A Shooting Superstar | Holly Woodlawn (1946-2015): Not Just Cistory

We have told the stories of several trans women in the Not Just Cistory series that achieved the life they wanted for themselves by conforming to the gender expectations of women at the time and blending in with the women around them. There is nothing wrong with this, and is still something many trans folks (both men and women) do today. Holly Woodlawn, on the other hand, was not interested in blending in, in any sense of the word. 

Early Life

Holly Woodlawn was born in Juana Diaz Puerto Rico in 1946 on October 26, to a Puerto Rican mother, and a German-American father (Grimes, 2015). She described “the culture [as] more Caribbean. Everyone's naked, it's hotter, you come out earlier. I was having sex when I was seven and eight in the bushes with my uncles and cousins - of course, they were only 11 or 12 themselves. I was raised in a house full of women and my uncle was gay. We lived in a little tiny town, so those were my role models” (Paterson, 2007). Her time in Puerto Rico was an essential foundation to her identity and sense of self in terms of her gender.

Woodlawn didn’t live in Puerto Rico long. She left in 1955, when she was 9, with her mother. They moved to New York, where her mother met and remarried, to a Polish-Jewish immigrant named Joseph Ajzenberg, who adopted Woodlawn as his child (IMDb & Sieger, 2015). Her time in New York, and later Miami, Florida, were not particularly happy times for Woodlawn. She was uncomfortable in her middle-class suburban life, and felt as if she didn’t know who she was (Patterson, 2007). Suburban stability painfully constricted a young Holly Woodlawn.

Her teen years were a prologue to the rest of her life. She made a copy of her father’s car keys and would take his car to drive down to the gay beach and party (Russell, 2025). Her adolescent rebellion culminated in summer 1962, when she was supposed to be attending summer school to fix her failing grades (a result from spending too much time partying).  She instead took the trajectory of her life even more into her own hands, and joined up with a group of Cuban Queens and sold some jewelry and made her way north to New York City (Patterson, 2007), where she was sure the rest of her life was waiting to begin.

However, her travels came to a halt like a bus at the end of its line when she ran out of money in Atlanta Georgia. She ended up hitchhiking the rest of the way north (Patterson, 2007). Woodlawn was living through the part of her life she would be most well known for, (but not the most interesting, in my opinion) though she had no way of knowing at the time. Despite all her ambition, adventures, and accomplishments, Holly Woodlawn was most known, both during her life, and now after her death, as the ‘Holly’ in Lou Reed’s song ‘Walk on the Wild Side’ and as a Warhol Superstar. Her verse chronicles her traveling to New York City to begin her new life.

Once in New York she had to create a new life for herself from scratch, and it was not easy. She took on a myriad of jobs to make ends meet. During this time she was also “a street-urchin in New York, a speed freak, a thief, a housewife, a go-go dancer, a beauty queen who was crowned Miss Donut in Amsterdam, New York, a floor model at Saks Fifth Avenue, a rioter at Stonewall, an Off-Broadway star, and a celebrated cabaret performer” (Copeland, 2025, p. 89). This hard-scrabble life was a continuation of living outside of the ‘normal' (normal meaning white, suburban, middle class) world that Holly had been attracted to her entire life. However, she had her sights set even higher in the heavens.

Into the Orbit of the Famous

Woodlawn wanted to be a part of Andy Warhol’s orbit, one of his ‘Superstars’. I am aware of the irony of interrupting the story of a trans woman to tell the story of a cis man, but knowing who Warhol was, is important to understanding Holly and her goals, so we will briefly diverge.

Warhol was a first generation Polish-American, whose parents immigrated to the United States (The Warhol). He “graduated from Carnegie Institute of Technology (now Carnegie Mellon University) in Pittsburgh with a Bachelor of Fine Art in Pictorial Design in 1949 and soon after moved to New York City to pursue a career as a commercial artist” (The Warhol). This was where he and Holly Woodlawn would meet. 

Warhol worked as commercial artists for the first part of his career, but he is most known for his transgressive attitudes towards art, and his contributions to the Pop Art movement (the Warhol). His other paintings were often a critique of consumer culture, the iconic Campbell’s Soup cans piece, among them (Dupêcher, 2019) He continued, throughout his career, to paint commissioned portraits of the famous and elite individuals he became more and more involved with (the Warhol). Even this man, who adored the wild, avante garde life Holly desired, had his ‘safety net’. Many of the women he surrounded himself with did not have and could not create the same for themselves. 

