Queens have been part of the Kabuki Tradition in Japan for
centuries and Drag has been a central part of burlesque performances.17 Documentation suggests
that female impersonators were present in theater since its beginning. According to most people
in the LGBTQ+ community, most of Shakespeare’s plays always included at least one character
who was inherently a Drag Queen. Characters like Beatrice in Romeo and Juliet have the
character, audacity, and nerve of any Drag Queen.18
Evidence and documentation of “Male impersonators” in China dates back to the Tang Dynasty,
from 618 to 907 AD.19 Crossdressing was an accepted and venerated job in past times and
ancient cultures. Chinese courts used to have Drag performers during ceremonies. During Queen
Elizabeth I’s time in England, female impersonators were among the most influential performers
in the kingdom, commonly known as Pantomime Dames.
20 During Louis XV’s reign in France,
Drag performers were part of all court parties and androgynous clothing and styles became a
16 Sam Sanders, interview by Noel King, 'It's Been A Minute With Sam Sanders': The History Of Drag
Queens, June 26, 2019.
17 F DeCaro, B. Vilanch, Drag : Combing through the Big Wigs of Show Business, Rizzoli International
Publications, Inc., 2019.
18 Most people in the LGBTQ+ community agree that all of William Shakespeare’s plays always included a
queer character, Sister Unity interview by Jesus Barba February 12, 2023.
19 Mo B. Dick., Drag King History, 2023, Accessed August 15, 2023. www.dragkinghistory.com.
20 Due in part because women were forbidden to perform during this period in England. However, this does
not diminish the importance of drag performances in the early theater and entertainment industry. Victoria
and Albert Museum, "The Story of Pantomime,” n.d., Accessed January 3, 2023.
https://www.vam.ac.uk/articles/the-story-of-pantomime.

14
symbol of status to the highest strata of society. Some type of performance was attached to this
sort of crossdressing, even if it was for fun or as part of the night’s repertoire.
In the second half of the 1800s, Annie Hindle, Vesta Tilley, and Ella Wesner began performing
and became Drag King pioneers. Go-won-go Mohawk was arguably the first Indigenous male
impersonator in the 1910s.
21
In 1901 in Mexico City, queer men gathered at private parties to Drag and meet other members
of the community. These parties were rarely documented, but the evidence came to light after a
national scandal.
22 In 1901, the police raided one of these parties and arrested forty-two men.
However, only forty-one were convicted since the forty-second man was, the then-president of
Mexico, Porfirio Diaz’s son-in-law. This event is remembered as “El Baile de los 41” (the ball of
the 41).23
Crossdressing is also a common practice for indigenous peoples in Central America and South
Asia. In the Zapotec culture in Oaxaca, Mexico, Muxes are highly appreciated and respected.
Muxes are male-born people who dress and behave as the opposite sex. It is common to have a
Muxe in every family taking care of the household and the parents in their retirement.24 In South
Asia, the Hijra community is considered the third gender in India.25 Although both Muxes and
Hijras are considered a part of the transgender community in the LGBTQ+ spectrum, Drag is one
21 Ranjani Chakraborty, “Drag kings, explained by drag kings,” Vox, June 30, 2022.
22 Mario Yair T.S., “El Baile de los 41,” Time Out Mexico, February 3, 2016.
23Minika Revilla, El Baile de los 41, Directed by David Pablos, Produced by Canana Films, Performed by
Alfonso Herrera, 99 min. 2020.
24 G. Subero,” Muxeninity and the Institutionalization of a Third Gender Identity in Alejandra Islas’s
Muxes: auténticas, intrépidas, buscadoras de peligro,” Hispanic Research Journal; 14(2):175-193, 2013,
doi:10.1179/1468273712Z.00000000022.
25 Vice TV, Hijras, the Third Gender in India: GAYCATION (Clip). https://youtu.be/Nk0sO37F4js.

15
of the most distinctive characteristics of both groups. It is used as a way of making money
through performances.
Drag Queens were popular in early television as well, as is the case of the transgender performer
“La Veneno” (Poison Girl), one of the most famous and acclaimed Drag performers of Spain,
who climbed her way up from the streets to national television in the ‘90s, and today is still a star
and role model to the transgender community.26 In the words of DeCaro, “Drag Queens were a
hit in the early days of TV, but in the last decade or so, we began to see Drag on TV not just as
comedy. Queens became three-dimensional human beings with and without their makeup, in
large part due to one reality show, RuPaul’s Drag Race.” 27
Although Drag performances have been part of human history, at some point in time, the
profession became taboo. Western societies began to ban crossdressing. Drag and its
performance were then only allowed within very closed secret circles. Only a few were able to
come out and experience fame like Miss Destiny or La Veneno, but most of the performers had
to rely on small bars, coffee shops, and establishments willing to take the risk of allowing Drag.
These places were commonly associated with prostitution, which, in many cases, also became
the source of income for the performers. It is also important to point out that most of the
performances that remained during these prohibition years were those of Drag Queens, as Drag
Kings suffered an even more challenging criminalization and demonization. Today, the stigma
around Drag Kings persists. Maya Durham, who performs as a Drag King named Malcolm
26 Atresmedia, TV series “La Veneno.”
27 RuPaul’s Drag Race is one of the most popular reality TV shows of the last decade and showcases a
competition between drag queens from all over the United States. It is in its fourteenth season and has been
franchised to more than fifteen countries around the world. Sam Sanders, interview by Noel King, 'It's Been
A Minute With Sam Sanders': The History Of Drag Queens, (Jun 26), 2019.

16
Xtasy, thinks the reason we still do not see a lot of Drag Kings in mainstream media is that the
comedy industry is still very male-dominated, people are only interested in seeing male
performers, and in femininity as a performance.28 The world of comedy has been predominantly
a male profession, and female performers, whether in Drag or not, have had a tougher time
finding an audience that receives them without judgment and misconception.
29
Drag Culture within LGBTQ+ Communities in the United States
When talking about LGBTQ+ stories, it is imperative to conceptualize terminologies and how
different people within the community are addressed. Along with gender identities and sexual
expressions come additional expressions that are not explicitly linked to one identity, such as
Drag culture. Because Drag is a form of artistic expression that is heavily linked to LGBTQ+
communities, it is important to acknowledge its intersectionality.
30 Performers do not belong to a
specific community, gender identity, geographic region, religion, or other forms of identity
expression.
Within the LGBTQ+ community, Drag is now seen as an art, but that was not always so. In the
previous decades, the art of Drag was a joke for most people. Impersonator shows, for the most
28 Dan Sanders, Interview with Maya Durham, 2019.
29 Michael O'Connell, "THE MARVELOUS MRS. MAISEL: No longer just a throwback to the '60s, season
three of the Emmys' most-lauded comedy (twenty noms!) had the pre-pandemic luxury of shooting with
eight hundred and fifty extras and occupying the iconic Fontainebleau lobby." Hollywood Reporter, August
12, 2020, S28+. Gale In Context: Biography, accessed March 6, 2023. https://link-galecom.libproxy1.usc.edu/apps/doc/A633845683/BIC?u=usocal_main&sid=bookmark-BIC&xid=a6ccbd2a.
30 Katherine Crawford-Lackey, and Megan E. Springate, Preservation and Place: Historic Preservation by
and of LGBTQ Communities in the United States, New York: Berghahn Books, 2019.

17
part of the twentieth century, were held in secret at bars with a very small and selected clientele,
specifically those within the most open-minded in the LGBTQ+ community spectrum.
31
I have chosen the terms Drag Queens and Drag Kings to refer to female and male impersonators
relatively, as these have become accepted worldwide as a result of the mainstream media and TV
shows like RuPaul’s Drag Race; however, during research, I have come across many other
different terms that were used to describe this activity. Many of these terms were used in
derogative ways, including crossdresser and male or female impersonator, among others.
According to Sister Unity, even within the gay community, the word “Tranny” was used in a
mocking derogative way to refer to Drag Queens and Kings, alluding to the fact that dressing in
the other sex attire meant becoming transexual. People performed Drag for fun, to be silly, and to
enjoy their own personalities among other accepting members of the community. However, it
was rarely considered fully as the profound art, talent, and craftsmanship that Drag represents.
As a form of art, Drag has become an intrinsic part of today’s intangible heritage in pop
culture.
32
Although the term Drag does not only apply to LGBTQ+ individuals, it is prevalent and
associated with the community. Drag has become part of today’s culture, and it includes Gay,
Lesbian, Transgender, Queer, Bisexual, Cisgender, and even Heterosexual people. The art of
Drag has to do with performances and talents; some of the most common are lip-syncing,
dancing, comedy, outfit fabrications, and makeup; however, the variety of talents displayed
31 There are, of course, a couple of exceptions where female impersonators became famous as comedians in
the show business industry; Sister Unity interview by Jesus Barba February 12, 2023.
32 Simon Doonan, Drag: The Complete Story (A Look at the History and Culture of Drag), Laurence King
Publishing, 2019.

18
today at Drag shows may appear infinite. Drag has become a statement of empowerment for the
LGBTQ+ community and outcasts around the globe, emphasized by RuPaul’s famous mantra,
“If you don’t love yourself, how in the hell are you gonna love somebody else.”33 Drag
performers are some of the funniest, loud, flamboyant, and proud people in the community but
they do not necessarily have to be gay.34
LGBTQ+ culture in the city of Los Angeles works very differently than it works in the rest of the
country. Cities like New York and San Francisco have enclaves that are very well-known as
LGBTQ+ safe places, as is the case of Greenwich Village in New York and the Castro District in
San Francisco. However, the nature of the city of Los Angeles has caused the community to
spread throughout different neighborhoods through different eras and subcultures, like in the city
of West Hollywood, where most people of the community are cisgender White gay people. In the
late 1800s and early 1900s, most of the community and the bars were concentrated in downtown
Los Angeles, but after the 1950s, because of the strict regulations against sexuality, the
community fled to other parts of the county like West Hollywood and Silver Lake which became
safe havens for gay men, and Long Beach and the San Fernando Valley where many lesbians
concentrated.35
As depicted in the acclaimed work City of Night, downtown Los Angeles was a thriving
LGBTQ+ spot before the 1950s, and a handful of bars stood out for their acceptance and
33 This is one of RuPaul’s most iconic and well-known phrases, and he ends every single episode of
RuPaul’s Drag Race with it.
34 Lip-syncing consists of moving your lips on a playback track so it seems like you are singing the song. |
A Cisgender woman won the equivalent version of the popular American show RuPaul’s Drag Race called
“La Más Draga” in Mexico City in 2019. La Más Draga, season II, finale episode, 2019, YouTube.
35 Moira Rachel Kenney, Mapping Gay L.A. - The Intersection of Place and Politics, Philadelphia: Temple
University Press, 2001.

19
hospitality to the LGBTQ+ community back then. The streets around Pershing Square were wellknown hookup spots for cis-gender gay men’s sexual encounters. Crossdressers would frequent
the surrounding bars in the hope of finding an affluent man who would pay for their living
expenses (clothing, wigs, makeup, food, and lodging) in exchange for sexual services. The
primary source of income for the then-called Queens was prostitution. At the beginning of the
twentieth century and outside of the Vaudevillian circuit, the Queens were not performers, but
the posh elegance of a Drag Queen has always been part of the Drag world. During the 1940s
and 1950s it was used primarily as means of seduction. Most of the Queens worked at specific
bars where a recurrent clientele would pay for their sexual services, and it was not uncommon to
work for a pimp under miserable wages. The Queens lived together in nearby apartments under
overcrowding conditions. The biggest aspiration of a Drag Queen at that time was to find a client
(almost always a cis man) who would provide a better way of life. Allegedly, this dream could
only be achieved during the Queen’s young years.
36
Early in World War II, the National Theater Conference lobbied to authorize soldier shows as “a
necessity, not a frill.” By early 1942, approval was granted by leadership in Washington for the
Special Services in concert with the United Service Organization (USO) and American Red
Cross to begin soldier show productions to entertain the troops both on the homefront and
abroad.
During World War II, Irving Berlin created the show “This is the Army,” which opened on July
4, 1942, in a theater on Broadway in New York. The show was an all-male Drag performance
that raised money for the corps and provided entertainment for the Army. In the play, United
36 John Rechy, City of Night, New York: Grove Press, Chapter 3, 1963.

20
States soldiers performed in Drag for their mates with colossal success. The performances
included skilled feminine singers, comedic routines, dancers, and impersonators of female stars
of the period. The show was taken into the big screen in Hollywood, starring Ronald Reagan
with the same success.37
Drag Culture History in Los Angeles
When the Spanish arrived in California in 1542, they found a handful of Native American
cultures settled in what today is Los Angeles. There is evidence in documentation from the
Spanish settlers that men among the Chumash practiced same-sex relations. Among Gabrielinos
and Luisenos, some boys were selected at early ages and taught to dress and act as women.38
Crossdressing and any other form of gender non-conformity have been outlawed in Los Angeles
since 1898 under Municipal Ordinance 5022, a citywide ban on crossdressing between 6:00 pm
and 6:00 am. In 1922, this ordinance was amended to allow a fine of $500 dollars and six months
in jail to those who violated it.39
37 Aaron Jura, “GIs as Dolls: Uncovering the Hidden Histories of Drag Entertainment During Wartime,”
National WWII Museum, June 15, 2021, Accessed Oct 3, 2023.
https://www.nationalww2museum.org/war/articles/drag-entertainment-world-war-ii.
38 Gerónimo Boscana, Alfred Robinson, Phil Townsend Hann, and John Peabody, Harrington,
Chinigchinich (Chi-Ñi’ch-Ñich) : A Revised and Annotated Version of Alfred Robinson’s Translation of
Father Geronimo Boscan’s Historical Account of the Belief, Usages, Customs and Extravagencies [!] of the
Indians of This Mission of San Juan Capistrano, Called the Acagchemem Tribe. Santa Ana, California:
Fine Arts Press, 1933.
39 Caroline Thrasher, Los Angeles County Natural History Museum website, Stories Sir Lady Java, 2021,
Accessed April 20th, 2023. https://nhm.org/stories/sir-lady-java.; City Council Motion, presented by Kevin
de Leon, May 3, 2023, https://clkrep.lacity.org/onlinedocs/2023/23-0468_misc_5-3-23.pdf.

