Queer Quickie: Stormé DeLarverie

Happy Pride month to all our LGBTQIA+ readers! Last year we celebrated Marsha P Johnson and this year we want to celebrate Pride even more, so all this month we’ll be bringing  you some of the most incredible players in the fight for LGBQTIA+ rights!

Lets kick things off with the story of stone cold butch babe Stormé DeLarverie.

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Stormè working security outside The Cubby Hole

Stormé was known in LGBT circles as the ‘Lesbian Rosa Parks’ she fought against ‘ugly’ (her term for bigotry and hatred) for her entire life and always looked out for others.

There’s a Stormé coming

She was born in New Orleans in 1920 to her mother, an African American servant and her father, who was head of the white family her mother worked for. Her parents eventually married and moved to California.

In her teens Stormé realised 2 major things:

A) that she was a lesbian

B) she had a talent for singing and keeping a captive audience.

During the 1940s Stormé toured with a jazz trio as the singer. Stormé started performing in drag around this time and made quite a name for herself as an accomplished Drag King in queer cabaret circles.

She also performed as part of the Jewel Box Review, a drag cabaret, which featured predominantly drag queens and one drag king; our gal Stormé.

Stormé spent the rest of the 1950s and 60s crooning jazz numbers to enthusiastic queer crowds

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In full King mode – Doesn’t she look dreamy?

Stormé and Stonewall

Things started to get real rough for Stormé. You see, in the late 60’s there was a relentless campaign against Queer hot spots in New York City by the police and tensions were at an all time high.

On June 29th 1969 Stormé was hanging out near the Stonewall Inn in Manhattan, having recently come back from touring with the Jewel Box. She was having a wonderful time, drinking and socialising with her mates.

Suddenly police descended on the Stonewall Inn. They forced their way into the bar at around 1.20am and started forcefully dragging patrons outside. The police molested lesbians, beat up young men who resisted arrest and refused to show identification (cross dressing was ILLEGAL then)

Stormé saw one of her friends being assaulted by police. She was not having it. She fought back and threw a punch at one of the policemen, after he assaulted her.

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No comment needed

Stormé was then handcuffed and thrown into the back of a police van, but she kept escaping amidst the chaos. She complained her handcuffs were too tight and she was beaten about the head with a baton.

Bleeding and being dragged back to the police van again Stormé addressed the growing crowd directly.

‘WHY DON’T YOU DO SOMETHING?’

The crowds outside started to fight back against the police AND SHIT KICKED OFF!

Speaking later about the Stonewall Uprising she said

“It was a rebellion, it was an uprising, it was a civil rights disobedience–it wasn’t no damn riot.”

Don’t forget she was nearly 50 when she fought back against the police. She was known for being lovely, but tough as fucking nails.

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Truly Stormé is the baddest of all bad bitches.

Stormé: The Later Years

After Stonewall Stormé was an important member of the SVA, The Stonewall Veterans Association, she was a key figure in NY Pride often appearing with her car, which was well known for being parked outside the gay bars in Greenwich Village and was actually outside Stonewall Inn the night of the riots!

She settled in Brooklyn, New York in her later years, giving up touring and promptly appointed herself protector of lesbians within Greenwich village in NYC. 

Stormé would patrol round the local LGBT hot spots checking everyone was ok. She did this well into her 80s.

She was a much loved and familiar face as a bouncer to local gay clubs. She greeted everyone with ‘Hey babies’, or ‘Hey love’ and always encouraged everyone to get home safe.

Stormé was full of love for her community.

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She is the best

Stormé passed away in 2014 at the grand old age of 93, and was an inspiration to so many people, myself very much included, showing us that displaying kindness didn’t mean you couldn’t be tough and fight for what you believed in.

That was interesting where can I find out more? Well there’s a short documentary on Stormé called Stormé: Lady of the Jewel Box and you can find it here on YouTube! It’s about her time working on the Jewel Box Revue and shows her working as a bouncer in the 80’s.

Sara Westrop is passionate about making history accessible (and fun!) for everyone. A disabled, queer writer from just outside London, who loves writing about the unsung chapters of history.

How the Harlem Renaissance woke America

The Harlem Renaissance was a game changer. as a much a cultural awakening for the African American community as for the United States as a whole.

Thrusting black voices into pop culture, creating a new crop of black artists and cultural icons and most importantly; fostering a pride that hadn’t been allowed to exist before.

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A 1928 copy of Negro American Magazine, fearing civil rights campaigner, Erma Seweatt

The first generation of people born free had a fight on their hands. Removed from the shackles of slavery, they were still oppressed and persecuted in their own country.

So, it shouldn’t come as a huge shock that throughout the 1920s and 30s many chose to leave the Southern states and instead head for Northern cities like Chicago and New York, where things were a whole lot more progressive.

Faced with these new bright lights, they didn’t back down. Forming communities and using art, literature, theatre and music to express themselves, their history and their future.