The other aspect of his creative endeavors was what Woodlawn was most drawn to, and entwined with; his films. He was a prolific film maker, and his “feature-length films that delved into New York’s underground subcultures and turned… [his] collection of artists and misfits into ‘superstars’” (Dupêcher, 2019), which was exactly who Holly wanted to be.

Her chutzpah was what initially attracted Warhol to her. During this time in the mid and late sixties, Woodlawn was acting in plays, and after one in 1969 when she was interviewed by a journalist, she proclaimed she was one of Warhol’s superstars (Grimes, 2015). Warhol heard about this and wanted to meet her. This sort of preemptive sort of connection is ironically similar to how Lou Reed wrote about her in “Walk on the Wild Side” (don’t worry, we’re almost to that part). 

One Man’s Trash…

The project that made her an actual Warhol Superstar was the Paul Morrissey-directed Warhol film Trash, which was filmed in Morrissey’s basement (Patterson, 2007).  Woodlawn, who was 23 by my math, was initially intended to just be in one or two scenes, but Morrissey loved her and her improvisations so much that she ended up filming for six days (Grimes, 2015). Holly is inextricably entwined with Trash. Much of her lines were self-created, and Woodlawn said that, along with the dialogue, even the clothing used as costuming was hers as well. She had been exactly where her character in the movie was (Grimes, 2015), and related to her intensely. For her efforts she was paid $25 per day, and she never received any money in residuals from Warhol (Copeland, 2025, p. 115). 

Holly had finally made it; not only was she starring in one of Warhol’s movies, she was improving upon it! There was even an attempt by director George Cukor to nominate Holly for an Academy Award for her role in Trash but she was not considered. There are a plethora reasons floating around as to why she wasn’t, from the film being non-union (and the Academy did not, apparently, consider non-union films at the time) ( Woodruff, via Copeland, 2025, p. 164) to those in charge of making the decision could not decide on whether to categorize her as an actress or actor (Patterson, 2007). This must have seemed like her big break!

Is Another Man’s Biggest Hit

In 1972 Holly Woodlawn received a call from her friend telling her to turn on the radio. Confused, she told her that she didn’t have a radio (American Masters Digital Archive (WNET), 1997). This was how Holly found out she was the subject of the first verse of a new song; Walk on the Wild Side. She didn’t know Lou Reed, beyond attending the concerts he performed in (Patterson, 2007), yet the there she was:

 Holly came from Miami, F-L-A

Hitch-hiked her way across the USA

Plucked her eyebrows along the way

Shaved her legs and then he was a she

She says, "Hey babe, take a walk on the wild side"

Said, "Hey honey, take a walk on the wild side" (Reed, 1972)

Each verse of the song describes a Warhol Superstar. The first is Holly, of course, then Candy, who is Candy Darling. ‘Joe’ references Joe Dallesandro, who was Woodlawn’s co-star in Trash  Similarly, the ‘sugar plum fairy’ mentioned was the name of a character played by Joe Campbel (who dated Harvey Milk, coincidentally), and ‘Jackie’ is Jackie Campbell (Hann, 2015). Each of these individuals were queer and/or trans.

The fact that all of the subjects of “Walk on the Wild Side” were Warhol Superstars may seem like an incredible coincidence. At least, until one learns that Warhol was the mastermind, so to speak, behind the song. Penny Arcade (another Warhol actor) said that, Women in Revolt, another of his movies starring Woodlawn, “inspired Warhol to inspire Reed in his turn to write “Walk on the Wild Side”.... Warhol suggested it to Lou Reed because of the movie we were all in, Women in Revolt” (Moyer, 2015). “Walk on the Wild Side” was initially released as a single, but became a part of Reed’s album Transformer (produced by David Bowie) ended up being the biggest hit of his career (Trebay, 2013), and in a way he had Woodlawn and her contemporaries to thank for that.