21
Prohibition fueled Drag’s first big moment in the United States a century ago when Congress
passed the Volstead Act, prohibiting the production and sale of alcohol in America in 1919.
Underground clubs or “speakeasies” proliferated, paving the path for the success of Drag Queens
such as Barbette, Julian Eltinge, Karyl Norman, and Bruz Fletcher.40
During Prohibition, nightlife in Los Angeles stayed highly active. Numerous speakeasies
emerged, creating a completely different subculture. The act of hiding, already well known by
the LGBTQ+ community, provided the perfect conditions for people of all genders and sexual
orientations to mix together and proliferate. Drag Queens at the time experienced a surge in job
opportunities during the 1930-1933 “Pansy Craze” and were some of the highest-paid performers
in the United States, specifically in New York, San Francisco, and Los Angeles.41
The B.B.B. Cellar bar in Hollywood had ten Drag Queens performing on a show called “Boys
Will Be Girls,” Rae Bourbon was one of the leading performers on those nights. Fred Monroe
also performed here, impersonating actresses and celebrities sitting in the audience. Celebrities in
the 1930s were some of the most common guests in these underground places. The Cellar and
Jimmy’s Backyard were raided by the police in October 1932.
In his autobiographic novel, John Rechy presented a gay Los Angeles in City of Night, but before
authoring his novel, he witnessed a riot in a small coffee shop in 1959. The place’s name was
Cooper’s Doughnuts. It was a hole in the wall right between two of the older gay bars in the city,
the Waldorf and Harold’s. It was a well-known spot for the Drag and Trans community where
40 Dan Avery, “Prohibition launched first drag craze in America,” Logo TV, October 28, 2019. Accessed
Oct 3, 2023. https://www.logotv.com/news/zjvsv5/prohibition-launched-first-drag-craze-in-america.
41 Drag Queens in the 1930s were called Pansy Performers. SurveyLA, Los Angeles LGBTQ Historic
Context Statement. September 2014, revised 2023.

22
Queens, butches, and hustlers, many of them Black and Latinx, could go and feel accepted.
According to Lillian Faderman and Stuart Timmons, Rechy declared during an interview in 2005
that people first started throwing doughnuts at the “cops,” and it rapidly escalated into a major
event that would define the course of the Los Angeles LGBTQ+ community.42 During their
research, they discovered that Los Angeles is the place where the most lesbian and gay
institutions started. This is in part because of the nature of the city, the way it is spread across the
land, and where enclaves are not really defined like they are in New York and San Francisco.
LGBTQ+ communities in Los Angeles have historically been nomads, moving from city to city,
trying to find niches where laws are less stringent and where the community is able to thrive. The
impact of Los Angeles’s activism can be seen worldwide. 43
Nevertheless, there is plenty of evidence that Drag is not new to Los Angeles in any way. Drag
Balls have been staged annually for eighteen years in Los Angeles since 1931, according to
Faderman and Timmons’s research.
44 Los Angeles Public Library has some documentation of a
1945 ball at the Club Alabam, some photographs show Drag Queens of the Black community
gathered together in their finest dresses. This was a well-known ballroom to the Black
community of the ‘40s.45
By 1940, the Board of police officers developed a series of regulations that required bar owners
to get permission for any Drag performances; this will be later known as Rule 9. No show was
42 John Rechy interview by Stuart Timmons, August 29, 2005.
43 Lillian Faderman and Stuart Timmons, GAY L.A. A History of Sexual Outlaws, Power Politics, and
Lipstick Lesbians, Berkeley and Los Angeles: University of California Press, 2006.
44 Lillian Faderman and Stuart Timmons, GAY L.A. A History of Sexual Outlaws, Power Politics, and
Lipstick Lesbian, Berkeley and Los Angeles: University of California Press, (Page 4), 2006.
45 Items S-00000000000000000-3 120, Shades of Los Angeles Collection, Los Angeles Public Library.

23
allowed without the explicit permission of the Board, something that was extremely hard to get
and could also be used to target LGBTQ+ individuals during the L.A. noir period. To avoid
violating the ordinance, performers were required to wear at least three gender-conforming
clothing pieces during their performance. Rule 9 was enforced from 1967 until 1969, preventing
any type of Drag shows from happening and actively criminalizing transgender people.
Transgender Drag Queen and performer Sir Lady Java was notorious for her activism fighting
against Rule 9.46
The contemporary Drag scene of Los Angeles was very different from any other scene in the
country and the world in part because of all the different city policies and law regulations
throughout the years; most of these empowered but the common migrant fluctuations of the city
and its unique culture. When Reyner Bahman arrived in Los Angeles, he described it as a place
with four ecologies and a series of layers overlayed on top of each other. Although an
architectural historian, his description of Los Angeles relied mostly upon the contrasts and
nuances between regions and social strata of the city.47 His description of development phases
can also be seen in the development of the Drag culture of the city.
Before becoming mainstream and after the stringent anti-gay regulations of the Los Angeles Noir
era, most Drag shows were held as private events or underground bars and clubs across towns.48
Prior to RuPaul’s Drag Race, Drag shows in West Hollywood were discrete, catering to a
neighborly clientele. Now, they are one of the main attractions of the city. For Drag fans who
46 Caroline Thrasher, Natural History Museum website, Stories Sir Lady Java, 2021, Accessed April 20th,
2023. https://nhm.org/stories/sir-lady-java.
47 Reyner Banham, Los Angeles : the Architecture of Four Ecologies, Berkeley, California, University of
California Press, 2009.
48 Sister Unity interview by Jesus Barba. February 12, 2023.

24
have only been able to see their favorite Queens on-screen and online, West Hollywood is a
chance to experience the spectacle right before our eyes.
49
49 Visit West Hollywood, “Wigs and Wonder: West Hollywood’s Drag Legacy,” January 12, 2022,
Accessed Jan 23, 2023. https://www.visitwesthollywood.com/stories/drag-culture-celebrated-westhollywood/.

25
Chapter II - The Drag Diaspora
In Los Angeles, the Drag culture diaspora refers to the presence and influence of Drag from
various regions and communities around the world within the vibrant Drag scene of the city. Los
Angeles has been described as the perfect melting pot of diverse cultures and is recognized as
one of the most important hubs for entertainment, attracting people from all backgrounds. These
people bring their unique Drag traditions and styles to the city, making it one of the world’s most
diverse, progressive, and LGBTQ+-friendly cities.
50
Los Angeles has an enormous Latinx population; Los Angeles is home to more Mexicans than
any other city in the world after Mexico City, and almost a third of its population identifies as
Mexican.
51 Latinx Drag artists have made a very important impact on the city's Drag scene.
Many performers draw inspiration from Latinx cultures, such as Mexican, Salvadoran, Puerto
Rican, and Cuban. Their Drag depicts elements of Latin music, fashion, language, and
performances. Los Angeles Drag scene flourishes within Black and Brown communities that are
doing Drag.52
Los Angeles is a global city known for its diverse LGBTQ+ immigrant communities. Drag
performers from different backgrounds incorporate cultural heritage elements into their
performances, creating a fusion of traditional and contemporary influences, resulting in a rich
50 Carey McWilliams, Southern California: An Island on the Land, 1st Peregrine Smith ed. Santa Barbara,
Calif: Peregrine Smith, 1973; Isabelle Kliger, "L.A.'s Drag Performers Share Their Favorite Places Around
Town." Los Angeles Magazine, November 18, 2022, https://lamag.com/food/l-a-s-drag-performers-sharetheir-favorite-places-around-.
51 Massoud Hayoun, "Mexican LA: History, culture and resistance." Aljazeera, August 5, 2017. Accessed
December 26, 2023.
52 Sasha Urban, "L.A.’s drag scene is bigger than ever. But it’ll take a ‘rebellion’ to keep it safe." Los
Angeles Times, Jun 6, 2023, https://www.latimes.com/lifestyle/story/2023-06-06/la-drag-scene-is-biggerthan-ever-but-it-will-take-rebellion-to-keep-it-safe.

26
and multicultural Drag landscape. Asia, the Middle East, Eastern Europe, Africa, and other
regions have added their perspectives and experiences to the scene and have contributed to the
diversity of the Drag culture in the city.
The Drag culture diaspora in Los Angeles highlights the city's openness and inclusivity. It has
allowed artists from diverse backgrounds to express their identities and contribute to the vibrant
Drag community for decades. This mix of cultures, traditions, and experiences intertwined and
led to the dynamic and evolving Drag scene we see today.
Tracing the Los Angeles Drag Family Tree
Drag Houses are part of the LGBTQ+ community heritage as a phenomenon and place. Their
significance relies on the support and sorority within members of an underrepresented and
systemically misunderstood community. Still, these happened at specific places linked to the
social and economic situation of the community. Flats, apartments, and warehouses in cities like
Los Angeles and New York are potential heritage sites, and their significance can be stated
similarly to what has been done with tenement buildings in New York.
Los Angeles’s Drag scene differs from other enclaves like New York City, where ballroom
culture prompted the creation of Drag Houses during the ‘70s and ‘80s. In the 1990s and early
2000s in Los Angeles, several Drag Houses or families emerged as prominent fixtures within the

27
community. These Drag Houses serve as supportive networks and creative collectives for Drag
performers, providing a sense of belonging, mentorship, and collaboration.53
Although not considered historic, some of the most iconic Houses in Los Angeles include the
House of Avalon, House of Xtravaganza, and House of DnA, among others. The House of
Avalon is a popular Drag House founded by Drag Queens and fashionistas Marco Marco, Bryce
McKinzie (Gigi Gorgeous), and Adam Ouahmane (Adam Joseph). The House of Xtravaganza
originated in the New York City ballroom scene but has expanded its presence to Los Angeles,
where it found a new landscape that inspires more diverse artistic expressions. The House of
DnA, led by Drag performers Delta Work and Raja Gemini (winner of RuPaul's Drag Race
Season 3), has established itself as a prominent Drag House in Los Angeles. Members of all the
Houses in Los Angeles showcase their diverse talents and personalities through performances
influenced by the city’s Drag and entertainment legacy. All of these Houses in Los Angeles
created in the 1990s and 2000s are built on the city’s particular cultural environment.54
Although not a traditional Drag House, the Boulet Brothers have created a distinct brand and
community through their Dragula competition series. Known for its alternative, punk, and
horror-themed Drag, Dragula has become a platform for unconventional and boundary-pushing
Drag performers in Los Angeles. It is hard not to imagine a connection between this form of
Drag and the Los Angeles movie industry. Cult picture movies such as The Rocky Horror
53 Paris is Burning. Directed by Jennie Livingston. Produced by Miramax Home Entertainment. Performed
by Barry Swimar, Nigel Finch, Lacy Davis, Dorian Corey, Pepper LaBeija, Venus, Xtravaganza, et al.
Jennie Livingston, 1990; Manuel Betancourt, “All hail the drag queens raising L.A.’s tight-knit families,”
Los Angeles Times, May 5, 2022.
54 Cailyn Szelinsky, "RuPaul's Drag Race: Drag Families With Multiple Members On The Show," Screen
Rant, September 3, 2023, Accessed January 3, 2024. https://screenrant.com/rupauls-drag-race-familiesmultiple-members-on-rpdr/.

28
Picture Show, The Adams Family, and Hitchcock’s films inspire make-up styles and
performances uniquely linked to the city’s history.55
The presence of Drag Houses in Los Angeles could be considered as recent history compared to
the scene in New York City; therefore, it is hard to trace a lineage far down to the midcentury,
but this does not mean that the city’s cultural landscape and LGBTQ+ History has had no
influence creating the perfect environment for the Houses to be found. Even today, Drag Houses
are a very particular phenomenon mostly found in the United States, a cornerstone of Drag
culture and LGBTQ+ Heritage.56
Important Characters in Los Angeles Drag Scene
1890-1939 Drag Los Angeles
The Los Angeles Drag scene in the early 1900s was less well-documented than contemporary
Drag scenes, but a few important figures emerged. Information about Drag in L.A. between 1890
and 1939 is extremely limited due to the absence of historic documentation. While the visibility
and acceptance of Drag were limited due to societal norms and legal restrictions, these
individuals played a significant role in shaping the local Drag culture.
The specific names of popular Drag performers in Los Angeles between 1890 and 1939 still need
to be discovered. However, it is widely documented that the concept of cross-gender
55 Simon Doonan, Drag: The Complete Story (A Look at the History and Culture of Drag), Laurence King
Publishing, 2019; Steve Holden, October 31, "Halloween: How the Boulet Brothers' Dragula blends drag
and horror.” BBC News, 2020.
56 Manuel Betancourt, “All hail the drag queens raising L.A.’s tight-knit families,” Los Angeles Times, May
5, 2022.

29
impersonation and Drag performances were prevalent during that time, especially in theatrical
and Vaudeville circuits.57 For instance, Kitty Doner, a male impersonator in the Vaudeville
circuit, is known to have performed in Los Angeles.58 North American Vaudeville theater plays a
crucial influence to the movie industry worldwide, including Hollywood.59
Gender-bending performances and male impersonators were popular in the entertainment
industry at the beginning of the twentieth century. While these performers were not referred to as
Drag Kings at the time, they exhibited all the characteristics by assuming masculine personas on
stage.60 The concept of Drag Kings, as we understand it today, was not understood during this
period; therefore, a lot of the information available is about women who were known for
dressing in the times’ understood as men's attire. In her 1933 film Queen Christina, Greta Garbo
dresses as a male to tour the country and find her faith, opening the mindset of audiences about
crossdressing in the country.
61
The visibility and recognition of individual Drag Kings and Queens in historical records are
challenging to trace, as societal norms and legal restrictions often limited these performers'
57 North American Vaudeville performance is a theatre genre comprising a series of separate, unrelated acts
grouped on a common bill. Types of acts have included popular and classical musicians, singers, dancers,
comedians, trained animals, magicians, ventriloquists, strongmen, female and male impersonators,
acrobats, clowns, illustrated songs, jugglers, one-act plays or scenes from plays, athletes, lecturing
celebrities, minstrels, and films. A Vaudeville performer is often referred to as a "vaudevillian." Merriam
Webster Dictionary, Accessed August 16, 2023.
58 Los Angeles Times Archives, “Kitty Doner, Male Impersonator in Vaudeville,” Los Angeles, September
3, 1988.
59 MCLC Resource Center, “The Ancient Art of Falling Down Vaudeville Cinema between Hollywood and
China - A Conversation between Christopher Rea and Henry Jenkins”, August, 2017.
60 Romy Shiller, “Drag King Invasion: Taking Back the Throne.” Canadian Theatre Review 86, no. 86: 24–
28, 1996.
61 48: Gayness and Hollywood, 1974-01-09." Stonewall Nation Radio Program. Madeline Davis LGBTQ
Archive of WNY. Archives & Special Collections Department, E. H. Butler Library, SUNY Buffalo State.
https://digitalcommons.buffalostate.edu/stonewallnation/50.

30
documentation and public acknowledgment. Additionally, many Drag performers and their
contributions during this time may have yet to be widely recorded or have faded from historical
memory.
One of the most renowned performers of the era was Vesta Tilley, an English actress and singer
specializing in male impersonation. Tilley was very popular and performed internationally,
including in the United States, during the late nineteenth and early twentieth centuries. Although
she may not have performed in Los Angeles, she was known for her male roles and was
influential in the tradition of female-to-male theatrical impersonation.62
62 Steven L. Davis, and Maglina Lubovich, Hunks, Hotties, and Pretty Boys: Twentieth-Century
Representations of Male Beauty. Newcastle: Cambridge Scholars, 2009.
Figure 2.1- Sydney's Holidays Are in
September, music by Kenneth Lyle, lyrics by
Fred Murray and Chas. Hibury, performed by
Vesta Tilley. 1908.- Source USC Digital
Libraries.

