On June 15, 1936, Finocchio’s opened its doors at 506 Broadway in San Francisco, introducing an extraordinary space that became a haven for transgender performers, particularly trans women.
Finocchio’s was initially a speakeasy known for occasionally showcasing drag acts before transforming into a vibrant venue where ‘female impersonators’ could shine.
As the club quickly garnered a reputation for being the premier destination on the West Coast for men donning gowns and wigs, it attracted an eclectic mix of performers and an enthusiastic audience.
Celebrities like Bette Davis, Lana Turner, and even icons like Liza Minnelli and Frank Sinatra graced the venue, further solidifying its status in the entertainment landscape.
Aleshia Brevard, who performed at Finocchio’s under the name ‘Lee Shaw,’ recounted her experience in her memoir, describing the club as the first place where she felt a genuine sense of acceptance.
Brevard recalled receiving attention not only from men and women intrigued by her performances but also experiencing a welcome reprieve from societal judgment.
Her natural femininity allowed her to navigate her career without resorting to survival tactics that many others faced during that era.
Despite the sense of belonging that Finocchio’s offered, Brevard’s journey to the stage was not without challenges.
During her audition, she faced scrutiny from fellow performer Stormy Lee, who questioned her about cosmetic surgery and hormone therapy.
In the 1950s, hormone replacement therapy (HRT) was often criticized within the drag community, with some viewing it as a shortcut to femininity rather than recognizing it as a vital medical necessity for many trans individuals today.
Finocchio’s cleverly framed its performances as ‘exotic’ and ‘comedic’ to attract a broader audience while subtly offering refuge to queer and trans performers.
This marketing strategy effectively shielded them from the intense scrutiny of local laws that criminalized cross-dressing.
Lori Shannon, a prominent drag queen who later portrayed a transgender woman in the CBS sitcom All in the Family, was promoted as a ‘comedy star’ rather than a traditional woman, allowing her and others to perform with a sense of security.
Clare Sears, a professor at San Francisco State University, documented the restrictive history of cross-dressing laws in the city in her book Arresting Dress: Cross-Dressing, Law and Fascination in Nineteenth-Century San Francisco.
These laws, enacted in 1863, made it illegal to appear in public in gender non-conforming attire and remained in effect for over 100 years.
Throughout their enforcement, numerous individuals faced arrests, often making headlines that further marginalized them.
It wasn’t until 1974 that these laws were repealed, reflecting a significant cultural shift toward acceptance and understanding of those who existed outside the traditional gender binary.
As we reflect on the history of Finocchio’s and its transformative impact on the lives of transgender artists, it serves as a reminder of the ongoing journey toward greater visibility and acceptance within the LGBTQ+ community.
While Finocchio’s closed its doors in 1999, its legacy continues to influence and inspire future generations of performers and advocates for transgender rights.
Finocchio’s story is not just a record of a nightclub; it symbolizes resilience, acceptance, and the celebration of diverse identities that have forever shaped San Francisco’s vibrant cultural tapestry.
image source from：https://www.kqed.org/arts/13977208/finocchios-san-francisco-nightclub-trans-women