After Warhol and Reed

1972 is the moment where the quantity of information about Woodlawn’s life decreases precipitously. At best you might get a vague sentence about her moving to California and starting fashion school, but that’s about it. Depending on when the article was written it may close out with the information regarding her death. 

But, Holly was more than the men who featured her in their art. She lived an entire life outside of Warhol and Reed’s influence. She did indeed eventually move to California after Warhol’s death in 1987 (Patterson, 2007) but before that she “moved back home to live with her parents in Miami for several years before returning to New York and finding modest stage success as a club singer” (Villegas, 2021). She was determined to continue to carve out a life for herself in the way she found to be worth living, even if her time with Warhol had not granted her long-term fame.

After moving to Hollywood she continued to hustle just like she had on the east coast, refusing to give up. At this time she met Jeff Copeland, another struggling dreamer, who she became fast friends with. He ended up writing her biography with her, which was titled A Low Life in High Heels, and was published in 1991 (Villegas 2021). More recently Copeland has published Love you Madly, Holly Woodlawn: A Walk on the Wild Side with Andy Warhol’s Most Famous Superstar* which details his friendship with her in the 80s and 90s, including the time spent writing her memoir.

In 1989, at Copeland’s insistence, Woodlawn got a job at Wacko, “an eclectic collectible shop that sold battery-operated tin toys, Pee-wee Herman dolls, vintage Frankenstein models, thousands of fun postcards, and anything else that was kitschy, and retro-cool” (Copeland, 103). A fitting place to find an avant-garde superstar like Holly Woodlawn.

She also, during this time, decided to go to design school. In order to attend she had to get her GED (remember, she had dropped out of school at 15) and secure financial aid, but with those hurdles cleared, and the advance from her memoir, she was able to attend the Fashion Institute of Design and Merchandising (Copeland,182). She excelled at design, and  enjoyed her studies (Copeland, 224). She considered creating a fashion line for transgender women after graduation (Copeland, 2025, p. 250). This was a wonderful creative outlet, and a chance to build something for herself.

These projects, along with the writing of her memoir helped keep Woodlawn’s life stable, for a time. Her literary agent sold the manuscript for A Low Life in High Heels  to St. Martin’s Press for $40,000 US (Copeland, 2025, p. 174), which is almost $102,000 US today (CP Inflation Calculator). This success, combined with the whirlwind promotional tour in the leadup to the book’s publication certainly suggested that the pendulum of Woodlawn’s career was on the upswing.

The success of the memoir added to Woodlawn’s momentum. She was invited to party after exclusive party, and everyone in Hollywood knew who Holly Woodlawn was (Copeland, 2025, pp. 237-45). This was the life that Holly had wanted for herself ever since she first claimed to be an Andy Warhol Superstar, and she loved every minute of it.

However, the momentum began to slow as time passed. Both authors of A Low Life in High Heels wanted the book to be adapted as a movie, but they struggled to get the book in front of the people who could make that happen (Copeland, 2025, p. 250-251). Perhaps looking for more change, “Holy got bored with ringing up knick-knacks at Wacko. She had published a memoir now and was celebrated in the press. Working as a cashier just seemed so menial…. So [she] quit Wacko and got a job as a phone sex operator" (Copeland, 2025, p. 251). However, she “lasted a few weeks before she was fired for drinking on the job,” (Copeland, 2025, p. 215). If this were a novel instead of a woman’s life, it would be called foreshadowing. 

Despite a lack of interest, hope for a movie deal continued, just as life did. In 1992, the trade paperback version of A Low Life in High Heels was released, and a friend of Holly's co-wrote a live television show for her to star in (Copeland, 2025, p. 259). Woodlawn also returned to doing cabaret performances across the US (Copeland, 2025, p. 259) continuing to find the spotlight wherever she could. 

Suddenly, there was movement and “Madonna was in cahoots with a big producer and a world-famous writer to make a movie based on Holly Woodlawn’s autobiography…. The deal was being set up at Columbia Pictures through Dolly Parton’s production company…” (Copleand, 2025, pp. 261-262). This was just the sort of second wind that Woodlawn had been hoping for. 

At this moment I must acknowledge that the bulk of the information being referenced during this portion of Holly’s life comes from Love You Madly, Holly Woodlawn*, and while this book does contain a wealth of information about Holly’s life during the 1980s and early 90s, it is from Jeff Copeland’s point of view, because not only is he the author, but it’s about his experience working and being friends with Holly Woodlawn. 