31
Another significant Drag King was Hetty King, a Canadian male impersonator popular for her
comedy shows. King often portrayed working-class male characters and was celebrated for her
wit and ability to engage audiences. 63
Some Black male impersonators were thriving by the early 1900s. Gladys Bentley and Stormé
DeLarverie became Drag pioneers. By the beginning of the twentieth century, there was a
thriving Drag King scene in cities like New York City, San Francisco, and London.64 Gladys
Bentley moved to California in 1937 and kept performing between San Francisco and Los
Angeles. Ultimately, she joined a church group where she was urged to undergo conversion
therapy. 65
In the case of female impersonators, Julian Eltinge was one of the most successful stage actors of
the era. He was an American stage and film actor who gained popularity for his female
impersonations. Eltinge performed in various Vaudeville theater productions, showcasing his
talent for transforming into female characters. He moved to Hollywood in 1914, where he starred
in various silent films. His residence, known as Villa Capistrano, is designated as a historic
resource of the city of Los Angeles. His popularity decreased when Vaudeville and female
impersonators fell out of favor in the 1930s. Still, there is no doubt that his career significantly
impacted the development of Drag culture.66
63 Stephen Dixon, “Voices of Variety,” 2013, Accessed July 15, 2023. www.voices-of-variety.com.
64 Ranjani Chakraborty, “Drag kings, explained by drag kings.” Vox, June 30, 2022.
65 Lillian Gieseke, “Gladys Bentley’s Confessions.” Center on Religion and Culture at Fordham University,
August 4, 2022.
66 Los Angeles Conservancy, “Julian Eltinge Residence.” Los Angeles Conservancy website 2023,
Accessed August 15, 2023. www.laconservancy.org/learn/historic-places/julian-eltinge-residence/.;
Historic Places LA, Los Angeles Historic Resource Inventory, n.d. Accessed September 23, 2023,
https://hpla.lacity.org/report/21763aed-2d9e-4612-adc2-cb88073c9179.

32
Rae Bourbon, born Hal Wadell, was an early Drag Queen and vaudevillian performer; they were
one of the key performers of the “pansy craze.” Bourbon was known for their extravagant and
comedic performances. They gained fame in the 1920s and '30s and performed in various venues
in Los Angeles, including Jimmy’s Backyard, the Playtime, and the Follies Theatres.
67 They
were arrested in the 1950s in several cities for appearing on stage dressed as a woman and was
convicted for alleged murder in 1967.68
In the late 1930s, Doc Benner founded The Jewel Box Revue, an all-male Drag show that toured
extensively throughout the United States.69 The cast was diverse, including Drag Queens and
transgender women. The Jewel Box Revue made several stops in Los Angeles, presenting at the
then Music Box theater, today’s Fonda theater, and drawing attention to the Drag scene in the
city.70
1940 – 1959 Drag Los Angeles
The Drag scene in Los Angeles between 1940 and 1959 was a mix of influences from the
entertainment industry, LGBTQ+ communities, and underground scenes. During this period,
there were both mainstream and underground spaces where Drag performances took place. There
67 Randy A. Riddle, “Don’t Call Me Madame – The Life and Work of Ray Bourbon,” 2020, Accessed Aug
5, 2023. www.raebourbon.com.
68 “Rae Bourbon,” Drag 2, no. 5: 24–.,1972.
69 "Doc Benner Dies." Gay Scene 7, no. 5: TWENTY. Archives of Sexuality and Gender, 1976, Accessed
August 17, 2023. https://link-galecom.libproxy2.usc.edu/apps/doc/IENAPU665426408/AHSI?u=usocal_main&sid=bookmarkAHSI&xid=84888032.
70 "Jewel Box Revue Lavish Spectacle," Los Angeles Sentinel (1934-), Nov 16, 1961.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/jewel-box-revue-lavishspectacle/docview/564595622/se-2.

33
were instances of male impersonators or performers who specialized in portraying male
characters on stage. Hollywood played an important role in the period Drag scene when actresses
and actors played cross-gender roles in movies. For instance, Charlie Chaplin did some female
impersonations, and Cary Grant performed Drag in some of his films, for instance, I Was a Male
War Bride (1949). 71
Finocchio’s Club in San Francisco was an establishment that featured Drag Queen performances.
It was opened as a speakeasy during the Prohibition. Although not in Los Angeles, the club
71 48: Gayness and Hollywood, Stonewall Nation Radio Program. Madeline Davis LGBTQ Archive of
WNY. Archives & Special Collections Department, E. H. Butler Library, SUNY Buffalo State, Jan 9, 1974.
https://digitalcommons.buffalostate.edu/stonewallnation/50.
Figure 2.2 - Finocchio, Marjorie, and Finocchio, Joseph.
"Glamorous Unusual Finocchio's (1946)." Program. 1946.
Digital Transgender Archive,
https://www.digitaltransgenderarchive.net/files/rr171x509
(accessed August 23, 2023).

34
attracted audiences from various locations, including Los Angeles residents who traveled to San
Francisco to witness the gender-transgressive and racialized performances.72
Charles Pierce, a trained actor in the Pasadena Playhouse, had worked in New York OffBroadway shows in the early 1950s and was doing impersonations all over the United States.
73
He moved to San Francisco and started at Ann’s 440 Club in North Beach. He never approved of
the title Drag Queen and preferred to call himself a male actress. After that, he started
performing at Finocchio’s, where he was billed as The Master or Mistress of Surprise and
Disguise, impersonating celebrities such as Jeanette MacDonald, Bette Davis, Tallulah
Bankhead, Marlene Dietrich, Katharine Hepburn, Joan Crawford, and Carol Channing.74
In the 1940s and 1950s, Hollywood films often featured female actors in roles that required them
to dress as men or adopt masculine behaviors. An example of this is the film Gentlemen Prefer
Blondes (1953), where Marilyn Monroe and Jane Russell dressed in male attire. In Some Like It
Hot (1959), Tony Curtis and Jack Lemmon played convincing performances in Drag, which led
to critical acclaim and multiple Oscar nominations. The Drag Queen Vander Clyde Broadway,
known as Barbette, played a key role in teaching Curtis and Lemmon how to act as women. The
movie was a trailblazer in Drag representation at the time as the leading actors stayed in Drag for
most part of the movie, which required approval under the Hays Code.75
72 Nan Alamilla Boyd, Wide-Open Town : A History of Queer San Francisco To 1965, Berkeley: University
of California Press, 2003. Accessed August 22, 2023. ProQuest Ebook Central.
73 The Pasadena Playhouse is a historic performing arts venue located at 39 S. El Molino Avenue in
Pasadena.
74 Ernest Beyl, “Finocchio’s: What a Drag.” Marina Times, June, 2014.
75 Gentlemen Prefer Blondes, Directed by Howard Hawks, Performed by Jane Russell and Marilyn
Monroe, 1953; Some LikeIit Hot, Directed by Billy Wilder, Performed by Marilyn Monroe, Jack Lemmon,

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Stormé DeLarverie was an African American butch lesbian performer who often presented as a
male impersonator. DeLarverie performed in clubs and bars, captivating audiences with her
powerful presence and masculine portrayals. From 1955 to 1969, she was the master of
ceremonies at Jewel Box Revue, which was presented in Los Angeles a couple of times. She
played a crucial role in the development of Black LGBTQ+ Cultures with her male
impersonation performances. She is also known for swinging the “first punch” at the Stonewall
Rebellion.
76
In the early 1950s, Los Angeles experienced a crackdown on LGBTQ+ establishments due to
police raids and increased societal scrutiny fueled by homophobic policies developed by the
Board of police officers that required bar owners to get permission for any Drag performances,
which would later be known as Rule 9. These raids and legal challenges created an atmosphere
of secrecy and limited the visibility of Drag performances during this time. Most Drag shows in
the era became part of hidden Los Angeles or private parties. 77
Despite the challenges, LGBTQ+ communities continued to find spaces to express themselves.
Underground or private parties, bars, and clubs often served as venues for Drag shows and
Tony Curtis, 1959; Lindsey Clouse, “A Drag Queen Is the Reason ‘Some Like it Hot’ Is Such a Classic,”
Collider, December 22, 2023; “The Motion Picture Production Code was a set of industry guidelines for
the self-censorship of content that was applied to most motion pictures released by major studios in the
United States from 1934 to 1968. It is also popularly known as the Hays Code.” Dan Luckenbill, "glbtq
archives." glbtq Los Angeles, 2006, Accessed October 5, 2023.
http://www.glbtqarchive.com/ssh/los_angeles_S.pdf.
76 Meredith Heller, “Queering Drag: Redefining the Discourse of Gender-Bending,” Indiana University
Press, 2020. ProQuest Ebook Central,
http://ebookcentral.proquest.com/lib/socal/detail.action?docID=6007440. Accessed August 20, 2023.
77 Lillian Faderman and Stuart Timmons, GAY L.A. A History of Sexual Outlaws, Power Politics, and
Lipstick Lesbians, Berkeley and Los Angeles: University of California Press, 2006.

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performances. These secret gatherings allowed Drag performers to entertain, express their
creativity, and build supportive networks.
Karyl Norman, who billed himself as “The Creole Fashion Plate,” was another prominent female
impersonator in Los Angeles during the mid-twentieth century. Born in 1900 as Harold Norman,
Karyl Norman gained fame for her glam performances as a female impersonator in the 1930s and
1940s.78
Norman began her career in Vaudeville and went on to perform in various nightclubs and
theaters in Los Angeles and other cities. She became popular for her glamorous and exquisite
impersonations of Hollywood actresses like Mae West and Marlene Dietrich.79
In 1932, Norman started working as a hostess at La Boheme, a legendary nightclub in Los
Angeles. La Boheme catered to Hollywood celebrities and their circles. La Boheme closed
shortly after opening due to liquor violations. By 1933, Norman opened her own place: the Karyl
Norman Supper Club, where he co-starred with Colette Convoy.80
Karyl Norman pushed boundaries and challenged societal expectations of gender and sexuality in
the first half of the twentieth century. She was celebrated in the entertainment world and gained
recognition for her talent, poise, and style. Norman's performances are seen as groundbreaking
and helped pave the way for future generations of female impersonators and Drag performers.
78 Jon Ponder, “Drag Star the ‘Creole Fashion Plate’ Debuts on the Sunset Strip in 1932,” Nov 15, 2020,
Accessed Oct 17, 2023. https://www.westhollywoodhistory.org/galleries/drag-star-the-creole-fashion-platedebuts-on-the-sunset-strip-in-1932/.
79 Brett Abrahams, Hollywood Bohemians: Transgressive Sexuality and the Selling of the Movieland
Dream, Jefferson, N.C.: McFarland, 2008, Accessed Aug 31, 2013.
80 An Open Book, King of Queens: Karyl Norman, May 9, 2020, Accessed Aug 29, 2023.
http://brookspeters.blogspot.com/2020/05/king-of-queens-karyl-norman.html.

37
Although she claimed crossdressing was only a job, she did not know much about women's
clothing. She gave her old clothes to students at Ohio State University.81
1960-1980 Drag Los Angeles
The 1960s marked a significant period of cultural and social change, and the Drag scene in Los
Angeles continued to evolve during this time. Virginia Prince founded the magazine Transvestia
in 1960, publishing six times a year in Los Angeles; it provided a base for the Los Angeles Hose
and Heels Club, the first peer support and advocacy group for male transvestites in the United
States.
82 Resistance started organizing, and Drag Queens fought against the police and
discrimination across the country, in Los Angeles, specifically at Cooper’s Doughnuts in 1959.83
The 1960s were a time of societal unrest and LGBTQ+ activism, including the historic Stonewall
uprising in 1969. These events contributed to the growing visibility and acceptance of Drag
81 "Collegians Get Frocks: Karyl Norman, Female Impersonator, Turns used Costumes Over to School
Players." The Sun (1837-), Mar 31, 1929. 1,
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/collegians-getfrocks/docview/543509214/se-2.
82 “In 1962, she formed the Hose & Heels Club, composed mainly of Crossdressers in the Los Angeles
area, many of whom were subscribers to the magazine. The Club restricted itself to members who
described themselves as heterosexual Crossdressers. This restriction (requirement) has been carried forward
through its subsequent organizations to date. The Club changed its name to Freedom of Personality
Expression (FPE) in late 1962 and launched a nationwide campaign to form affiliated groups or chapters
with similar interests. The founding group called itself the Alpha Chapter of FPE.” Kim Do, Hose & Heels
Club, November 14, 2022, Tcne.org.; Transgender Archives Collections, University of Victoria, Virginia
Prince and Transvestia, N.d., Accessed Aug 25, 2023.
https://www.uvic.ca/transgenderarchives/collections/virgina-prince/index.php ; The Pride Los Angeles,
"Social Groups and Sororities United the L.A. Trans Community of the 1960s," January 6, 2024,
https://thepridela.com/2018/10/social-groups-and-sororities-united-the-l-a-trans-community-of-the-1960s/.
83 Peter Drucker, Warped: Gay Normality and Queer Anti-Capitalism, Netherlands: Brill, 2015.

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performers and LGBTQ+ individuals, paving the way for further progress in the following
decades.
Jackie "Moms" Mabley, an African American comedian, often performed in Drag. Mabley's bold
and irreverent humor made her a trailblazer in Drag and comedy scenes, and her impact on the
development of Drag as an art and expression form is very significant. She launched her stand-up
record “Live at the Greek Theater” in 1969 in Los Angeles.84
Lynn Carter, an African American male impersonator, also performed touring with the Jewel
Box Revue alongside Miss Storme De Laverie. Carter was known for her charismatic stage
presence and talent for portraying male characters with humor and flair.85
Beverly Shaw was an openly lesbian nightclub singer who often performed in male clothes. She
was a regular Drag King at Moma’s 44 in San Francisco and moved to Los Angeles in the early
1950s, where she performed at the Flamingo Club. Once settled in Los Angeles, she bought her
own bar in North Hollywood, the Club Laurel, where she starred for almost fifteen years, making
it one of the most popular venues in the city. Shaw occasionally sang at other Los Angeles–area
venues, including Club Bayou, Linda's Little Log Cabin, Larry Potter's Supper Club, and Joani's
Bar. 86
84 Eleanor Russell, “Mom Voice/Moms’ Voice: Jackie ‘Moms’ Mabley, the Comic Voice, and Refiguring
Black Maternity.” Comedy Studies 13, no. 2 (2022): 199–211, Accessed September 01, 2023.
85 Encyclopedia of Lesbian and Gay Histories and Cultures, United Kingdom: Taylor & Francis, 2021; Bud
Coleman. "Jewel Box Revue: America's Longest-Running Touring Drag show." Theatre History Studies
17, (1997): 79. http://libproxy.usc.edu/login?url=https://www.proquest.com/scholarly-journals/jewel-boxrevue-americas-longest-running-touring/docview/1311934985/se-2.
86 Queer Music Heritage, Beverly Shaw, June, 2004, Accessed Oct 13, 2023.
https://www.queermusicheritage.com/jun2004bs.html.

