Locques La Roux's Locker Room

101

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On this episode I am joined by the influential and inspiring king of boylesque- Chris Oh! Chris Oh is a Boylesque performer.  They were voted 14th most influential burlesque performer in the world in 2019. They also won Mr Gay World 2013. Today we talk about masculinity, femininity and queer sexuality throughout history and how this has influenced their boylesque acts. As well the empowerment that comes from being  both hyper masculine and feminine in their performances.  You can find me on instagram @locqueslaroux and Chris Oh @chrisohofficial

Masculinity 101: Philippe de France, brother of King Louis XIV, was always known to have a  preference for men. It was no secret. Although the king’s brother was  married twice and fathered plenty of children, his real love was a man three years younger than him. In 17th century France, homosexuality was a  crime and King Louis XIV himself was no fan of men loving men, yet had to tolerate it due to his brother. After all, if he were to punish the men  of his court who openly showed off their male lovers, he would have to start with his own flesh and blood.

Source: https://dirtysexyhistory.com/tag/louis-xiv/

Supported using public funding by Arts Council England

I am joined by the majestic and magnificent Manly Mannington! Manly Mannington is a Drag King and the producer of House Of Mannington. They are also have a residency with Brizzle Boyz and they are House Of Allure's 2019 Burlesque Bombshell winner.  Today we talk about being a drag king  and representation in the performing scene and how you don't have to fit into a box to explore masculinity and femininity. You can find me on instagram @locqueslaroux and Manly Mannington @manly_mannington

Masculinity 101: Gladys Bentley was an inspiration to many as a prolific  African-American, out and proud lesbian, and bawdy gender bending  entertainer during the 1920’s Harlem Renaissance. Audiences couldn’t get enough of her non-apologetic performances and she went on to become one of the most well documented queer black  entertainers to come from the early part of the 20th century.  This is perhaps because she pushed the envelope on gender, class and  race through her performances and how she chose to live her life on her terms.

Source: https://dragkinghistory.com/1925-1950-gladys-bentley/

Trigger Warning: Mention of sexual harrassment and being questioned about gender in heavy detail. 

Supported using public funding by Arts Council England

On this episode I am joined by the adventurous  and angelic Ashanti Gold! Ashanti is a strong, elegant and fierce burlesque performer. They are also referred to as a boss woman and classy dancer. Today we talk about women in terms of power, strength and  confidence. As well as different perceptions around age, ethnicity, and beauty. You can find me on instagram @locqueslaroux and Ashanti Gold @ashanti_gold_

Masculinity 101: Before the 1960s, Government and medical institutions attempted to squash promiscuity by limiting women’s access to contraception. Comparing contraceptive methods for women with the history of the condom, we can see that male sexuality was normalised and encouraged: during WW2, all soldiers were given condoms and encouraged to use them, while the pill was only made available in 1961 and on the NHS in 1974.

Source: https://fgrlsclub.com/2019/04/its-not-us-its-history-womens-sexuality-through-the-years/

Supported using public funding by Arts Council England

On this episode I am joined by the camp and colorful Carrot! Carrot is a drag performer and host. They are also the creator of The Enby Show. Today we talk about being non binary in the performing scene. We also talk about toxic masculinity in the form of cis white gay men, the gender binary and misogyny. As well as the importance of celebrating femininity rather than parodying it. You can find me on instagram @locqueslaroux and Carrot @carrotdrag

Masculinity 101:  During the rise of Shakespearian and theatre culture in the 1500s and  1600s, we see the start of what now may commonly be referred to as  “drag”. With many female roles in theatre, and only men allowed as  actors, men would frequently impersonate women on stage. During the following centuries, drag was used predominantly as a “man in a dress” humour gag. Moving into the 20th century, the rise of vaudevillian cabaret became the next notable transition for drag culture. From the 1930s, LGBTQ+ culture started to become more closely linked with drag culture. During this time period, there was a division among queer white men: You were either a masculine guy who blended in, or you were a fairy —  feminine and dressed in drag. 

