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SPEAKER_03: This Pride Month, Womanaka is brought to you exclusively by Mercedes-Benz. Together, we're honoring people who've expanded the norms of gender and sexuality in the performing arts. Mercedes-Benz embraces the freedom of individual expression and continues to support and stand with the LGBTQIA plus community. Listen all month long as we share stories of proud individuals whose authentic expression in their lives and bodies of work have challenged norms, driving society forward. Hello, from Wonder Media Network, I'm Jenny Kaplan, and this is Womanaka. This month, we're highlighting queer stars of the stage and screen. Women who expanded the norms of gender and sexuality behind the scenes and in the limelight. Today's star helped transform the way African-Americans were depicted and perceived on stage. Though much of her life is a mystery, she earned critical acclaim while defying stereotypes and smashing the gender binary in her performances. Let's talk about Florence Hines. There's little record of Florence Hines' personal life at all, let alone her early life. Most of what we know about her comes from newspaper reviews celebrating her performances. Based on when she hit the stage, historians believe she was born around 1870 in the aftermath of the Civil War. From the mid-1800s to the early 1900s, there were many gender-bending performances on the vaudeville stage. For queer performers, the opportunity to join a traveling show may have offered a much-needed escape from oppressive families or even the police. It also represented an opportunity to connect with fellow queer folks across the country. Some prominent drag queens of the day were so famous, they sold beauty products in magazines or featured in advertisements for alcohol and cigarettes. But despite the fame they earned while they were still alive, the careers of many vaudeville drag performers, especially performers of color, have been forgotten. One such variety performance was Sam T. Jack's Creole Burlesque, a standard minstrel show set in a pre-Civil War plantation. Though it was managed by a white man, all of the performers in the show were black. The show featured skits, songs, dancing, and gender-bending, though it failed to overcome the usual stereotypes that black actors and singers had to perform. But around 1890, Sam T. Jack launched The Creole Show. The review remained all-black, but left the stereotyping behind. This show featured chorus girls, dancers, singers, and musicians, the first all-black theatrical show to avoid depicting African Americans in a derogatory way. For the show's master of ceremonies, Sam hired Florence Hines to play the quintessential dandy, a well-dressed, vain, womanizing man. ["The Creole Show"] She wore a tuxedo, tailcoat, cape, and top hat with a cane, which was a far cry from the typical depiction of the black man as a ragged plantation worker. Florence sang songs like "'For I'm the lad that's made of money' and "'A millionaire's only son' in one famous number called "'High waiter, a dozen more bottles.'" Florence sang, "'Lovely woman was made to be loved, to be fondled and courted and kissed, and the fellows who've never made love to a girl, well, they don't know what fun they've missed.'" Florence was possibly the first black impersonator to depict a black man as a modern, successful gentleman. When The Creole Show came to Patterson, New Jersey in 1891, it was so popular that the theater was filled to the brim. Hundreds of people were turned away. The local paper called Florence an excellent male impersonator. Another newspaper later reported that Florence commanded the largest salary paid to a colored female performer. In one of the few personal stories about Florence that survived, it's said that she got into a fight with one of her co-stars, Marie Roberts. The Cincinnati Inquirer seemed to suggest that Florence and her co-star were actually lovers, writing, "'The utmost intimacy has existed between the two women for the past year, their marked devotion being not only noticeable, but a subject of comment among their associates on the stage.'" Unlike some of her fellow gender-bending performers, Florence never got any magazines or advertising deals. Though she earned great reviews, as far as we know, she was never profiled. In 1920, a traveling vaudeville performer told the Chicago Defender that Florence became a preacher after Prohibition was enacted. Three years later, the same paper reported that Florence had been paralyzed since 1906. But didn't mention how that happened. Florence died in San Jose, California, on March 7th, 1924. All month, we're talking about queer stars of the stage and screen. For more information, find us on Facebook and Instagram at Wamanica Podcast. Special thanks to Liz Kaplan, my favorite sister and co-creator. Talk to you tomorrow.
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