39
One of the most influential performers in Los Angeles during this era was Sir Lady Java. She
was the first African American transgender woman to perform in the Los Angeles club scene.
She was a regular performer at the Redd Foxx and Marla’s Memory Lane Supper Club.
87 She
played a significant role in challenging Rule 9, a discriminatory policy that targeted
crossdressing and transgender performers in Los Angeles during the 1960s.88 Rule 9 was a
regulation enforced by the California Department of Alcoholic Beverage Control (ABC) that
prohibited individuals assigned male at birth from wearing clothing traditionally associated with
women in establishments that served alcohol.89
Sir Lady Java fought against Rule 9 by continuing to perform in Los Angeles nightclubs and bars
while defiantly coming out onto stage in Drag. She faced arrests and legal challenges but
persisted in her advocacy for the rights of transgender and gender-nonconforming performers.90
In 1967, two years before the Stonewall uprising, Sir Lady Java's case garnered significant
attention when she filed a lawsuit against the city of Los Angeles with the backing of the
American Civil Liberties Union (ACLU), arguing that Rule 9 violated her constitutional rights.
While Sir Lady Java's legal case did not lead to the overturning of Rule 9, her activism and
resilience were instrumental in pushing for change and raising awareness about the need for
LGBTQ+ rights and acceptance. Her efforts helped pave the way for future generations of Drag
87 "Sir Lady Java -- The Lady is a Man." Ephemera, 1970. Digital Transgender Archive,
https://www.digitaltransgenderarchive.net/files/qn59q396v , Accessed November 01, 2023.
88 Caroline Thrasher, “Sir Lady Java - History and Legacy of a Trans Rights Hero.” Los Angeles County
Natural History Museum website. June 27, 2021, Accessed August 5, 2023. www.nhm.org/stories/sir-ladyjave.
89 Lillian Faderman and Stuart Timmons, GAY L.A. A History of Sexual Outlaws, Power Politics, and
Lipstick Lesbians, Berkeley and Los Angeles: University of California Press, 2006.
90 Harry James Hanson and Devin Antheus, Legends of Drag: Queens of a Certain Age, New York:
Cernunnos, 2022.

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performers and transgender individuals to express themselves authentically and challenge
discriminatory policies in the Drag community and beyond. As Peppermint, actor and former
RuPaul’s Drag Race contestant, said to TIME magazine, “For some, beyond being a career,
beyond being an artistic expression, Drag can be a means of the only way that they can access
the gender expression that they desperately need.” In 2018, Peppermint became the first openly
trans woman to perform a lead Broadway role.91
Jim Bailey was a renowned female impersonator and singer who became popular in the 1960s
for accurate impersonations of Hollywood divas. Although primarily based in Las Vegas, Bailey
also performed in Los Angeles and gained prominence for his uncanny impersonations of female
celebrities, particularly Judy Garland and Barbra Streisand. Bailey's performances captivated
audiences with his vocal prowess and ability to embody the essence of his chosen characters.
Bailey continued his career in Los Angeles during the 1980s. In addition to his live
performances, Bailey made several notable television appearances during his career. He
appeared on numerous variety shows, talk shows, and late-night programs, showcasing his
talent.
92
Jim Bailey's success as a female impersonator helped break down barriers and challenge
conventional gender norms in the entertainment industry. He demonstrated that gender was not a
limitation to talent and showcased the transformative power of Drag performance. His
91 Suyin Hanes, “How One Drag Performer's Overlooked Activism Helped Lay the Groundwork for
Today's Fight for Transgender Rights.” TIME Magazine, June 25, 2021.
92 Mike Barnes, “Jim Bailey, Impersonator of Hollywood’s Female Icons, Dies at 77.” The Hollywood
Reporter, June 2, 2015.

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contributions to the world of Drag and his exceptional ability to embody female singers with
precision and grace continue to inspire and influence Drag performers and artists today.
In the 1960s, Divine, also known as Harris Glenn Milstead, made appearances in Los Angeles
and became an iconic figure in the Drag and underground film scene through her collaborations
with filmmaker John Waters. Divine was the inspiration behind The Little Mermaid’s Ursula,
one of Disney’s most iconic villains of all time.93
Venues like The Cavern, Club Alabam, and various gay bars and nightclubs provided spaces for
Drag performances, allowing Queens to express themselves and entertain audiences. These
venues were important hubs for the LGBTQ+ community and contributed to the visibility and
growth of Drag in Los Angeles.94
The 1970s also saw the emergence of Drag pageants and competitions, providing opportunities
for Drag Queens to showcase their talent and creativity. One notable pageant during this time
was the Miss Gay America pageant, which began in 1972 and drew Drag performers from across
the country.95
Although primarily associated with San Francisco, the avant-garde Drag troupe known as The
Cockettes presented in Los Angeles. The hippie group was founded by Hibiscus (George Edgerly
Harris III). They were known for their outrageous and flamboyant performances, blending Drag,
93 Divine Official Enterprises, Devine Legacy, 2023, Accessed September 5, 2023.
www.divineoffcial.com/legacy.
94 Love Connie, interview by Jesus Barba, July 25, 2023.
95 “Miss Gay America Pageant,” The Front Page (Carolinas) 18, no. 23 (1997): 2–.

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theater, and psychedelic counterculture. They were key players in the hippie scene and lived in a
commune among other organized anti-capitalist collectives.96
The Goddess Bunny, also known as Sandie Crisp, became an important figure in the Los
Angeles Drag scene. She lived and paraded the streets of West Hollywood and Santa Monica in
Drag, attracting everyone's attention. She also had a band of followers who called her their
“Mother,” a clear reminiscence of East Coast Drag culture. She performed in numerous
underground films and died of HIV in a shelter in Inglewood.
97
The 1980s marked the emergence of iconic Drag performers who made significant contributions
to the Drag scene and LGBTQ+ culture in Los Angeles. Some of today’s most renowned and
acclaimed Drag performers made their way up during this period, leading to current mainstream
Drag culture. During this decade, photographer John Simone captured Drag Queens and
underground celebrities in the New York scene before they became famous, including David
Bowie, Divine, Grace Jones, Keith Haring, Liza, Jayne County, Bianca Jagger, RuPaul,
Lypsinka, and Lady Bunny.
98
West Hollywood emerged as a hub for LGBTQ+ nightlife, and Drag Queens played a significant
role in shaping a cultural scene, attracting Drag artists from every corner of the country.
Alongside the mainstream Drag scene, underground and alternative venues continued to provide
spaces for experimental and unconventional Drag performances. Themed nights were usual in
96 Zeena Feldman, and Jamie Hakim, “From Paris Is Burning to #dragrace: Social Media and the
Celebrification of Drag Culture,” Celebrity Studies 11, no. 4 (2020): 386–401.
97 Clay Risen, “Sandie Crisp, ‘Goddess Bunny’ of the Underground Scene, Dies at 61: Those We’ve Lost.”
New York Times (Online). New York: New York Times Company, 2021.
98 John Simone interview by Tom Rasmussen, Rarely Seen Photographs of a Young RuPaul for Another
Man Magazine, May 28, 2019.

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venues like Club Lingerie and the Anti-Club, providing a platform for edgier and subversive
Drag styles such as the one of The Fabulous Wonder Twins.
99 Luis and Carlos, born in El
Salvador, found a ground for self-expression in Southern California.100
Numerous venues started hosting Drag performances and revues. Popular establishments like
The Queen Mary, The Revue, and Jewel's Catch One provided spaces for Drag Queens to
showcase their talent and entertain audiences. Important Drag Queen figures like RuPaul (before
achieving global recognition), Jackie Beat, and Sherry Vine emerged from the Los Angeles Drag
scene in the 1980s.
RuPaul was influential in the Los Angeles Drag scene in the 1980s, even though she only
achieved global fame in the 1990s.
101 RuPaul performed at various clubs and venues, captivating
audiences. She also starred in an underground low-budget film series called Starrbooty in
1986.102
Jackie Beat, the Drag persona of Kent Fuher, rose in the Los Angeles Drag scene and is known
for her razor-sharp wit and comedic talent. Jackie Beat's performances blended humor, music,
and satire. She has performed at clubs throughout California, such as Martinis Above Fourth in
San Diego, Executive Suites in Long Beach, Hamburger Mary's in West Hollywood, Cavern
99 Jocelyn Isabel Aguilera, "“We Don’t Need the English!” Transforming and Reconstructing Punk Politics
into Chicana Punk Social Activism 1977-1989."; Duncan Strauss, "DOLBY COVERS UP TO ASSURE A
NICHE ON THE CLUB CIRCUIT: [ORANGE COUNTY EDITION]." Los Angeles Times (Pre-1997
Fulltext), Jun 19, 1987. http://libproxy.usc.edu/login?url=https://www.proquest.com/newspapers/dolbycovers-up-assure-niche-on-club-circuit/docview/292605344/se-2.
100 Harry James Hanson and Devin Antheus, Legends of Drag: Queens of a Certain Age, New York:
Cernunnos, 2022.
101 Dennis Hunt, "A Witty RuPaul at the Palace," Los Angeles Times (1923-1995), Jul 19, 1993.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/witty-rupaul-atpalace/docview/1851797187/se-2.
102 Starbooty Inc, Starbooty, 2007, Accessed September 5, 2023. www.starbooty.com.

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Club in Silver Lake, and Badlands in Sacramento.
103 Jackie Beat debuted in the late 1980s at
Café Largo on Fairfax Ave.104
Sherry Vine, the stage name of Keith Levy, gained recognition in the Los Angeles Drag scene
before becoming famous in New York City. Originally from Florida, Sherry Vine studied at the
University of Southern California (USC) and debuted in Drag in Los Angeles in a one-act play
called “Sorry, Wrong Number.”105 Known for her clever parodies of popular songs and her
irreverent style, Sherry Vine's impact on the Drag community worldwide is undeniable.
106
Amid the AIDS epidemic, the 1980s witnessed the intersection of Drag with art, expression, and
activism. Drag performers incorporated political and social commentary into their performances,
addressing issues such as HIV/AIDS awareness, LGBTQ+ rights, and the fight against
discrimination.
Miss Coco Peru, also known as Clinton Leupp, began her Drag career in the early 1990s but
started non-Drag performances in Los Angeles during the late 1980s. Widely known for her
flamboyant red hair and gravelly voice, Miss Coco Peru's monologues and storytelling made her
an icon of the Drag and LGBTQ+ community. Her experiences during the AIDS epidemic in
New York brought her to the front line in activism and advocacy for LGBTQ+ rights and the end
103 Lina Lecxaro, “Scream Queen Superstar: Jackie Beat Gets Gruesome at the Cavern Club.” LA Weekly,
October 27, 2008.
104 Frank DeCaro, "The ‘Weird Al Yankovic of Drag’ Gets an Extreme Home Makeover: Related
Slideshows." New York Times, March 13, 2018, https://www.nytimes.com/2018/03/13/style/what-is-jackiebeats-real-name.html?auth=login-google1tap&login=google1tap.
105 Eric Caban, “Living for Sherry Vine.” Watermark Online, February 24, 2012.
106 Sherry Vine interview by Amber Live, Drag Queen Legend Sherry Vine talks about The Sherry Vine
Variety Show, YouTube. December 15, 2021,
https://www.youtube.com/live/gChHzLo0TXc?si=6NNjojLTP-PQUzLR.

45
of HIV stigma. Since 2005, She has hosted a series of celebrity interviews, “Conversations with
Coco,” at the Renberg Theater in Los Angeles.107
The visibility and recognition of Drag Kings in the 1980s were less prominent than those of Drag
Queens. There were certainly Drag Kings and gender-bending performers who contributed to the
Los Angeles Drag scene during that time, however, because of gender discriminatory social
context, the information is very limited. The Drag King scene as we know it today emerged and
gained more visibility in subsequent decades. The 1980s served as a time of cultural transition
and groundwork for the further development of Drag Kings as an integral part of the Drag
culture in Los Angeles and beyond.
107 Miss Coco Peru, 2022. Accessed September 5, 2023. www.misscocoperu.com.

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Chapter III – Drag Historic Enclaves and Their Significance
Historically, most places where Drag shows happened in Los Angeles are no longer in business
and have been demolished. Drag shows usually occurred in venues that allowed Drag performers
to express their artistic talents in ways nearly all other places would not. Often, these places
would get into trouble for letting Drag performers act, facing police raids, fines, and all sorts of
legal issues. Often, establishments that permitted LGBTQ+ individuals to express themselves
were short-lived. Therefore, the information available is not complete. Still, traces of these
places can be found through sparse historic documentation, and their significance is related
specifically to the opportunities they provided to Drag culture and the LGBTQ+ community as a
whole. Although performances are, by nature, intangible as artistic expressions, the sites where
they took place became essential enclaves that paved the path for the development of the
community, just as theatres or any other creative venue despite their humble architectural
features.
The development of Drag Culture in Los Angeles reflects the shifts in the city’s development
itself; the different political and socioeconomic phases at a global, federal, and local level
directly impacted how the culture developed through the twentieth century.
Los Angeles, with its multiple layers and development history, contributed to the creation of a
rich Drag Culture. Drag development can be linked with the city’s development phases. In this
chapter, the twentieth century is divided into eight clusters of places that share similar social
environments and correlate to the development phases of the city. The clusters are named after
their socio-cultural similarities, and these are The Vaudeville Era, The Harlem of the West, The
Pansy Craze, The Run, The War Era, The Gay Liberation and Human Rights Movement, The

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Rise of Studio City, and the Pre-Mainstream Era. These clusters overlap in time in some
instances.
The following maps show the primary Drag enclaves and the places that allowed for its
development during the twentieth century and are divided into halves of the twentieth century
only for ease of graphic representation.
108
108 The maps only show the places found relevant to the Drag Culture development during my research; not
all the LGBTQ+ places are included in these maps, and more places should be included provided further
research.

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Figure 3.1- Drag Venues of the First Half of the Twentieth Century, created by author using Google Maps.

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Figure 3.2 - Drag Venues of the Second Half of the Twentieth Century, created by author using Google Maps.

