Allan Bérubé
- Published in print:
- 2011
- Published Online:
- July 2014
- ISBN:
- 9780807834794
- eISBN:
- 9781469603117
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807877982_berube.4
- Subject:
- Society and Culture, Gay and Lesbian Studies
This essay presents a revised version of an illustrated lecture that Berube first presented in San Francisco in June 1979. Inspired by the section in Jonathan Ned Katz's Gay American History titled ...
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This essay presents a revised version of an illustrated lecture that Berube first presented in San Francisco in June 1979. Inspired by the section in Jonathan Ned Katz's Gay American History titled “Passing Women”—which revealed a long tradition of women who dressed, lived, and worked as men; Berube searched through San Francisco newspapers for local evidence of the phenomenon. He places his stories in the context of the newly emerging field of U.S. women's history and sets them as well in the local setting of San Francisco. Although very much constructed as a discovery of hidden lesbian lives, the showings of “Lesbian Masquerade” also inspired some of the first explorations of transgender history. The essay was originally published in Gay Community News, a Boston-based politically progressive newspaper with a national circulation. Like much of the community press in the post-Stonewall era, Gay Community News not only reported news but served as an outlet for early writing in gay and lesbian history.Less
This essay presents a revised version of an illustrated lecture that Berube first presented in San Francisco in June 1979. Inspired by the section in Jonathan Ned Katz's Gay American History titled “Passing Women”—which revealed a long tradition of women who dressed, lived, and worked as men; Berube searched through San Francisco newspapers for local evidence of the phenomenon. He places his stories in the context of the newly emerging field of U.S. women's history and sets them as well in the local setting of San Francisco. Although very much constructed as a discovery of hidden lesbian lives, the showings of “Lesbian Masquerade” also inspired some of the first explorations of transgender history. The essay was originally published in Gay Community News, a Boston-based politically progressive newspaper with a national circulation. Like much of the community press in the post-Stonewall era, Gay Community News not only reported news but served as an outlet for early writing in gay and lesbian history.
Brent Phillips
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813147215
- eISBN:
- 9780813151502
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813147215.001.0001
- Subject:
- Film, Television and Radio, Film
During his lifetime, Charles “Chuck” Walters enjoyed a reputation as one of the foremost director-choreographers of Hollywood motion pictures. From his earliest directorial triumphs, Good News, ...
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During his lifetime, Charles “Chuck” Walters enjoyed a reputation as one of the foremost director-choreographers of Hollywood motion pictures. From his earliest directorial triumphs, Good News, Easter Parade, and The Barkleys of Broadway, to his victorious Lili, High Society, and The Unsinkable Molly Brown, musicals directed by Walters seamlessly fuse movement, storytelling, and song. He was one of Broadway’s most prominent dancers in the 1930s, creating featured roles in Rodgers and Hart’s I Married an Angel and Cole Porter’s Jubilee and Du Barry Was a Lady. He supplied choreography for entertainment on Broadway (Let’s Face It, St. Louis Woman) and at Metro-Goldwyn-Mayer studios in Hollywood (Meet Me in St. Louis, Girl Crazy). Especially renowned for the manner in which he showcased his stars, Walters skilfully guided Fred Astaire, Gene Kelly, Frank Sinatra, Debbie Reynolds, Doris Day, Cary Grant, Shirley MacLaine, Lucille Ball, Esther Williams, Grace Kelly, and Joan Crawford. He enjoyed a unique rapport with Judy Garland, creating some of her most indelible stage and screen performances. Personally, Walters was one of the few “uncloseted” gay film directors to excel in studio-era Hollywood, living openly with his partner, a top industry talent agent. This detailed study is long overdue. Charles Walters: The Director Who Made Hollywood Dance corrects both the historical oversight and reassesses the career of this Academy Award nominated film director, whose boyhood dream of dance led to a firmly — and now finally — acknowledged position as a major contributor to American popular culture.Less
During his lifetime, Charles “Chuck” Walters enjoyed a reputation as one of the foremost director-choreographers of Hollywood motion pictures. From his earliest directorial triumphs, Good News, Easter Parade, and The Barkleys of Broadway, to his victorious Lili, High Society, and The Unsinkable Molly Brown, musicals directed by Walters seamlessly fuse movement, storytelling, and song. He was one of Broadway’s most prominent dancers in the 1930s, creating featured roles in Rodgers and Hart’s I Married an Angel and Cole Porter’s Jubilee and Du Barry Was a Lady. He supplied choreography for entertainment on Broadway (Let’s Face It, St. Louis Woman) and at Metro-Goldwyn-Mayer studios in Hollywood (Meet Me in St. Louis, Girl Crazy). Especially renowned for the manner in which he showcased his stars, Walters skilfully guided Fred Astaire, Gene Kelly, Frank Sinatra, Debbie Reynolds, Doris Day, Cary Grant, Shirley MacLaine, Lucille Ball, Esther Williams, Grace Kelly, and Joan Crawford. He enjoyed a unique rapport with Judy Garland, creating some of her most indelible stage and screen performances. Personally, Walters was one of the few “uncloseted” gay film directors to excel in studio-era Hollywood, living openly with his partner, a top industry talent agent. This detailed study is long overdue. Charles Walters: The Director Who Made Hollywood Dance corrects both the historical oversight and reassesses the career of this Academy Award nominated film director, whose boyhood dream of dance led to a firmly — and now finally — acknowledged position as a major contributor to American popular culture.
