Abstract
Book Review| December 01 2019 Review: Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage, by Gillian M. Rodger Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage, by Gillian M. Rodger. Music in American Life. Urbana: University of Illinois Press, 2018. 242 pp. Jeremiah Davenport Jeremiah Davenport JEREMIAH DAVENPORT is Official Drag Historian of the Austin International Drag Foundation and the Austin International Drag Festival. She received her PhD from Case Western Reserve University in 2017. Through her drag persona, Dr. Lady J, she breaks down barriers between the academy and queer nightlife, teaching classes that cover the last one hundred years of drag history in nightclubs, universities, and museums. Her podcast about drag history, Untucking the Past, is available at www.theonlyladyj.com. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2019) 72 (3): 876–880. https://doi.org/10.1525/jams.2019.72.3.876 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Jeremiah Davenport; Review: Just One of the Boys: Female-to-Male Cross-Dressing on the American Variety Stage, by Gillian M. Rodger. Journal of the American Musicological Society 1 December 2019; 72 (3): 876–880. doi: https://doi.org/10.1525/jams.2019.72.3.876 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search Drag queens and female impersonators have long received greater attention than drag kings and male impersonators. While RuPaul's Drag Race continues a decade-long pathway to celebrity and huge increases in pay and touring ability for drag queens, drag kings have yet to receive their own television series or equivalent access to money and fame. At the academic level, kings and male impersonators have long been underrepresented in the literature on gender illusion and drag. While Judith Butler's Gender Trouble: Feminism and the Subversion of Identity (1990) importantly examined the constructed nature of gender and Marjorie Garber's Vested Interests: Cross-Dressing and Cultural Anxiety (1992) documented historical moments of cross-dressed performance, these works provide little or no lineage for a specific tradition of drag or gender impersonation, instead focusing on cross-dressed performances across history and the performance of gender in daily life.1 Though drag became a central topic for academia, performers... You do not currently have access to this content.
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