Gone! Up in Smoke

Director: Daniel D. Teoli Jr.
Release Year: 1975

"Gone! Up in Smoke," a 1975 short documentary directed by Daniel D. Teoli Jr., captures an extraordinary performance by transgender burlesque artist Barbara LeMay (1932-1993), providing a rare glimpse into her life and signature act, the "hoochie show." The film is an intimate portrayal of both LeMay's artistry and the countercultural dynamics of the 1970s. Created as a final project for a filmmaking class at Los Angeles City College, the film’s provocative nature sparked controversy, ultimately leading to its ban from the classroom.

 

In the 1970s, mainstream society often shunned non-conforming gender identities and alternative lifestyles. The burlesque scene, however, offered a rare haven for transgender performers to express themselves creatively and explore their identities. Transgender burlesque artists used their acts to challenge societal norms, blending humor, sensuality, and theatricality to carve out a space for themselves in a world that offered few such opportunities. Despite the stigma they faced, these performers contributed to the rich tapestry of underground art and paved the way for broader acceptance in the decades that followed. Barbara LeMay, born Sammy Hoover in 1932, began her life as a performer under the harsh glare of societal prejudice. Originally from West Virginia, Hoover joined a carnival at 16 and was soon enlisted in the girlie show due to her striking appearance. Transitioning to her identity as Barbara LeMay, she gained fame as a Glamazon and a celebrated hootch dancer during the 1950s. Against this backdrop, Daniel D. Teoli Jr., an aspiring filmmaker, chose to document LeMay’s artistic expression and personal narrative. Shot on 8mm film, Gone! Up in Smoke was executed on a shoestring budget, with most scenes captured in single takes due to financial constraints. The cinéma vérité style added a raw and unfiltered authenticity to the work, echoing the experimental ethos of 1970s independent cinema. 

 

The film opens with a tranquil scene of Barbara LeMay interacting with her beloved pet birds, establishing a tender and personal connection with the audience. The serenity is interrupted by a knock at the door - Richard, a visitor, enters the scene. What follows is a provocative blend of humor, allure, and defiance of gender norms, as Barbara takes charge of the interaction. Barbara grabs Richard by the collar, asserting dominance, and rebuffs his flirtatious advances. She proceeds to model provocatively, incorporating elements of her renowned hoochie show. In a moment of comedic absurdity, Barbara powders herself and playfully strikes Richard in the face with the puff. Richard, unbothered, enjoys lunch while watching Barbara’s playful modeling and dancing. The sequence reaches its peak when Richard lights a cigarette and offers it to Barbara. She declines to smoke conventionally but delivers a cheeky twist, agreeing to “smoke it down below.” This act, part of her signature performance, escalates in intensity until Richard’s close inspection results in an unexpected lungful of smoke, causing him to pass out in shock. This reenactment of Barbara’s carnival act merges burlesque, humor, and subversive commentary, capturing the essence of her unique artistry. 

 

Despite its artistic merit, Gone! Up in Smoke was deemed too provocative for a classroom screening. The Los Angeles City College Film Department prohibited the film’s public viewing, fearing its risqué content could jeopardize the program’s funding. The decision reflected the era’s conservative attitudes and the limited acceptance of non-normative expressions in art. Director Daniel D. Teoli Jr. later reflected on the challenges of creating the film, noting his limited resources and the improvisational nature of the production. With no formal script or storyboard, the film unfolded organically, relying heavily on LeMay’s charisma and creative input. 

 

Barbara LeMay’s career as a hootch dancer and burlesque performer showcased her defiance of societal norms and her unapologetic embrace of identity. Through her acts, she transformed carnival stages into platforms for self-expression and boundary-pushing performances. In the 1970s, transgender burlesque artists played a pivotal role in the underground performance scene. They often used burlesque as a medium to subvert rigid gender norms and reclaim their narratives in an otherwise restrictive society. These performers lived on the fringes of mainstream culture, balancing the celebration of their artistry with the risks of discrimination and violence. Their contributions to burlesque enriched the art form, making it a space where marginalized voices could thrive and inspire change. Barbara LeMay’s inclusion in Gone! Up in Smoke immortalized a piece of her art, offering audiences a rare view of a transgender performer at a time when visibility was scarce. Her life and work remain a testament to resilience and the transformative power of performance art. 

 

"Gone! Up in Smoke" stands as a pioneering example of independent filmmaking that dared to challenge the status quo. Daniel D. Teoli Jr.’s choice to document Barbara LeMay’s life and act created a piece of art that is as provocative as it is historically significant. Beyond its humor and boldness, the film encapsulates the struggles and triumphs of marginalized voices in a society resistant to change. Although it faced censorship in its time, Gone! Up in Smoke continues to resonate as a celebration of individuality, creativity, and the unyielding spirit of artists like Barbara LeMay and the trailblazing transgender performers of the 1970s.

 

via: archive.org and danielteolijr.wordpress

Image credits: danielteolijr.wordpress