And then, the glamour girls, of whom Julian Eltinge was the first big winner and Danny La Rue the latest. The Eltinge period, 1898-1928, set a new pattern of drag without offensive jokes or unkind parodies of wo- men. The women in turn were fascinated by him and flocked to see him; he even wrote a beauty hints column for them. His successors went further, appearing as impersonators of famous women and eventually in such truly dramatic presentations as Curtis and Lemmon in "Some Like It Hot". An amazing number of character actors have played in drag; Charlie Chaplin, Wallace Beery and Lon Chaney are some of the less likely examples.

Finally, a brief section on the night-club dolls, for whom Baker has little regard. He essentially ignores those in France and Germany, and gives only the Jewel Box Review in the US a good rating. This is due partly to the prevalence of hormone-inflated chests among the performers, and partly to their tendency to rely on glamorous costumes and physical charm rather than acting talent for their effectiveness. He also deplores the use of partly converted transsexuals. As he says, "much of the delight arises when a perfectly ordinary looking man goes in . . . and emerges looking like Mae West. If he looked vaguely like Mae to start with, there is no illusion, no skill required." The big stars of the 1950's still appear occasionally, but there seem to be no replacements coming along. He also takes a dim view of the magazines published in America for and about impersonators. Presumably "Female Mimics" is meant, as he mentions photos of “exhibitionists . . . in black leather corsets, high spiked heels and baby doll nightdresses." TRANSVESTIA is apparently unknown.

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