At this point the two had a falling out over the screenplay rights. Jeff and Holly had agreed, at the outset of the writing of the  proposal for A Low Life in High Heels, that Copeland would be the one to write the screenplay (Copeland, 2025). However, now Woodlawn, and their agent, wanted Jeff to relinquish that claim to the ’famous writer’ chosen by Madonna and the ‘big producer’ so that the deal could go forward (Copeland, 2025). Holly Woodlawn was a person for whom fame was always the end goal, so it may have seemed like a reasonable sacrifice, in the service of her life long goals. 

Copeland did eventually relinquish the rights, and the deal with Columbia Pictures and Madonna went forward (Copeland, 2025, p. 266), reigniting the fire of fame surrounding Holly Woodlawn. “ [Madonna’s] name alone created a publicity firestorm for the book that went around the world” (Copeland, 2025, 271). Since she was once again famous, Holly decided not to pursue a job in fashion after she graduated with her degree. Her friends insisted that she was too famous to need a day job (Copeland, 2025, p. 272), and unfortunately, she listened.

Frustratingly, the movie deal fell through at the last second, “[t]here was a brouhaha amongst the producers that caused the entire deal to collapse” (Copeland, 2025, p. 273). This forced Woodlawn back onto the “cabaret circuit performing A Low Life in High Heels as a cabaret show in bars and clubs…” (Copeland, 2025, p. 275). She was back to what she had always done, hustling to get to where she wanted to be. 

Eventually the hustling by both Jeff and Holly paid off, and in 1995 the movie rights were optioned by Michael Zoumas. This time Copeland was in charge of writing the script, along with director Rose Troche, but Holly was largely left out of the creative process of writing the script, which infuriated her. Proving once again the fickleness of Hollywood, this iteration never made it to production either. This was a pattern that continued for more than a decade (Copeland, 2025, p. 276-278). Woodlawn never lost hope that A Low Life in High Heels would be made into a movie, and continued to work towards that dream for the rest of her life. 

Later Life

As Holly’s life continued on, her alcoholism worsened, and while she and Copeland were no longer close, he does give some insight into this part of her life. She lived, for a time “with a friend of hers in Beachwood Canyon… [in a house that was] so close to the Hollywood sign, it was almost in the backyard” (Copeland, 2025, p. 283). She had some stability, until, of course, the landlord sold the house and she was forced to move in with an acquaintance/romantic partner. After he was sent to jail for attacking Holly, she lived in that apartment for several years (Copeland, 2025, p.284). 

Woodlawn’s flame of fame never really rekindled, though she “ had occasional cameo roles in films like “Billy’s Hollywood Screen Kiss” in 1998 and, in 2014, the Amazon television series “Transparent” (Grimes, 2015). She was always ready for new opportunities and adventure, even if they were becoming fewer and farther between.

Woodlawn’s health began to decline when she tripped and fell, damaging several nerves, and losing some of her ability to walk. She got sober at her doctor’s orders, but her health continued to worsen (Copeland, 2025, p. 284). The effects of a lifetime of drinking and drugs had too much inertia to be stopped now. 

In a 2007 interview John Patterson describes Holly’s as “bent and frail, though indefatigably cheerful, using a Zimmer frame because of various slowly fusing discs in his spine that, he says, are unimaginably painful and incurable. ‘Oh no, this is IT, honey, downhill all the way from here on!’” (Patterson, 2007). (A note: Patterson uses he/him for Holly here, evidently because Holly was presenting masculinely that day.) Holly was still holding onto hope and her chutzpah despite her ailing health and lack of resources.

In 2015 Woodlawn was diagnosed with “terminal cancer that spread to her brain”  (Copeland, 2025, p. 285). She professed a desire to return home to pass in Puerto Rico, and while that did not occur, she was provided for in her last month by friends and fans, who all contributed to an online fundraiser. She passed away on December 6th, 2015 at the age of 69 (Darling, 2019). 

Holly was One of a Kind: Conclusion

Not only did Holly Woodlawn refuse to live a typical life, she refused to adhere to any gender expectations. She didn’t strive to be seen as a cis woman, and was open about her anatomy and fluidity with her presentation. 