50
In the late nineteenth century and early decades of the twentieth century in downtown Los
Angeles, various venues and establishments hosted Drag shows and balls, providing spaces for
Drag performers to entertain audiences and express themselves. Although “Drag Balls” as a
concept, is usually connected to New York’s Drag scene in the 1980s, Los Angeles was hosting
earlier Drag Balls. Los Angeles's development history played a significant role in paving the path
that allowed Drag culture to become what it is today.
The Vaudeville Era
During the first part of the twentieth century, Drag performers gained fame through the
Vaudeville circuit. Important venues with high beaux arts and art-deco architectural styles
provided a space for Drag throughout the country. Some of the most influential Drag venues that
contributed to the development of Drag culture and LGBTQ+ communities were historic theaters
in Downtown Los Angeles. The theater scene, the Vaudeville circuit, and the rapidly growing
economy because of the film and oil industry made Los Angeles the perfect pot for Drag
performances. Numerous theaters featured a variety of performances, including Drag shows. It
attracted a diverse audience and provided a platform for Drag performers to entertain and
challenge societal norms.
The Merced, at 420 N Main St., was the first building in Los Angeles built for theater
performances. Designed by Ezra F. Kysor in an Italianate style as a complement to the Pico
House next door, it closed in 1887 because of an outbreak of smallpox and then reopened as an

51
informal entertainment venue.109 The Merced became famous for its masked balls, which made it
a safe haven for the LGBTQ+ community at the beginning of the century. These masquerade
balls provided a safe space for gender-bending individuals, self-expression, and Drag during the
days of the masquerading law and served as precursors to Drag Balls.110
Victorian Sex Clubs were the only organizations that could afford the rent when it reopened at
the end of the nineteenth century. The Merced hosted masked balls for male and female
prostitutes who conducted "vile orgies," according to 1887 reports. The location was turned into
a lodging house for queer men by Frederick Purssord.111 The tolerance for this behavior ended in
1898 with the City’s anti-masquerading ordinance in response to La Fiesta celebrations, a weeklong celebration that drew attention from conservative parties because of participants dressing in
drag, which they found disturbing. The ordinance marked the beginning of a dark period in Los
109 B. Counter, Merced Theater, 2017, Accessed Oct 11, 2023.
https://losangelestheatres.blogspot.com/2018/03/merced-theatre.html.
110 Paula Kiley, 15 Places in L.A. Where LGBTQ History Was Made. June 9, 2022, Accessed Sep 13,
2023. https://www.kcet.org/shows/la-queer-history/15-places-in-l-a-where-lgbtq-history-was-made.; The
masquerade law, more commonly known as the anti-masking law, was established in New York in 1845
and spread like wildfire across the country in the nineteenth century. It declared it a crime to have your
"face painted, discolored, covered, or concealed, or [be] otherwise disguised… [while] in a road or public
highway." The law was written to target rural farmers, who had taken to dressing like Native Americans to
fight off tax collectors. However, by the beginning of the twentieth century, it was more often used to target
"gender inappropriateness," according to William N Eskridge, Jr in his book 'Gaylaw: Challenging the
Apartheid of the Closet.' Neetha K, "HBO Max's 'Equal': What were 'Masquerade Law' and 'Three-Article
Rule' used by cops to persecute trans community?" MEAWW, October 22, 2020, https://meaww.com/equalhbo-max-masquerade-law-three-article-rule-persecute-trans-community.
111 “ Frederick Purssord was an outrageous queen who made the L.A. Times for his practice of nudism. He
was later arrested as a “degenerate,” and died in police custody in 1913. L.A. had numerous bathhouses,
open for ladies for a few hours in the afternoon, open for men all night—with rooms for those who had no
place else to sleep.” Stuart Timmons and Karen Ocamb, "L.A. Gay Time Machine: Historic Sites in." IN
Magazine, 2007,
https://web.archive.org/web/20070504040733/http://www.inlamagazine.com/915/features/915_gayla.html.

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Angeles where LGBTQ+ individuals became prosecuted for expressing their gender identities.
112
Constructed in 1911, The Orpheum Theatre, at 630 S. Broadway in downtown Los Angeles, was
a renowned Vaudeville theater that showcased a variety of performances, including Drag shows.
From 1911 to 1926, it offered Vaudeville that could compete with the best of the country,
including that found in Harlem. It hosted traveling productions and local talent, allowing Drag
performers to captivate audiences with their extravagant costumes, singing, and comedic acts. In
1926, the Orpheum Circuit was purchased and changed its location to the current theater on 9th
and Broadway; the old theater was renamed the Palace.113
The Music Box Theater at 6126 Hollywood Blvd served multiple times as the stage for the
touring Jewel Box Revue. 114 Originally built as Carter De Haven's Music Box and then renamed
the Fonda Theater, this historic venue is one of Hollywood's first legitimate theatres. The theater,
designed by Morgan, Walls & Clements Architects opened in 1926 and is still operational.115
The Cocoanut Grove, located at the Ambassador Hotel at 3400 Wilshire Boulevard, was one of
the most important nightclubs and entertainment venues in Los Angeles during the early
112 Victorian Sex Clubs were organizations that appeared first in England during the Victorian era after a
century of sexual repression; the organizations hosted members-only underground events where attendees
could freely express their sexuality. Kate Kelly, "PERVERSE RELICS – A HISTORY OF SEXY WITH
TONY PERROTTET," Untapped New York, n.d., https://untappedcities.com/2012/09/21/perverse-relics-ahistory-of-sexy-with-tony-perrottet/. ; Queer Maps, n.d. Accessed October 11, 2023.
https://www.queermaps.org/place/420-n-main-st.-los-angeles-ca-90012.
113 Singer, Stan. “Vaudeville in Los Angeles, 1910-1926: Theaters, Management, and the Orpheum.”
Pacific Historical Review 61, no. 1 (1992): 103–13. https://doi.org/10.2307/3640790.
114 "Dick Gregory show Socko at Crescendo." Los Angeles Sentinel (1934-), Nov 09, 1961.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/dick-gregory-showsocko-at-crescendo/docview/564583005/se-2.
115 B. Counter, Music Box/Fonda Theater: History + exterior views, 2017, Accessed Sep 21, 2023.
https://losangelestheatres.blogspot.com/2017/02/music-box-theatre.html.

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twentieth century, a prime example of Art Deco and Spanish Revival style of Paul R. Williams
architecture. While not exclusively a Drag venue, it occasionally featured Drag shows as part of
its entertainment lineup, contributing to the visibility and acceptance of Drag performers. Drag
Queens such as Miss Coco and Sir Lady Java performed here.116
The Follies Theater, originally built as The Belasco in 1904 and demolished in 1974, was at 337
S. Main St. It presented Vaudeville-style entertainment. It was known for its variety shows,
which often included performances by Drag Queens. The Follies was raided, closed, and
reopened many times in the 1940s.117
116 Online Archive of California, (female Impersonators) Flyer for event at the Cocoanut Grove, page from
The Daily Variety 1969, Box-folder 11:8, Bruk (Margaret Tante) Papers Collection. William H. Hannon
Library, Loyola Marymount University, 1969; "GERTRUDE GIPSON...CANDID COMMENTS: NOTES
FROM A NEWSGIRL." Los Angeles Sentinel (1934-), May 20, 1965.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/gertrude-gipson-candidcomments/docview/564755323/se-2.; "GERTRUDE GIPSON CANDID COMMENTS: JOHNNY
COCHRAN PRAISED." Los Angeles Sentinel (1934-), Jun 02, 1966.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/gertrude-gipson-candidcomments/docview/564792710/se-2.
117 Andy Davis, History - LOS ANGELES BURLESQUE THEATRES – THE FOLLIES. August 8, 2013,
Accessed Sep 12, 2023. https://hollywoodburlesquefestival.com/history/los-angeles-burlesque-theatres.

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Figure 3.3 - The Vaudeville Era and the Run, created by author using Google Maps.
The Harlem of the West
Between the 1920s and 1950s, Central Ave became a hotspot for the African-American
community and the jazz scene. It was often called the Harlem of the West. Many of the jazz bars
along Central Ave were what we call today “gay friendly,” hosting Drag shows and offering a
platform for Black Drag performers to showcase their talent and creativity.118 This scene created
a new environment across Los Angeles that allowed Drag performances in different spots in the
city, although not all of these happening in Central Ave they were fueled by the inspiring jazz
climate in the city.
118 Hadley Meares, Curbed Los Angeles. Feb 28, 2018, Accessed Oct 5, 2023.
https://la.curbed.com/maps/central-avenue-history-jazz.

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Although not much information is available besides Drag Balls mentioned in the Sentinel
newspaper, places like Club Araby on 55th and Central Ave, The Elks Temple, and Club Alabam
hosted regular Drag Balls where African Americans were the main participants.119
Police constantly raided Drag Balls; people were arrested simply for dressing in attire that was
not aligned with their gender. The Drag Ball at the Elks Temple on 4012 South Central Ave
ended up with twelve men arrested. Among the incarcerated were Charles and James Alexander,
Jack R. Henry, Robert Thomas, James L. Mayo, James Swing, and Joe Hava, all registered as
“known Homosexuals” with the police department.120
Club Alabam, located at 4215 S Central Ave, was a popular nightclub and theater that hosted a
variety of performances, including Drag Balls. Bill Hefflin hosted an annual Drag Ball that
would gather Queens of all backgrounds. The Black-owned Club became one of the hottest clubs
in the Jazz scene in Los Angeles.121
119 Larry Harnisch, Black L.A. 1947: Drag Ball Planned for the Avodon Ballroom in DTLA, The Daily
Mirror, August 16, 2018, Accessed Sep 10, 2023. https://ladailymirror.com/2018/08/16/black-l-a-1947-
drag-ball-planned-for-the-avodon-ballroom-in-dtla/.
120 "POLICE JAIL 12 IN RIOTOUS DRAG BALL: DRAG BALL REAL 'DRAG' TO EASTSIDE
HALLOWEEN." Los Angeles Sentinel (1934-), Nov 03, 1949.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/police-jail-12-riotousdrag-ball/docview/562151289/se-2.
121 Drag contest, Club Alabam, Circa 1945, Los Angeles Public Library Photo Collection, Los Angeles
Public Library, N.d., Source: Calisphere, Accessed Sep 19, 2023.
https://calisphere.org/item/7cba55579dae9470895a1f86cf696d33/.

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Other venues hosted Drag Balls in Los Angeles in the first part of the twentieth century. The
Avodon on 843 S. Spring Street hosted a Drag Ball in 1947, including Jazz bands and the best of
America’s female impersonators.122
The El Rey Theatre, located at 5515 Wilshire Boulevard, is a designated historic venue that
hosted a range of entertainment, including Vaudeville shows and variety acts. It occasionally
122 Drag Ball to feature new style minstrels. (1947, Aug 14). Los Angeles Sentinel (1934-) Retrieved from
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/drag-ball-feature-newstyle-minstrels/docview/562091136/se-2.
Figure 3.4- Spring Street and Ninth Street, Avodon Ballroom, Garland Building at 117 West Ninth Street. Source
USC Digital Library. Dick Whittington Photography Collection, 1924-1987.

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featured Drag performances and female impersonators as part of its lineup. Ray Bourbon also
performed here.123
The Alexandria Hotel, a designated historic property at 210 W. Fifth St. in downtown Los
Angeles, was known for its ballroom dances and cabaret-style entertainment. Designed by John
Parkinson, it was a grand establishment that hosted various events, including an annual Mardi
Gras ball where performances by Drag Queens took place at the iconic Palm Court.
124
Figure 3.5 - The Harlem of the West, created by author using Google Maps.
123 "Florence Cadrez... mostly 'Bout Musicians . . . Ella Tale," Los Angeles Sentinel (1934-), June 08, 1950.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/florence-cadrez-mostlybout-musicians-ella-tale/docview/562212086/se-2.
124 Gents set for Mardi Gras, Los Angeles Sentinel (1934-), February 25, 1954, Retrieved from
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/gents-set-mardigras/docview/562359409/se-2.

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The Pansy Craze
With its vibrant entertainment industry, Hollywood was a significant center for Drag culture. The
area attracted performers, artists, and nightlife establishments that embraced and provided a
platform for expression for Drag performances. Hollywood Boulevard and Sunset Strip were
mainly known for their clubs and bars that hosted Drag shows catering to the most extravagant
tastes of the country’s bohemian circles.
Prohibition was enacted in 1920; however, the nightlife in Los Angeles stayed very active
through an underground speakeasy culture, an already ongoing safe space for people with
different sexual orientations that welcomed everyone else as alcohol became illegal. Drag
Queens, referred to at the time as "pansy performers," became very popular in underground
nightclubs, becoming some of the highest-paid performers in the United States during the 1930-
1933 "Pansy Craze."125 During Prohibition, many speakeasies popped up on the streets next to
Hollywood Boulevard, such as Ivar, Cosmo, and Cahuenga. Drag entertainment became popular
in Los Angeles during the “Pansy Craze.” In 1929, the Motion Picture Production Code was also
adopted, which brought a series of restrictions on performances and etiquette to the city.
126 The
nightclubs that lasted longer were B.B.B.'s Cellar, the Café Montmartre, and Jimmy's Backyard.
B.B.B.’s Cellar at 1651 Cosmo Street in Hollywood had a revue of ten boys dressed as girls; it
was a welcoming space to gay, straight, and bisexual people. The show was called “Boys Will
125 GPA Consulting, Lesbian, Gay, Bisexual and Transgender (LGBT) Context Statement, LOS ANGELES
CITYWIDE HISTORIC CONTEXT STATEMENT, Los Angeles: Office of Historic Resources - City of
Los Angeles Department of City Planning, 56-66, 2014.
126 “The Motion Picture Production Code was a set of industry guidelines for the self-censorship of content
that was applied to most motion pictures released by major studios in the United States from 1934 to 1968.
It is also popularly known as the Hays Code.” Dan Luckenbill, "glbtq archives." glbtq Los Angeles, 2006,
Accessed October 5, 2023. http://www.glbtqarchive.com/ssh/los_angeles_S.pdf.

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Be Girls.” Many Hollywood big-screen personalities frequented the place. Since homophobic
legislation was already in place, the B.B.B. Cellar had an alarm system in place. Bobby Burns
Berman, who was running the business at the time, provided patrons with a wood hammer at the
entrance and instructed them to pound their table every time a new guest arrived. This system
may have saved Drag performers and transgender individuals for a period of time. Still, in the
end, police raids reached the venue in 1932, resulting in the incarceration of performers and
patrons. Rae Bourbon, Fred Monroe, and Karyl Norman were regular performers here.127
Jimmy’s Backyard on 1608 Cosmo St. opened its doors in 1929 by Thomas Gannon. Patronized
by straight cisgender individuals, places like Jimmy’s Backyard were often referred to as "queer
bars" and "pansy joints" because they featured female impersonator revues. The Drag
performances became so accepted that magazines like The Hollywood Reporter and Vanity
magazine wrote about them and the Hollywood stars that attended. During the 1930s, it was
considered L.A.’s first openly gay bar, and it also hosted Rae Bourbon’s “Boys Will Be Girls”
extravaganza.128
In 1933, Prohibition was repealed, and law enforcement officers, afraid of losing control over
Hollywood, started raiding clubs that welcomed sexual diversity more often. They began
targeting clubs that allowed Drag performances where “men masqueraded as women, and
127 Martin Turnbull, Hollywood Places, n.d., Accessed Oct 11, 2023, https://martinturnbull.com/hollywoodplaces/.
128 Lindsay Mulcahy, Half A Century of Protest - Pride to BLM Along Hollywood Boulevard, n.d.,
Accessed Sep 15, 2023. https://www.hhprc.org/pride-celebration.; Queer Maps. n.d. Accessed Sep 13,
2023. www.queermaps.org.