Strange Fruit

One of the most acclaimed artists to come from the Harlem Renaissance is the one and only Billie Holiday. Billie Holiday .jpg

Billie came up during the renaissance and it was here she grew her voice. Famed for touching upon subjects other singers shied away from; perhaps her most iconic song is Strange Fruit.

Recorded in the late 1930s, Strange Fruit deals with lynching. Blunt and unflinching it soon became a protest song.

Southern trees bear a strange fruit

Blood on the leaves and blood at the root

Black body swinging in the Southern breeze

Though Billie feared repercussions for performing the song, she felt compelled to continue singing. After all it was the the truth, not just for her, but for everyone in America.

Strange Fruit became a stalwart Billie Holiday number for her – yet her record company refused to print it.  Strange Fruit .gif

Remember this was the 1930s. The civil rights movement was just a seed. Such public protests were unheard of and tended to end with, well, lynching. But Strange Fruit couldn’t be contained, eventually being released as a single by Comodor.

Strange Fruit remains a protest strong and a vital reminder of this dark time in Americas history. But it’s still banned by some.

When English singer, Rebecca Fergerson, was asked to perform at Donald Trumps inauguration, she agreed…if she could sing Strange Fruit. You can guess what Trump said.

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He said no (because he is a wanker)

Shuffle Along

In an era when ‘one black per bill’ was the theatrical norm, musical Shuffle Along high kicked in and smashed every existing idea of what African Americans could contribute to theatre to shittery and back.

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The chorus of Shuffle Along taking a break from ass kicking

Now I know musical theatre doesn’t seem like the tool with which groundbreaking cultural change occurs

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Much rainbow, such social change

But forget what you think you know. Shuffle Along contains absolutely no technicolor dreamcoats, no needy scarred blokes living below opera houses and no jazz hands (ok fine-maybe some jazz hands)

Produced and written by an all black team and starring a black cast, Shuffle Along shook shit up when it made its debut on the early 1920s, with many of the cast enjoying their Broadway debut (including the incredible Josephine Baker!)

The musical revolved around a mayoral election (of course!) but the politics wasn’t confined to the stage. Shuffle Along 2.jpg

Shuffle Along took off, engaging with theatre goers from all backgrounds. It proved to Theatre bigwigs that even with a cast and creative team who comprised of waaay more than ‘one black’-the public didn’t care; they wanted to pay to see the show. In fact they wanted to see more shows led by African American casts and creatives!

Bigger than that (and it’s a pretty big biggy) the huge popularity of Shuffle Along led to the 1920s desegregation of theatres. For the first time, black theatre goers didn’t have to watch from way up in the gods; at Shuffle Along they could sit up at the front.

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See, isn’t musical theatre great!

The Cotton club

For all the groundbreaking being done uptown, racism still existed in Harlem as it did across America. One such hot bed was popular night club, The Cotton Club.

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Ok it looks fun…but trust me its not!

As it’s name suggests, the cotton club wasn’t a haven for any form of equality, with the clubs owner, gangster Owen ‘the killer’ Madden wanting his club to ooze ‘stylish plantation’ and insisting on only playing ‘jungle music’ for his all white patrons.

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Surprising that someone with the middle name ‘killer’ is also a cock

But there was light! For all the Cotton Clubs racism, it’s all African American workforce was tenacious and somehow managed to turn the clubs stage into one of modern jazz’s early breeding grounds.

Acclaimed musical pioneer, Duke Ellington, served as the Cotton Clubs band leader during the late twenties. There He formed one of history’s greatest jazz orchestras and soon their music took over Americas radio stations.

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Duke Ellington

After Duke left for far greener (and less racist) pastures, a new bandleader was appointed-the equally groundbreaking, Cab Calloway. Cab brought drama and flair to the clubs music, in addition to call and repeat scatting that can be seen in still iconic tracks like Minnie the Moocher.

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Now those…those are moves.

Yet despite the acclaimed music on stage, the Cotton Club remained determinedly segregated. So it’s perhaps no bad thing that it was forced to close during the Harlem race riots of 1935.

The seeds of civil rights

1935s Harlem race riot effectively ended the renaissance. Much like the Cotton Club, Harlem was a hive of contradictions. Whilst it’s art celebrated the community and was applauded at the highest levels, many of Harlem’s occupants were essentially living in slums.

Things were uneasy. And After rumours ran rife that a young Puerto Rican teen had been beaten to death for shoplifting, the riot was sparked.

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Police arrest a man during the 1935 riot

The renaissance art left its impact though. It lay a groundwork of pride and built a clear community voice that would be developed when the civil rights movement started to emerge following WW2.

The music, theatre and talent of this era would become forever synonymous of black culture. Whilst WW2 waged on and civil rights waited, the renaissance artists work served as a lingering reminder of everything that could be and one day would be achieved

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