She was willing to change her presentation to suit the needs of the environment she found herself in. While she was living with her parents she presented herself as a man. Copeland said that when he picked Holly up from the airport once he hadn’t recognized at first, she had a crew cut and stubbled, not to mention she was wearing Bermuda shorts, sneakers and a polo (Copeland, 2025, p. 80). However, she also presented femininely for the vast majority of her life, and she had an eclectic sense of style as well as great skill in the application of makeup (Copeland, 2025). She might have been called a chameleon, given how completely she could change her appearance, except for the fact that the end goal was never to blend in. 

Holly was very open about the gender affirming care that she had (or not ) received, though that was not what it was called in the 1960s and 70s. She had estrogen injections in the 1960s (Copeland, 2025, 93), but never had any sort of gender reassignment surgery (GRS). She didn’t feel the need to surgically alter her body, and she was more than willing to profess her love for her natal genitalia. “Holly loved having a cock. She told me so herself. The only reason she had ever considered a sex change in her youth was because the man she fell in love with wanted her to have it” (Copeland, 2025, p. 140). Woodlawn was an individual intimately comfortable with her body, and her identity, once she was able to carve a place for herself as an adult.

We could try to pin modern labels on Holly Woodlawn all we like, transgender/woman/vestite/sexual, genderfluid, agender, but the modern, rigid ways of thinking we seem to have boxed ourselves into would be a disservice to her. I think it is best if we just accept her identity for herself; “‘Darling what difference does it make if I’m a man or a woman? I’m Holly! Can’t those Motherfuckers understand that?’” (Woodlawn, via Copeland, 2025, 165). Holly Woodlawn’s story and identity are just as much a part of the time she lived in with the people who inspired her and she surrounded herself with, as it was her unwillingness to accept a role that didn’t suit her identity or her life. 

 Holly spent her life on a journey to fame that, for better or worse, she was unwilling to compromise on. That journey has become an inspiration to many trans folks, but “‘there was no role model for a Holly Woodlawn,’ said Penny Arcade, a fellow Warhol acolyte. ‘For Holly, whatever sacrifices she made in terms of acceptance of her family and society could never compete with the sense of freedom that Holly needed – the freedom to be herself’” (Moyer, 2015). She was truly a trailblazer, and even if it wasn’t the way she imagined, she definitely reached a superstar level of fame as a trans pioneer.

The original painting featured in this blog is available for purchase, and Holly Woodlawn, and her story, are featured in the first collection of my Ancestor Cards.

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NOTE! Some links (those with an * next to the name) are affiliate links. I will receive a small commission if you use these links to purchase something. It will not change the price of the product for you.

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References

(1 , 1). Holly Woodlawn , Lou Reed: Rock And Roll Heart [Video]. American Masters Digital Archive (WNET). https://www.pbs.org/wnet/americanmasters/archive/interview/holly-woodlawn/

Copeland, J. (2025). Love You Madly, Holly Woodlawn*. Feral House.

Darling, H.-H. (2019, December 16). Holly Woodlawn. Making Queer History. https://www.makingqueerhistory.com/articles/2019/12/16/holly-woodlawn

Dupêcher, N. (2019). Andy Warhol. The Museum of Modern Art; MoMA. https://www.moma.org/artists/6246-andy-warhol

Grimes, W. (2015, December 7). Holly Woodlawn, Transgender Star of 1970s Underground Films, Dies at 69. The New York Times. https://www.nytimes.com/2015/12/07/movies/holly-woodlawn-transgender-star-of-1970s-underground-films-dies-at-69.html

Hann, M. (2015, December 7). Lou Reed’s Walk on the Wild Side: what became of Candy, Little Joe and co? The Guardian. https://www.theguardian.com/music/shortcuts/2015/dec/07/holly-woodlawn-walk-on-the-wild-side-lou-reed-candy-little-joe

IMDb, & Sieger, R. (2015). Holly Woodlawn - Actress, Additional Crew. IMDb. https://www.imdb.com/name/nm0940341/bio/?ref_=nm_ov_bio_sm

Moyer, J. (2015, December 7). Holly Woodlawn: Actress and star of Andy Warhol’s Factory, immortalised in “Walk on the Wild Side” | The Independent. The Independent. https://www.independent.co.uk/news/obituaries/holly-woodlawn-actress-and-star-of-andy-warhol-s-factory-immortalised-in-walk-on-the-wild-side-a6763936.html

Patterson, J. (2007, September 26). “Oh, the things I did!” The Guardian; The Guardian. https://www.theguardian.com/artanddesign/2007/sep/26/art.theatre

Reed, L. (1972). Walk on the Wild Side [Song] On Transformer. RCA Victor.