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women pose as men.” During Jimmy’s Backyard raid, they arrested the female impersonators
and sentenced them to six months in jail.129
Club Bali, situated at 8804 Sunset Blvd, was a sophisticated venue that hosted Drag shows and
other LGBTQ+ events during the early twentieth century. It provided a space for Drag
performers and queer individuals to socialize and express themselves freely. Bruz Fletcher was a
headliner here during the Pansy Craze between 1935 and 1940. Fletcher's singing performance
and his open sexuality provided the Los Angeles LGBTQ+ community with a space of
freedom.130
Aside from public venues, and especially during Prohibition, speakeasies, private clubs, and
parties played a significant role in shaping the Drag culture of the time. Men and women held
private parties alike to freely dress in Drag, express themselves, and avoid the scrutiny of the
homophobic society and policies.131 These exclusive spaces allowed Drag performers and
LGBTQ+ individuals to gather, socialize, and express themselves freely.132
The Roosevelt Hotel on Hollywood Boulevard was a popular destination for entertainment and
nightlife during the early twentieth century. Although the information is not very clear, it is
129 Queer Maps. n.d. Accessed Sep 13, 2023. www.queermaps.org.
130 Dan Avery, Logo TV, Oct 28, 2019, Accessed Oct 3, 2023.
https://www.logotv.com/news/zjvsv5/prohibition-launched-first-drag-craze-in-america; Bruz Fletcher is
one of the few openly gay singers in the midcentury era. Jon Ponder, 1935: Bruz Fletcher’s Camp Style,
2021, Accessed October 3, 2023. http://www.playgroundtothestars.com/timeline/1935-bruz-fletcher-atclub-bali/#:~:text=Bruz%20Fletcher%20was%20a%20society,be%20known%20later%20as%20camp.
131 Howard Ballew, "Posed as girls," Photograph, Digital Transgender Archive, 1944,
https://www.digitaltransgenderarchive.net/files/9k41zd63m, Accessed September 13, 2023.
132 "Joe Harper party, view 1," Photograph, Digital Transgender Archive, 1920,
https://www.digitaltransgenderarchive.net/files/5h73pw162.

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likely it hosted events and shows that included Drag performances, attracting both locals and
tourists.133
Club Mona’s 440, although in San Francisco, had some influence on the Drag King scene in Los
Angeles. The Club featured male impersonators dressed in tuxedos that often replaced song
lyrics with openly gay ones, which led to these performances being tagged as not respectable; the
place was thought to cater to sex tourism and sex work. Gladys Bentley was a regular performer
here and remained one of the main attractions before moving to Los Angeles to continue her
career. Beverly Shaw also regularly performed here, among other Drag Kings.134 Several San
Francisco clubs advertised male and female impersonators well into the 1950s, despite bar raids
and police harassment of those who were gender nonconforming.135
Finocchio's Club in San Francisco, operating since the 1930s, continued to be a popular venue
for Drag performances during the 1960s, attracting performers from various locations, including
Los Angeles, most definitely defining a path for the Drag Culture of the city development.
133 Jimmy James, “Jimmy James as MM Hollywood Roosevelt Hotel circa 1989. Live vocals,” TikTok
video, 3:10 min, December 21, 2022,
https://www.tiktok.com/@jimmyjamesfashionista/video/7179584736002592046.
134 Queer Music Heritage, Beverly Shaw, June, 2004, Accessed Oct 13, 2023.
https://www.queermusicheritage.com/jun2004bs.html.
135 Malinda Lo, A Brief History of Male Impersonation, Malinda Lo Blog, April 27, 2021, Accessed July
15, 2023. www.malindalo.com/blog/2021/4/27/a-brief-history-of-male-impersonation.

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Figure 3.6 - The Pansy Craze, created by author using Google Maps.
The Run
Back in Los Angeles, Pershing Square played a crucial role in the development of Drag culture;
it was at the heart of a circuit of gay-friendly establishments and cruising spots in the 1920s
through the '80s known as "The Run." Some of the places that paid no heed to early Drag in the
Run were the Central Library, the bar at the Biltmore Hotel, and the Subway Terminal
Building’s bathrooms. LGBTQ+ community members freely dressed in Drag in the area to
express themselves or look for work, as depicted in Rechy’s City of Night. Drag performers
freely gathered here to plan events and shows. 136
136 Paula Kiley, 15 Places in L.A. Where LGBTQ History Was Made. June 9, 2022, Accessed Sep 13,
2023. https://www.kcet.org/shows/la-queer-history/15-places-in-l-a-where-lgbtq-history-was-made.

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The Run was not the typical enclave where gay men freely interacted with each other. It was
more of a secret network where clever gay men moved, fooling the restrictive policies of the city.
Although there was no clear sense of a community, these pockets of homosexual activity became
the way in Los Angeles between the 1920s through the 1940s.
137
In 1951, the park was renovated to add a parking garage underground; the removal of the dense
foliage put an end to The Run era in the 1960s, as homosexual contact was illegal at this time. In
1992, the park was fully renovated under Mexican architect design Ricardo Legorreta.
138
The Run overlaps with the War Era, as during World War II, gay men and women found a place
to be themselves in downtown Los Angeles despite most of the establishments being declared
“out of bounds.” Many people ended up in custody, but most just quietly accepted the injustice
of the time, fearing to be publicly outed. Executive Order 10450, signed in 1953, officially
allowed for anyone found to be homosexual to be fired without explanation and for businesses
catering to the LGBTQ+ community to lose their license. Savvy business owners found a way to
still provide places where individuals could feel safe. The LAPD gathered around 10,000 files on
suspected “sex offenders” at Pershing Square.
139
137 Daniel Hurewitz, Bohemian Los Angeles, University of California Press, 2007.
138 Los Angeles Conservancy, Historic Places in L.A, Pershing Square, n.d., Accessed Oct 12, 2023.
https://www.laconservancy.org/learn/historic-places/pershing-square/.
139 Glen Creason, Los Angeles Public Library, Jun 6, 2016, Accessed Sep 18, 2023.
https://www.lapl.org/collections-resources/blogs/lapl/gay-downtown-los-angeles.

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3-2-6 on 326 S Spring St, opened by World Heavyweight Boxing Champion Jim Jeffries in
1908. This bar attracted Drag Queens, including Destiny, a real person and a character in John
Rechy's City of Night. The building was demolished in the 1960s.
140
The War Era
During World War II, a great flock of soldiers, marines, and airmen took their stateside leave in
Los Angeles. The city’s nightlife catered to all kinds of tastes, but in 1942, the navy decided to
make more than thirty bars and nightclubs across Los Angeles off-limits to sailors. La Boehme,
also known as Chez Boheme at 8950 Sunset Blvd in West Hollywood and Café Internationale at
8711 Sunset Blvd, offered crossdressing performers, usually women dressed in male drag or
Drag Kings. U.S. forces frequented these places where they could have a meal while exploring
their sexuality while “watching boy-girls kissing.” Rae Bourbon was the main attraction at Chez
Boheme, and Karyl Norman also performed under the guise of various Hollywood actresses
here. In both places, liquor licenses were revoked due to the Navy ban.141
MacArthur Park was another gathering place for the early LGBTQ+ community and Drag
performers. It served as a location for outdoor events, picnics, social gatherings, and cruising
spots where Drag performers could express themselves and entertain the community.
140 Queer Maps, n.d. Accessed Sep 13, 2023. www.queermaps.org.; John Rechy, City of Night, New York:
Grove Press, Chapter 3, 1963.
141 Jon Ponder, “1942: Navy Bans Gay Clubs,” Playground to the Stars Blog, n.d., Accessed Oct 4, 2023.
http://www.playgroundtothestars.com/timeline/1942-military-declares-chez-boheme-cafe-internationaleoff-limits/.

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It opened in 1890 under the name of Westlake Park and was renamed in 1942; it was part of a
new development for wealthy citizens of Los Angeles.142 In 1926, the Park Theater, formerly the
Westlake Theater, opened at 636 S Alvarado St, configured for both movies and Vaudeville
productions, where in June of 1968, filmmaker Pat Rocco presented “A Most Unusual Film
Festival.” Today, the building is an indoor swap meet.
143
142 The Pride LA, “MacArthur Park Was Cruisy in the Dark”, Oct 22, 2015, Accessed Sep 14, 2023.
https://thepridela.com/2015/10/macarthur-park-was-cruisy-in-the-dark/.
143 Pat Rocco contributed to a burgeoning public gay film culture in the United States when his films were
exhibited at the Park Theatre in Los Angeles from 1968 to 1971. Bryan Wuest, "Defining Homosexual
Love Stories: Pat Rocco, Categorization, and the Legitimation of Gay Narrative Film." Film History 29, no.
4 (2017): 59-88. doi:https://doi.org/10.2979/filmhistory.29.4.03.
http://libproxy.usc.edu/login?url=https://www.proquest.com/scholarly-journals/defining-homosexual-lovestories-pat-rocco/docview/1992870643/se-2.

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Figure 3.7 - The War Era, created by author using Google Maps.
The second half of the twentieth century played a crucial part in the acceptance of Drag culture
and its significance as an artistic form. Several influential venues played a significant role in the
Los Angeles Drag scene. These venues provided platforms for Drag performers, hosted Drag
shows, and contributed to the development of the LGBTQ+ and Drag communities.
The Gay Liberation and Human Rights Movement
Some other neighborhoods and cities became LGBTQ+ enclaves before the 1950s; the Silver
Lake neighborhood, previously known as Edendale, has long been associated with LGBTQ+
culture in Los Angeles. In the early to midcentury, it became a gathering place for LGBTQ+

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individuals, including Drag Queens. Bars and venues in Silver Lake, such as The Black Cat
Tavern, became important hubs for the community and are considered cornerstones of the Gay
Liberation Movement on the West Coast.
144
Cooper Do-nuts on 547 S Main St was a 24-hour café coincidentally located in the middle of
downtown’s network gay hangouts known as “The Run.”145 It was popular among the LGBTQ+
community during the 1950s and 1960s because it was one of the few establishments in the city
that would not turn down queer and Drag patrons, despite LAPD-sanctioning measures and
harassment. The coffee shop became a gender-non-conforming safe haven and late-night Drag
scene enclave after a sign was posted advising customers not to be alarmed by “sitting with
people in full theatrical make-up.”146 LAPD entered bars asking patrons for identification; if
their ID did not match their gender presentation, they would be arrested. In this manner, LAPD
officers arrested five individuals for their LGBTQ+ association: two Drag Queens, two male sex
workers, and one gay man in May 1959. This unfounded and discriminatory arrest prompted one
of the (allegedly) first LGBTQ+ human rights riots in the country. John Rechy witnessed and
documented the event in his novel City of Night, quoting, “The street was bustling with
disobedience.” A group of lesbians, transgender women, Drag Queens, and gay men rushed to
the streets in resistance to the arrests, throwing donuts, paper plates, coffee cups, and anything
144 Rafael Francisco Fontes, "GAINING A FOOTHOLD - CONSERVING LOS ANGELES’ QUEER
EDEN(DALE)," Master Thesis. Los Angeles: School of Architecture University of Southern California,
December, 2020.
145 Queer Maps. n.d. Accessed Sep 13, 2023. www.queermaps.org.
146 Nan Alamilla Boyd, Wide-Open Town : A History of Queer San Francisco To 1965, University of
California Press, 2003. ProQuest Ebook Central,
http://ebookcentral.proquest.com/lib/socal/detail.action?docID=224018. Created from socal on 2023-08-22
16:05:58.

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they could find at the policemen. But there is no news coverage or official reports of this
event.147
Additionally, the Black Cat Tavern, an LGBTQ+ bar in Los Angeles, became an important
gathering place for the LGBTQ+ community during the 1960s; it was the bar where the Los
Angeles liberation movement riots started even before Stonewall. While primarily a bar rather
than a Drag venue, Drag Queens and performers often frequented the establishment, as it served
as a focal point for the community's social and cultural life.148
147 Paula Kiley, “15 Places in L.A. Where LGBTQ History Was Made,” June 9, 2022, Accessed Sep 13,
2023. https://www.kcet.org/shows/la-queer-history/15-places-in-l-a-where-lgbtq-history-was-made.
148 Rafael Francisco Fontes, "GAINING A FOOTHOLD - CONSERVING LOS ANGELES’ QUEER
EDEN(DALE)," Master Thesis. Los Angeles: School of Architecture University of Southern California,
December, 2020.
Figure 3.8 - Original site of Cooper Do-nuts inside Evans Cafeteria. Image courtesy of the Evans Family via
www.cooperdonuts.com.

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La Cage Au Folles on 643 N. La Cienega is, allegedly, the place where Drag brunches and
dinners started. It opened in April 1981 by Lou Paciocco and featured Drag Queens
impersonating Barbra Streisand, Diana Ross, Dolly Parton, Julie Andrews, Donna Summer,
among others. The restaurant's success was so great that they planned to branch out to London,
Chicago, Las Vegas, San Francisco, and Florida, all of these today’s Drag show hubs worldwide.
149 The Hollywood Rosevelt Hotel today presents a show inspired by the original venue on La
Cienega.
149 "La Cage Aux Folles," Los Angeles Sentinel (1934-), Sep 09, 1982.
http://libproxy.usc.edu/login?url=https://www.proquest.com/historical-newspapers/la-cage-auxfolles/docview/565441935/se-2.

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Redd Foxx was a Harlem nightclub comedian born in St. Louis who played the “Chitlin Circuit.”
He was a very progressive mind for his time and a longtime ally to the LGBTQ+ community. He
performed along with Drag Queens Lynn Carter and Jan Britton, Jewel Box Revue’s “Living
Dolls.”150 He opened an “Adults Only” comedy club during the height of his career, the Redd
Foxx Club at 339 N. La Cienega Blvd in Los Angeles was the place to be.
151
150 "Peeping Redd," Clipping, Digital Transgender Archive, 1958,
https://www.digitaltransgenderarchive.net/files/qf85nb48n, accessed October 05, 2023.
151 The Official Website of Redd Foxx, Redd Foxx, N.d., Accessed Oct 5, 2023. http://reddfoxx.com/.
Figure 3.9 - Sir Lady Java and Redd Foxx standing in front of other
protestors, holding a sign which reads, "Java vs. Right to Work" in front
of the Redd Foxx club "Sir Lady Java with Redd Foxx." Photograph.
1967. Digital Transgender Archive,
https://www.digitaltransgenderarchive.net/files/vm40xr83g (accessed
October 05, 2023).

