. But while the scene may still be in its infancy, there have always been women who have pushed the boundaries of gender.
Given the strict social mores of the era, it’s no mean feat that Hindle and Wesner managed to establish male impersonation as an art form, not least win the admiration of both men and women in their audiences. In fact, as it’s noted in , newspaper reviewers “gave no indication that any portion of their acts or their appearance as any type of character was seen as transgressing standards of decency,” and even treated them in the same way as the male performers that they performed with.
Bentley didn’t just stoke controversy with her risqué songs; she challenged social norms with her gender expression, too. The performer cut a mighty figure in male attire, donning a top hat, bow-tie and her trademark white tuxedo when she took to the stage, and according to writer Wilbur Young, Bentey could be seen “marching down Seventh Avenue attired in men’s clothes any day of the week”.
It is upon the legacy of male impersonation that drag kings rose to prominence in the 90s, and have been growing their community ever since. This new generation of performance artists have been able to fully critique the trappings of masculinity, expanding the genre with a spectrum of gender expressions previously unseen in drag king culture.
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