Cross-Dressing Striptease Performers
5.
6.
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Or, as Feiler (1995, p. 287) puts it sweetly, ‘‘notoriously inaccurate circus personnel.”
According to a private conversation with Professor Charles McCaghy at the 1997
American Culture Association meeting in San Antonio, the “pole” featured in most
contemporary striptease clubs is a residuum from the tent pole o f camy days.
At least two good explanations do exist. First, the exhibition o f prowess, and, second,
the fact that many oral histories which do claim that a dancer “passed” on stage reflect
on a period when legal repression would have prevented the exploitation o f a talented
transvestite troupe.
This quote has been reconfigured from e-mailease.
While sexuality may be fairly firmly established, gender and sexual activi G