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Sir Lady Java, one of the most significant characters in Drag Culture and a transgender rights
advocate, started waiting tables at the Redd Fox Club and then moved onto the stage to perform
there in the 1960s. During her shows in October 1967, when Rule 9 was enacted, she was
attacked by the police. The Redd Foxx Club and its owner stood up for her and their rights.152
In 1965, Bob Damron partnered with Hal Call to publish the Address Book.153 It was a listing
unique in its kind in the United States, which included bars and places where people from the
LGBTQ+ community could feel safe. Damron was in the alcohol industry, and during the 1950s,
he ran the Red Raven on 7013 Melrose Ave, a well-known cabaret-style nightclub that hosted
Drag shows and performances. It was a popular gathering place for LGBTQ+ individuals and
featured a range of entertainment, including Drag Queens and female impersonators. 154
152 Suyin Haynes, "How One Drag Performer's Overlooked Activism Helped Lay the Groundwork for
Today's Fight for Transgender Rights." TIME Magazine, Jun 25, 2021, Accessed Oct 5, 2023.
https://time.com/6074496/sir-lady-java-trans-rights-history/.; Caroline Thrasher, "Sir Lady Java - History
and Legacy of a Trans Rights Hero." Los Angeles County Natural History Museum Website. June 27,
2021, Accessed August 5, 2023. https://nhm.org/stories/sir-lady-java.
153 Hall Call was the long-time president of the Mattachine Society.
154 Bob Damron, Bob Damron's Address Book 1969. San Francisco, CA: Calafran Enterrpises, 1969.
Accessed May 10, 2023
https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cbibliographic_details%7C3235514.

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The Damron Address Book became a very important document to the LGBTQ+ community in
the country, acting in a manner as the “Green Book” for queers, and it reached the United States,
Mexico, Canada, the Caribbean, and even Europe.155 There was a big focus on the city of Los
Angeles; in its 1968 publication, the entry begins, “L.A. is the nation’s largest city in area.” It
divided the metropolitan area into four zones: Hollywood, the Metropolitan area, the San
Fernando Valley, and the West and Southwest. The listing included a clever letter coding system
that allowed users to identify what the place was about; for example, BA stands for “Bare Ass,”
155 "Damron Address Book," The Front Page 19, no. 1 (1998): 26. Archives of Sexuality and Gender
accessed October 10, 2023. https://link-galecom.libproxy1.usc.edu/apps/doc/FHOHEC029155806/AHSI?u=usocal_main&sid=bookmarkAHSI&xid=baffdb74.
Figure 3.10 - excerpt of Damron's Adrress Book '69 - Bob Damron, Bob Damron's Address Book 1969, San
Francisco, CA: Calafran Enterrpises,.
https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cbibliographic_details%7C3235514.

73
which clued users about nudist beaches. The letter code for Drag performances was “S,”
meaning the bar hosted shows.156
Figure 3.11- The Gay Liberation and Human Rights Movement, created by author using Google Maps.
The Rise of Studio City
During the 1960s, Studio City experienced a wave of open-mindedness and welcomed the
LGBTQ+ community of the era. A couple of places opened catering for the community, and
Drag performances were part of the usual repertoire.
156 Myriam Gurba, A Guide to Gay Los Angeles, 1965. Nov 14, 2017, Accessed August 10, 2023.
https://www.pbssocal.org/shows/lost-la/a-guide-to-gay-los-angeles-1965.

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Owned by the then-famous within the lesbian community, Drag King Beverly Shaw, Club Laurel
at 12319 Ventura Blvd was an upscale lesbian venue that catered to the film community. At its
opening in 1957, it was one of the earliest lesbian nightclubs in the San Fernando Valley. Shaw
used to perform wearing a suit with a bow tie while sitting on top of the piano, looking into the
audience. Club Laurel became one of the most popular nightspots in the city. The place featured
a photograph of the owner in the front window captioned "Miss Beverly Shaw, Sir!." Club
Laurel closed in 1971.157
The C’est La Vie Club on 11920 Ventura Blvd hosted Drag shows and queer performances on a
regular basis. It was listed under Damron’s Address Book ’71 guide and closed its doors in 1981.
Drag Performers like Rikki Summers and stars like Hadda Brooks took the stage here.
158
The Queen Mary, also known as King's Alley, King's Den, and King's Lounge, was a show bar
featuring Drag performers at 12449 Ventura Blvd in Studio City. Drag Queens performed in
feather boas and flamboyant gowns while lip-syncing era hits. Liza Minelli, Mae West, and
Diana Ross were among the most recurring personalities recreated by the Queens. There was an
adjacent entrance with a sign that read King’s Lounge for those who did not feel comfortable
using the Queen Mary entrance.
159 The Queen Mary hosted a four and a half hour show of Drag
and male strippers and, by 1997, was one of the city's most reputable and well-established Drag
157 Phillip Zonkel, "San Fernando Valley has a secret history of gay bars." Q Voice News, Aug 26, 2021,
Accessed Oct 13, 2023. https://qvoicenews.com/2021/08/26/san-fernando-valley-has-a-secret-history-ofgay-bars/.
158 USC Digital Libraries. C'est La Vie advertisement, n.d., Accessed Oct 10, 2023.
https://doi.org/10.25549/one-oUC12262011.
159 Phillip Zonkel, "San Fernando Valley has a secret history of gay bars." Q Voice News, Aug 26, 2021,
Accessed Oct 13, 2023. https://qvoicenews.com/2021/08/26/san-fernando-valley-has-a-secret-history-ofgay-bars/.

75
Clubs for over thirty years. Opened and run in 1964 by actress Mickie Lee and her son after
meeting the Drag trio “The Cashews,” it became a safe spot in the city for LGBTQ+ individuals.
The place was accepted and embraced by the Studio City leadership. The venue's walls were
adorned with paintings of Drag Queens by performer Bobby Carol. During the 1980s, the
backdoor developed a bad reputation, and over seventy arrests were made under prostitution
charges. The Queen Mary closed without reason in 2003 after 40 years of successful Drag
shows. The Queen Mary became an enclave and one of the most significant places in Los
Angeles for the Transgender community. 160
Figure 3.12 - The Rise of Studio City, created by author using Google Maps.
160 Hadley Meares, "L.A.'S DRAG SCENE WAS BORN IN A NONDESCRIPT BAR IN STUDIO
CITY." LA Weekly, May 22, 2017, Accessed Oct 16, 2023. https://www.laweekly.com/l-a-s-drag-scenewas-born-in-a-nondescript-bar-in-studio-city/.

76
The Pre-Mainstream Era
Before RuPaul’s Drag Race phenomenon hit the country in the 1990s, Los Angeles had become
a safe place for the Drag community. Drag Queens and Kings of all races and backgrounds
arrived in the city looking to grow their careers and have freedom of self-expression in a
welcoming environment. Many different Drag styles flourished in the city during this period,
from the so-called “Monster” performances such as Dragula to the Chicano and Latinx-inspired
Drag, which is very common in today’s performances.
Studio One, located at 652 LaPeer Drive in West Hollywood, was a popular gay nightclub during
the 1960s and 1970s located in today’s historic building known as “The Factory.” In 2015, the
building was slated for demolition but was saved through grassroots preservation advocacy
efforts when it was placed on the National Trust’s 10 America’s 11 Most Endangered Historic
Places List. The building is found significant for its association with different historic themes
throughout history. However, its cultural significance to the LGBTQ+ community is one of the
most essential reasons for its significance and listing in the National Register under Criterion A
(association with significant patterns of events). The building was documented in its entirety,
disassembled, and stored, and today, it awaits to be reconstructed in a different location.161
Originally a motion picture camera factory, it then became a popular nightclub widely known
around the whole country. It was founded in the 1970s by Scott Forbes, known as the "Disco
King." Studio One featured Drag shows and performances that attracted the LGBTQ+ crowd and
161 Ty Ginter, “One Building, Three Lives: Saving the LGBTQ Heritage of the Factory” Feb 5, 2021,
Accessed Oct 16, 2023. https://savingplaces.org/stories/one-building-three-lives-saving-the-lgbtq-heritageof-the-factory.

77
provided a space for Drag performers to showcase their talent and creativity.162 The Club is
certainly associated with the Gay Liberation Movement; however, for most LGBTQ+ people
living outside of West Hollywood in those years, it also represents racism and discrimination as
their exclusivity policies usually favored cisgender White gay individuals. Black, Chicano and
female patrons were kept at the door entrance with slight chances to go inside because of these
policies and classist dress codes (for instance, bouncers were known to have asked for two forms
of ID from Black attendees, and enforced a “no open-toed shoes” that would restrict many
women from entrance). In 1975, the Gay Community Mobilization Committee fought against
these policies by sending letters and organizing boycotts without much success.163
Casita del Campo is a Mexican restaurant at 1920 Hyperion Ave in Silverlake. Inside the venue,
there is the Cavern Club Theater, an alternative performance space that hosts Drag shows
regularly. It was founded in 1962 by former Broadway dancer Rudy del Campo.164 The Cavern
Theater has been, for over twenty-five years, a welcoming venue to the Drag community. Run by
Drag performer Mr. Dan, it provides a space for self-expression to upcoming Drag performers.165
Love Connie, a well-established Drag Queen in Los Angeles, remembers the cavern as one of the
first places she was able to perform after arriving from New York. The welcoming place and
crowd helped her find a House in Los Angeles where she could develop her Drag persona.166
162 ONE Archives at USC Libraries. n.d. Bette Midler with drag queens at Studio One.
doi:https://doi.org/10.25549/one-c4-5280.
163 ONE Archives at USC Libraries. n.d. Studio One. Accessed Oct 16, 2023. https://one.usc.edu/archivelocation/studio-one-1.
164 Casita del Campo. Our history. Accessed Oct 16, 2023 www.casitadelcampo.net.
165 Frank DeCaro, "Long Before ‘Drag Race,’ There Was Mr. Dan." The New York Times, Jun 14, 2019,
https://www.nytimes.com/2019/06/14/style/mr-dan-drag-los-angeles.html.
166 Love Connie Interview with Jesus Barba, Aug 2, 2023.

78
Jewel's Catch One, also known as "Catch One" or “the Catch,” was a historic nightclub located
in the West Adams neighborhood. It opened its doors in 1973 on 4067 West Pico Blvd., and it
was one of the longest-running Black-owned LGBTQ+ clubs in the United States. Catch One
provided a safe space for the LGBTQ+ community and hosted Drag shows, attracting a diverse
crowd. Catch One closed in 2015.167 Owned by Jewel Thais-Williams, an African-American
lesbian who opened the club after facing discrimination at bars in West Hollywood for being a
woman, it became one of the most important LGBTQ+ hubs in Los Angeles in the 1970s.168
Circus Disco was a club located at 6655 Santa Monica Blvd. It played a crucial role in the Latinx
LGBTQ community, being the oldest and longest-running LGBTQ Latinx nightclub in
Hollywood and Los Angeles. It was opened in 1974 by Gene La Pietra and Ermilio "Ed" Lemos,
catering mainly to the Latinx gay community of Los Angeles. In contrast to the other LGBTQ+
nightclubs of the era, Circus Disco did not have any classist or exclusionary policies, and people
of all gender identities, races, and social classes were welcomed through the giant clown mouth
at the main entrance. Circus Disco was an LGBTQ+ Latinx-committed establishment and was
often involved in political and civil rights movements of the era. In 1983, civil rights and labor
leader César Chávez took the stage at Circus to address a gay and lesbian coalition called Project
Just Business, offering guidance about civil rights, protesting, and fundraising.
169 Fundraising
nights, benefits, and galas were organized and common, raising money for organizations like the
167 Moon-Ho Jung, ed. “The Rising Tide of Color : Race, State Violence, and Radical Movements Across
the Pacific,” Seattle, Washington ;: The University of Washington Press, 2014.
168 Karen Ocamb, "Pioneer: Jewel Thais-Williams." The Pride, Jun 9, 2016, Accessed Oct 10, 2023.
https://thepridela.com/2016/06/pioneer-jewel-thais-williams/.
169 Luis D. León. “Cesar Chavez in American Religious Politics: Mapping the New Global Spiritual Line.”
American Quarterly 59, no. 3 (2007): 857–81. http://www.jstor.org/stable/40068453.

79
American Civil Liberties Union Foundation Gay Rights Chapter and the Norton Sound 8, and
they also created a scholarship fund to benefit young gay men and women.170
By 1977, Circus Disco was already organizing contests and talent shows that welcomed the gay
community; this could be compared to the New York Ball scene of the time and as a direct
predecessor of RuPaul’s Drag Race. People used the Circus Disco stage to perform and
showcase their dancing and singing talents for a prize.171
Circus Disco closed in 2016 after the owner sold the property, and new development apartments
were planned to be built in its place after demolition. Conservation activists and Hollywood
Heritage conducted protests to save the place after the LA Conservancy called for action, but the
only outcome reached was a promise from the new owner to keep and preserve the clown
entrance and place a disco ball at the new lobby when they turned the site into a 786-unit AVA
housing complex in exchange for Hollywood Heritage to pull back from preservation efforts
trying to save the place.172 The complex is open today, and no sign of the clown entrance or
disco ball can be seen.
Circus Disco, along with the Black gay club Jewel's Catch One, became pioneer places in antidiscrimination, providing a community space for both Black and Latinx communities, going
further than just crossing racial divides and also accepting sexual and gender expression barriers.
170 Hollywood Heritage, "Recommendation Report." RECOMMENDATION REPORT, Los Angeles,
2015, Accessed Oct 18, 2023. https://planning.lacity.org/StaffRpt/CHC/12-3-
15/10.Circus%20Disco_UC.pdf.
171 Pat Rocco, "Circus has "Party of the Year,"" N.d., Accessed Oct 16, 2023,
https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cbibliographic_details%7C2776675.
172 Carman Tse, "Kooky Clown-Mouth Entrance Of Historic Gay Disco Saved From Demolition." LAist,
Jan 22, 2016, https://laist.com/news/entertainment/kooky-clown-mouth-entrance-of-historic-gay-discosaved-from-demolition.

80
Transgender pioneers, leather men, and Drag Queens paraded these places with confidence and
directly shaped today’s Los Angeles LGBTQ+ community.
173
The Anti-Club, at 5124 Melrose Ave, in Hollywood, was an underground music and
performance venue that embraced alternative Drag shows during the 1980s. Perhaps one of the
most active and diverse venues from 1979 through the mid-’80s, the Anti-Club was a
collaborative venture, initially hosted at Helen's Place, allegedly and formerly the Windup, an
established gay bar that prompted a gay-friendly climate for Drag performances and punk shows
after the owner Helen passed on the business. 174
At the end of the 1980s, the nightclub Largo became a symbol of “cool culture" on Fairfax
Avenue. When it opened in 1989, “Cafe Largo” (as it was originally known) received great
positive publicity for its poetry readings, its cabaret shows, and its late-night dining. This is the
place where Jackie Beat debuted her Drag persona. In 2008, the venue on 432 Fairfax Avenue
closed, and Largo relocated to a larger space at 366 N La Cienega Boulevard.175
By the 1900s, the Drag scene of Los Angeles had morphed into a characteristic form of the city,
taking life on its own. The underground scene became a platform for alternative Drag in clubs
such as Cherry and Makeup, and punk-rock legends in the making took over the stages, adding to
the Drag entertainment plethora. Circus Disco established itself as a safe haven for the Latinx
Drag community in the country, and Dragstrip 66 in Silverlake started to create a whole different
173 Mark S King, "Feeling the Love for L.A.'s Dearly Departed Circus Disco." The Advocate, Feb 4, 2016,
https://www.advocate.com/commentary/2016/2/04/feeling-love-las-dearly-departed-circus-disco.
174 The Anti Club Los Angeles, n.d., Facebook. Accessed Aug 17, 2023.; ONE Archives at USC Libraries,
The Windup Bar, N.d., Accessed Oct 17, 2023. https://one.usc.edu/archive-location/windup-bar.
175 Max Baumgarten, In Search of Fairfax. Jan 17, 2018, Accessed Oct 4, 2023.
https://scalar.usc.edu/hc/fairmax-project/index.