Sources: https://www.tmwunlimited.com/forgotten-trans-focussed-past-modern-drag-culture and https://www.them.us/story/inqueery-drag

Supported using public funding by Arts Council England.

On this epsiode I am joined by the luxurious legend Lilly Snatchdragon! Lilly is a Neo drag queen burlesque performer and host. They are also the founder of The Bitten Peach and The Lads Show. Today we talk about how Asian women are stereotyped and the male gaze. Especially when it comes to being viewed as submissive or delicate. You can find me on instagram @locqueslaroux and Lilly SnatchDragon at @lillysnatch

Masculinity 101:  In 1905, Freud  argued that clitoral orgasms were an example of women’s sexual immaturity. It was only discovered 50 years later by Alfred Kinsey in 1953  that the clitoris was the primary source of orgasms in females. It was only in 1998 that Dr Helen O’Connell revealed with an MRI the structure of the clitoris. A man went to the moon and the internet was invented before we knew the structure of the clitoris.

Source: https://fgrlsclub.com/2019/04/its-not-us-its-history-womens-sexuality-through-the-years/

Supported using public funding by Arts Council England.

On this episode I am joined by the daring and divine Dominus Von Vexo! Dominus is an award winning Burlesque and Drag producer and performer. They are also the founder of House Of Allure and they are the  2021 Church Of Yshee Winner.  Today we talk about queer sexuality throughout history, queer expression in dance and performance and how we explore themes of masculinity  and gay stereotypes in our boylesque act 'Hey Sailor'. You can find me on instagram @locqueslaroux and Dominus Von Vexo @dominus_von_vexo

Masculinity 101: During the 1950s and 1960s a large percentage of gay men began joining  the Navy. In the Navy, gay men could be truthful about their sexuality.  They used it as an outlet of freedom where they could express  themselves, whether that was through different clothing or other traits  and were able to do this without the fear of being discriminated against. Sea queens were how  gay men who worked aboard mainly merchant vessels were described before the 1960s. They were predominantly effeminate gay men who worked either in entertainment or as waiters on cruise ships, often becoming off-shore 'wives' for heterosexual sailors for the duration of voyages.

Source: https://en.wikipedia.org/wiki/Sea_queens

Supported using public funding by Arts Council England

On this episode I am joined by the tantalizing and tasteful Tempest Rose! Tempest is a burlesque performer and host. They are a pioneer, producer and creative director. As well as leading House of Burlesque. Today we talk about what it's like being a female burlesque host and performer amongst a male crowd. As well as how toxic male behavior can be commented on through burlesque. Whether it be comical, political or both. You can find me on instagram @locqueslaroux and Tempest Rose @hobtempestrose

Masculinity 101: Victorian burlesque was popular in London theatres from the 1830s to the  1890s. It took well-known culture like opera or Shakespeare and  parodied it. The Victorian burlesque style was taken to New York in the 1840s. It was later popularised in 1868 by Lydia Thompson's visiting dance troupe, the British Blondes. Their burlesque shows were focused on parody elements performed by a  female cast.  Their first success in New York was with Ixion (1868)-  A female-run production that showed under-dressed, attractive women  mimicking patriarchs’ roles

Source: https://burlexe.com/burlesque/burlesque-history/the-history-of-burlesque-dancing/

Supported using public funding by Arts Council England

This week I am joined by the extraordinary Pocket Rocket who is a drag artist and resident House Of Mannington performer. Today we talk about theatre, drag and masculinity. You can find me on instagram @locqueslaroux and Pocket Rocket @pocketrocketdrag  

Masculinity 101: Mary Frith was born  in 1584, and grew up to be one of the most famous women of her age. Eventually becoming the subject of the 17th century play The Roaring Girl. When she was older she became a recognisable figure around town, drinking in taverns with men, smoking a long clay pipe, and wearing men's clothing. Such behaviour was understood as a threat to gender hierarchies of the time, and any woman apprehended “cross-dressing” was understood to be in rebellion against her betters, i.e. men. 

https://www.writerstheatre.org/blog/gender-shakespeares-stage-history/ https://eastendwomensmuseum.org/blog/mary-frith 

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