Male Homosexuality and Gender-Nonconforming Expression

Chapter 5 details how Black Press news coverage produced a black public sexual sphere that allowed readers to debate homosexuality and gender-noncomforming expression’s position in early-twentieth-century black communities. As the Black Press worked to transform negative images of blackness, they held homosexual life and gender-nonconformity up as a spectacle that could not seamlessly fit into notions of African American respectability. Nonetheless, regular coverage in the Black Press proved that editors believed that readers enjoyed reading articles and viewing images about female impersonators and gay men. In presenting readers’ responses to this coverage, chapter 5 draws attention to instances of contest and negotiation between diverse African American readers as they struggled to understand the intersections between race, gender, and sexuality.

Carmen Miranda: Race, Gender, and Camp Culture

Carmen Miranda (b. 1909–d. 1955) was a Brazilian singer and actress who made her debut on the radio in the late 1920s and soon became one of the most popular voices in Brazil. She recorded close to 250 singles, many of which were major hits, starred in five films (four with the Cinédia studio and one with Sonofilms), and gave innumerous performances on the most elite stages of Rio de Janeiro, such as the Urca and Copacabana casinos. Her signature look was a stylized version of the typical Bahian woman’s outfit, known as the baiana, complete with an abundance of bracelets and necklaces, platform shoes, and a whimsical turban that served as a base for all kinds of adornments. In 1939, she was invited by the Broadway impresario Lee Shubert to perform in his musical review The Streets of Paris and moved to New York with her band Bando da Lua to bring authentic Brazilian music to North America. A success overnight, Miranda would then be invited to star in her first US film, Down Argentine Way (1940), with 20th Century Fox, and would be cast in thirteen subsequent films. Carmen Miranda’s iconic look was immediately recognizable and became prime material for imitations by both male and female impersonators in theater, film, and cartoon media. Her excessive femininity, imbued with style, exaggeration, and playful deception, and her inclusion in musicals governed by theatricality and artifice, made her a productive site for camp interpretations that have remained in vogue to this day.

“He was unable to set aside the effeminate, and so was forgotten”: Masculinity, Its Fears, and the Uses of Falsetto in the Early Nineteenth Century

The male falsetto enjoyed a brief period of acceptance, even adulation, as it was wielded by tenors such as John Braham and Giovanni Rubini in the first four decades of the nineteenth century. At the same time, the last castrati to tread the stage were winding down their careers, while in Germany and Austria female impersonators such as Karl Blumenfeld, who possessed highly cultivated falsetto voices, were achieving a kind of fame of their own. These three kinds of falsetto—the castrato voice was heard at this time as having the same two registers standard for all voices, falsetto and chest voice—were, to a degree probably startling to modern readers, considered analogous to one another. The decline of the ”legitimate” falsetto as an extension of the tenorial chest voice was concurrent with the phenomena of the disappearing castrati and the wildly over-the-top female impersonators—all of whom were both implicitly and explicitly compared to one another. Both the tenors and the falsettists bore an uncomfortable, even ridiculous, perceptual proximity to the epicene, effeminate, always/already maimed state of the castrato, under the regulation of an anxious version of the male gaze. This proximity played a large role in the rapid disappearance of the tenorial falsetto after 1840.

Magnus Hirschfeld’s Onnagata

This chapter examines the circulation of sexual scientific knowledge between Germany and Japan by focusing on onnagata (Japanese “female impersonators”), which was included by Magnus Hirschfeld as cultural figures in his so-called Wall of Sexual Transitions. Hirschfeld created the Wall of Sexual Transitions to illustrate his “theory of sexual transitions” for the 1913 international Physicians' Congress in London. The chapter first provides an overview of the beginnings of the homosexual movement in Germany and the controversies it engendered, highlighting the important role played by the first reception of the traditions of Japanese samurai and male homosexuality in Japanese theater. It then considers Hirschfeld's idea of transvestitism and his 1931 visit to Japan, and how his reinterpretation of the onnagata influenced his own conception of transvestitism. It also shows how sexual ethnography emerged as an important field of sexual science that served to delineate ideological differences between European scientists and activists.