81
community based on the Drag culture of Los Angeles through pop-up parties. Los Angeles Drag
culture then stood out in the world as a grungy scene.176
Figure 3.13 - The Pre-Mainstream Era, created by author using Google Maps.
176 Sasha Urban, "L.A.’s drag scene is bigger than ever. But it’ll take a ‘rebellion’ to keep it safe." Los
Angeles Times, Jun 6, 2023, https://www.latimes.com/lifestyle/story/2023-06-06/la-drag-scene-is-biggerthan-ever-but-it-will-take-rebellion-to-keep-it-safe.

82
Conclusion
Drag as an LGBTQ+ Subculture
Drag Culture is an integral part of LGBTQ+ heritage. Its path of development runs in parallel to
it, crossing LGBTQ+ history at specific turning points. Drag as a subculture developed parallel
with LGBTQ+ culture, intermingling with the arts, cinema, theater, and fashion cultures, among
others. It is all part of the same story.
Drag culture has faced over the years a great deal of discrimination, even within the LGBTQ+
realm, as it served as a protective wing for transgender and gender non-conforming individuals
within the community, who were often marginalized and outcasted by the cisgender side of the
community. Drag culture provided many early transgender individuals with a safe haven in
which they could express their gender under the guise of artistic expression. Drag, and the places
that allowed Drag performances throughout history, created the perfect environment to empower
transgender people to fight for their rights as human beings; significant human rights
advancements we see today are in great part because of the space created around Drag
communities. It also served as a catapulting medium for many artists over the years,
independently from their gender and sexuality. Many heterosexual performers gained fame by
using Drag as their signature and continue to do so today.
Although Drag Kings remained the most obscure sector, the social advancements made by these
performers have had a notable impact on the development of LGBTQ+ communities, and today,
they are widely accepted, at least within the community.
Therefore, Drag has become part of the intangible heritage of many other cultures, including
Vaudeville circuits, theater, cinema, and performance arts, not only the LGBTQ+, and it is

83
essential to recognize its significance and the many contributions of the performers, activists, and
places to our society as a whole.
Endangered Heritage and Mainstream Culture
With today’s rapidly growing number of homophobic legislations across the country, Drag
performances must be recognized as an intangible heritage in our societies. At the time of this
writing, anti-LGBTQ+ bills are appearing across the country: Tennessee has made it illegal to
perform Drag in any public spaces, and Arkansas lawmakers are pushing for legislation that
makes it unlawful for a trans person to use a public restroom at the same time as a minor.177
Florida’s discriminatory policies under Governor DeSantis's administration are also targeting and
impacting underrepresented communities, specifically Drag performers within the LGBTQ+
community.178 These discriminatory regulations affect conservation efforts both directly and
indirectly. Miami has served as a hub for Drag shows in the last few years, bringing an important
influx of tourism and, consequently, money to the city and state. The current policies are scaring
away important conservation organizations from having events in the town; Latinos for Heritage
Conservation recently moved their biennial conference from Miami to San Diego in response to
the anti-immigration policies in the state. Docomomo US also issued a statement defending their
decision to hold the National Symposium in Miami in 2024, addressing conservationists' and
enthusiasts' reluctance to participate in a symposium in a state known to discriminate against the
LGBTQ+ community. We also need to remember that the set of unraveling policies targets not
177 THEM Magazine Instagram Account, www.them.us. Instagram @them March, 3, 2023.
178 "Florida agency appeals ruling blocking anti-drag show law," AP News, Jun 29, 2023.

84
only underrepresented communities but also preservation efforts. A recently passed bill eases the
demolition of miles of historic fabric along the coast.179 DeSantis’ strategy to divide and conquer
can only be brought down by the affected groups and allies joining forces against it. Political
environments directly affect the historic fabric when conservationists would rather stay out of the
picture because of discriminatory policies.
It is essential to protect places that are significant for their association with Drag culture. One
way of doing this is through historic designation, either under federal, state, and/or local
programs. Most places where Drag performances happened could be assessed for eligibility
under National Register Criterion A, which recognizes places important for their association with
events that have significantly contributed to the broad patterns of our history. All these places
provided the space for cultural development and, at different levels, are significant to milestones
in the historic timeline. Studio One is an example of a building listed in the National Register
under Criterion A for its significant association with LGBTQ+ heritage, and the Black Cat in
Silverlake is an example of such a place that is designated under a local program (City of Los
Angeles Historic-Cultural Monument).
One of the most well-documented places associated with Drag Culture is Julian Eltinge’s
residence. Although the place is directly connected to one of the most successful Drag
performers in United States history, its significance is stated because of the contributions Eltinge
made to the entertainment industry and its relevance to LGBTQ+ history. However, the
179 Jesse Scheckner, "Bill easing replacement of coastal buildings in flood zones advances to Senate floor."
Florida Politics, Apr 19, 2023, https://floridapolitics.com/archives/604947-bill-easing-replacement-ofcoastal-buildings-in-flood-zones-advances-to-senate-floor/.

85
designated building is his residence, not where he advanced Drag culture directly through his
performances. Drag performances happen primarily at bars and other types of public
establishments. Eltinge claimed not to be gay and that his stage persona was only for business
throughout his career. His former residence is one of the very few designated places that
provides association with Drag culture as a reason for its significance (Studio One is another
example of this), which is a terrific first step in cultural heritage and conservation efforts. Still,
there is the need to understand that the cultural significance of Drag resides in the public realm,
which is the focus of this thesis, rather than in private spaces.
Designated public spaces do not associate their significance with Drag heritage; little is
mentioned even during tours. During my research, I came across a handful of places likely linked
to Drag heritage; however, most traces are blurred and difficult to trace. I even found places
where the traces disappeared at owners’ statements denying the site's links to the LGBTQ+
history. This exposes that the huge systemic problem that prevents documentation and research
of underrepresented communities is still alive today. It is our society's fault that stories are
erased, and there is an urge for conservation professionals to start documenting the intangible to
bring all stories to light and save important places for those who never had a voice.
Although Drag has become more accepted worldwide, Drag performers still face discrimination,
even within the LGBTQ+ community. Transphobia is still very present, even among Drag
performers. Many Drag entertainers still struggle to stay afloat and to make Drag their way of
living and facing discrimination. The industry has become more competitive with the upcoming
mainstreaming of the culture highly on account of RuPaul’s Drag Race. Many BIPOC Drag
performers still experience difficulties without the help of shows like RuPaul’s.

86
During research, I realized that there are very few experts in Drag culture. Performers understand
Drag within the individual self-expression and artistic forms, but not as heritage. Drag has
become part of pop culture, and most performers do not know its history. The systemic
discrimination and the temporal nature of the places significant to the culture have contributed to
the reinvention of a longstanding culture where the collective history gets lost in the individual
memory.
The Ephemerality of Place
Theaters and impromptu establishments contributed culturally to developing LGBTQ+ heritage
and Drag entertainment to the same extent. On the one hand, theaters are preserved mostly
because of architectural features and design, but this is rarely the case with underground venues,
small shops, restaurants, and bars. In a formal assessment for the National Register of Historic
Places, both theaters and vernacular sites could meet Criterion A of the National Register for
their association with significant patterns of development, even if they are architecturally
modest. The main problem is the lack of research and information available about LGBTQ+
history, a systemic issue that applies to all underrepresented communities in the United States.
If these places are significant, and given the proper research and evaluation, the possibility for
designation poses a new challenge. Bars, restaurants, and small performance venues have a
completely different lifespan compared to other monumental or public buildings and spaces.
These are intrinsically bonded to their owner's and patrons' lives and fortune, making them
frequently ephemeral.

87
This ephemerality is an essential characteristic of this type of venue, which may pop up out of
nowhere after someone’s great idea to make some extra cash; it can start as a “hole in the wall”
place that caters to the local neighborhood until members of the community take over
transforming it as a safe haven for a brief period, to then decay and disappear as new generations
take the streets. This is a very unique lifecycle that applies specifically to this place typology
and, arguably, one of its most important characteristics. The ephemerality of the place is a
characteristic that should be acknowledged in traditional preservation mechanisms for
designation.
Very few places have been able to transcend and outlive their owners and patrons, becoming
legacy businesses, - a preservation form that presents a lot of nuances itself. But what happens to
those who couldn’t make the cut is most important in my thesis. In a Ruskinian philosophy, a
place should be able to die naturally, but remnants should become part of the collective social
history. Historically, there is one thing that society has failed to do to allow the nurturing of its
cultural heritage: documentation.
The lack of documentation allows society to forget the stories of people, systemically erasing
histories and promoting discrimination against underrecognized communities. The stories of
people are important, and research and documentation, especially about underrecognized
communities, are crucial to cultural heritage conservation. Therefore, the importance of the
ephemeral place does not rely upon the actual site but on the social imaginary.
Places are important because they have meaning to people; people find meaning in their culture,
so ephemeral places need better means for conservation that recognize their significance and
contributions to today’s society. The first step to acknowledge these places comes with visibility.

88
A significant portion of these buildings belong to our recent history; although it exists, the
information is mainly in the form of oral histories or hidden sources. As historians, we are
responsible for researching these histories and providing better base documentation that allows
for their protection under federal, state, or local designation. These measurements, along with
support of grassroots preservation movements, can help protect important places that hopefully
won’t suffer the same fate as Circus Disco.
Drag Culture as Intangible Heritage
Drag culture is perceived today as a social trend; however, it is deeply rooted in history. Drag
performers have been present throughout history. The incredible art it is today results from these
processes of de-demonizing human nature and the improvised claiming of spaces.
Some places described in this document, most of them theaters in the early twentieth-century
Vaudeville circuit, are already part of the historic stock of Los Angeles; those that are already
designated do not include any significance in relation to LGBTQ+ history or culture other than
its architectural characteristics. It is essential to acknowledge that the places are significant
because they are part of our society's development history, not only because of their aesthetics.
In this case, these nominations should be amended to include Drag stories as part of their
significance.
The Los Angeles Citywide Survey’s LGBT Historic Context Statement and SurveyLA LGBT
Historic Context Statement list only five bars and venues as designated places: B.B.B.’s Cellar,
Café Montmartre, Club New Yorker, Merced Theater, and The Black Cat. Out of these five, only

89
The Black Cat has been designated for its association with LGBTQ+ community events; the rest
are designated for other reasons or as contributors to Historic Districts. In these cases, amending
the historic designation forms to include its association with LGBTQ+ history will provide
visibility and reconciliation opportunities to their stories. The rest of the list are places known for
their contributions to LGBTQ+ history, but these are not designated in part because the places do
not exist anymore. Catch One, Cooper Do-nuts, Jimmy’s Backyard, and Club Laurel are among
the places listed as known extant resources whose eligibility can be associated with Drag
Culture.
180 For those places where the historic designation is not an option due to demolition or
change of use, other conservation practices can be taken, such as StoryMaps or other internetbased documentation tools, like the one Queermaps.org has been building. City guides can
include self-guided tours of these places, including QR codes that tell the stories of these places.
Drag Culture is part of the LGBTQ+ heritage; however, it is largely intangible. The aim is not to
try to preserve all the significant places for these histories but to acknowledge that they are part
of our society's collective history and heritage. It is a matter of visibility, and its importance lies
in the need for documentation and recognition of people in the LGBTQ+ community as
contributors to our history. Community outreach and engagement should be part of the
conservation efforts, helping a community unaware of its past rediscover its roots; sharing
knowledge and education is crucial to protect these places and their cultural value as more
180 GPA Consulting, Lesbian, Gay, Bisexual and Transgender (LGBT) Context Statement, “LOS
ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT,” Los Angeles: Office of Historic
Resources - City of Los Angeles Department of City Planning, 56-66, 2014; Los Angeles City Planning.
2016. Los Angeles Historic Resource Survey (SurveyLA). Historic Districts, Planning Districts and MultiProperty Resources Survey, Los Angeles: Los Angeles City Planning, 16-18.
https://planning.lacity.org/odocument/1844ca88-46f5-41fa-b658-
71547672f2f2/CentralCity_HistoricDistricts.pdf.

90
people become aware of their importance and existence, they will be more likely to participate in
grassroots preservation efforts.
We tend to forget that buildings are human-made and a place would not exist without people.
Sites are only meaningful if they are emotionally linked to people. Drag is a phenomenon that
happens in particular places, often temporary, that should be recognized as part of our heritage.
Drag Culture is not just about show business and entertainment but about empowerment,
visibility, and inclusivity.

91
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Abstract (if available)

Abstract This thesis explores the history of the Drag culture of Los Angeles, its relevance to today’s society, and why it is essential to preserve the tangible and intangible heritage of a marginalized subculture experiencing a surge in popularity today.

Today, Drag culture has become popular after many years of being buried under society’s “moral” prejudice. Existing in the shadows, most of the stories about this LGBTQ+ subculture have been erased, even within the LGBTQ+ community.

This thesis analyzes the duality between Drag history and today’s mainstream Drag culture to highlight its significance to the community and development of Los Angeles.

Because documentation of the stories of this culture is limited due to its nature and societal biases, a significant portion of my research relies on oral histories, interviews with people in the community and allies, and the LGBTQ+ archives at USC.

Many places where the Drag culture developed in Los Angeles are already gone, giving way to new developments or leaving urban voids. However, these stories still need to be told. It is important to identify enclaves in southern California that, in spite of their ephemerality, served as the foundation of Los Angeles's Drag culture.

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Asset Metadata

Creator Barba Bonilla, Jesus (author)

Core Title Drag culture of Los Angeles: intangible heritage through ephemeral places

School School of Architecture

Degree Master of Heritage Conservation

Degree Program Heritage Conservation

Degree Conferral Date 2024-05

Publication Date 01/25/2024

Defense Date 01/24/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag crossdreser,cultural heritage,cultural monuments,drag,drag architecture,Drag culture,drag queen,ephemeral places,gay,gay architecture,genre studies,Heritage Conservation,herstory,Historic Preservation,history of Los Angeles,impersonator,intagible heritage,Lesbian,LGBTQ,LGBTQ architecture,LGBTQ community,LGBTQ history,LGBTQ subculture,LGBTQ+,OAI-PMH Harvest,queer history,RuPaul,Sir Lady Java,temporal architecture,transgender,underrepresented community,urban development

Format theses (aat)

Language English

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Advisor Sandmeier, Trudi (committee chair), Horak, Katie (committee member), Reitan, Meredith Drake (committee member)

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