Russell, G. R. (2025, February 5). “I’m a Woman, Darling”: The Life and Times of Warhol Superstar Holly Woodlawn. Interview Magazine. https://www.interviewmagazine.com/culture/the-life-and-times-of-warhol-superstar-holly-woodlawn

The Andy Warhol Museum. (2010). Andy Warhol’s Life. The Andy Warhol Museum; The Andy Warhol Museum. https://www.warhol.org/andy-warhols-life/

Trebay, G. (2013, November 1). The Real-Life Stories Told in “Walk on the Wild Side.” The New York Times. https://www.nytimes.com/2013/11/03/fashion/The-Real-Life-Stories-Told-by-Lou-Reed-in-Walk-on-the-Wild-Side.html

Villegas, J. (2021, July 8). Remembering Holly Woodlawn, Trans Icon and Puerto Rican Queen of Underground Cinema - Latina. Latina. https://latina.com/remembering-holly-woodlawn-trans-icon-and-puerto-rican-queen-of-underground-cinema/

Southern Starlet | Aleshia Brevard (1937-2017)| Not Just Cistory

When I discovered that the first ever Trans+ history week was happening from the 6th of May to the 12, I knew that I had write another blog post in my Not Just Cistory series to celebrate. I decided to research Aleishia Brevard since she was one of the first women I painted back in 2022.

There is a burgeoning list of transgender actresses playing transgender super heroes now, and it is ‘super’ inspiring to read about women like Nicole Maines, Ivory Aquino among others, and their new roles playing some absolutely fantastic characters (Rude, 2022). Representation of this caliber is still new to myself and to many others, and not something I at all take for granted.

However, there was another actress who, in the 1970s, starred in Legends of the Superheroes as Giganta, a nemesis of Wonder Woman’s who was transgender, and her name was Aleshia Brevard (IMDB).

Trans and queer representation is something that is becoming more and more common in our media. Representation in this sense means that there are characters in the media that are a part of the LGBT+ and are a part of the story. There is, of course, ‘good’ representation and ‘bad’ representation and those labels are just as subjective as anything else in this world.

Sometimes trans people themselves are considered representation, that their experiences, and lives can be a way for others to not feel so alone. This isn’t inherently a bad thing, finding community online, and in real life is a wonderful way for people to learn and grow and feel more comfortable in their own skin, but sometimes, the people who are being the representation can feel pigeon-holed into only being known as transgender.

Brevard herself discusses this in a 2013 interview with Windy City Times, saying:

I did not go through gender reassignment to be labeled transsexual. I look at that as an awkward phase that I went through—sort of like a really painful adolescence. I don't even think of myself now in terms as transsexual. That's something I experienced and [something] I was (Brevard, Waldron, 2017).

This is not an opinion, like any shared in this blog post, that is universal to the transgender community and is one that should be approached with context and nuance.

I am aware that me featuring a biographic blog post about Aleshia Brevard as part of a series called ‘Not Just Cistory; in celebration of Trans+ History Week is… ironic, to say the least. However, as always, I will try to share the story of her entire life, not just the details relating to her being transgender.

Early Life

Brevard was born in 1937 “ in Erwin, Tennessee, although she spent much of her childhood on a farm in Hartsville” (Nashville Queer History). She was aware of her desire to exist as female from an early age, saying “I would drape a white Cannon towel over my head and pretend to be [actress] Veronica Lake. But I kept all of that to myself because I truly believed that if anyone—my parents included—knew who I really was, that I would be given away” (Brevard, Waldron, 2017). She also prayed nightly to become the girl ‘she knew herself to be’ (Brevard, Kowalska, 2013).

Those around her seemed to sense her identity, and she was described as “an effeminate and artistic child. As a young child… strangers would frequently “mistake” her for a girl, or comment that she was “too pretty to be a boy.” As a colicky three-year-old, her grandfather had dressed her in a skirt with a red ribbon in her hair, christening her ‘Rosy’” (Shephard, 2017).

In 1952, while Brevard was in her teens, Christine Jorgensen’s story of her transition made national news (Shephard, 2017), and surely had to seem like a dream come true to Brevard, even if it probably seemed impossible to her.

A Life on the Stage

Brevard didn’t remain in Tennesse for much time beyond her adolescence, moving to San Fransisco at age 20, and began her work as an actress (Nashville Queer History). Her first job was as a female impersonator at the club Finnochio’s, where she was billed as a Marilyn Monroe look-alike (Brevard, Waldron, 2017).

This job was a space for the young Brevard to explore her identity as a woman. Despite her managers, and the owners of Finnochio’s promoting her as a Monroe impersonator, she insisted that she “was not doing Monroe; [she] was just learning to be [herself], and [she] was young… (Brevard, Waldron, 2017).

Aleshia was quite successful onstage as a Marilyn look-alike, so successful in fact, that in 1961 Monroe herself came to see her perform (Brevard, Waldron, 2005).

In an interview, Brevard, described this job as imperfect, stating that “the problem with Finocchio’s was that to me it did not feel like ‘impersonation'. At long last, I was presenting myself as the woman who had secretly lived sequestered away for far too many years” (Shephard). This is a theme I see in my research over and over again, spaces where traditional gender expression is not required, and it allows for freedom and personal understanding, a form of self-representation.

Transition

Brevard was introduced to Dr. Harry Benjamin, who was responsible for the gender-affirming surgery of Christine Jorgensen, through a mutual friend and Benjamin approved her for a sex-reassignment surgery, which she then underwent in 1962 (Nashville Public Library, 2019).

After her surgery,”[s]he returned to Hartsville to recover from surgery with help from her family, who were loving and accepting of her transition” (Nashville Queer History). She also took this time to transition into being a woman in all of her life beyond the stage, before venturing out into the world again (Brevard, Kowalska, 2013).

Becoming a Star

Having completed this medical component of her Transition that she had started socially years before, she decided to pursue acting as a career, once again. She initially “attended East Tennessee State University for art,” but eventually went on to “attend Middle Tennessee State University and earn a degree in theater, where she was named ‘Best Actress’ in 1967” (Nashville Queer History).

Brevard would continue to move back and forth between Appalachia, the eastern US, and California, working as a model, a stage actress, a star of the movie and television screens, even a Playboy Bunny, and in her later life, a professor (Shephard, 2017). Brevard was a woman of many talents and was able to utilize her acting skills in many mediums.

She performed in eight movies throughout this second career; The Love God, Big Foot, Hitched, The Female Bunch, Smokey and the Judge, The Man With Bogart’s Face, Hard Country, and “American Pop (Brevard, Kowalska, 2013). Brevard also acted in many television shows during her career, The Partridge Family, Night Gallery, and Legends of the Superheroes being some of them (IMDB).

When asked which of her roles were most satisfying for the actress, she mentions her theatrical roles, even noting that, in a full circle moment, she played Marilyn Monroe’s role in the stage version of The Seven Year Itch (Kowlska, 2013).

She evolved her career from acting to directing and teaching theater at East Tennessee State University, this was not an entirely planned transition, but one that came naturally to her after all of her time on stage (Brevard, Waldron, 2017). Directing was not a lesser profession for Brevard, she says that she “truly love[s] directing, perhaps more than [she] adore[d] being on stage…” (Brevard, Kowalska, 2013). This career evolution from actress to director and teacher mirrors her choice to step from being stealth to publishing two different memoirs about her transition and life as a transgender woman, which in a way, turned her into a mentor for generations of future transgender individuals.

Coming Out

Aleshia lived most of her life in stealth, meaning that she did not advertise that she was transgender. She explained that this was for multiple reasons, one being that there was no real transgender community in Hollywood at the time (Brevard, Waldron, 2017). Having a support network and community is such an important part of not just survival for Trans people, but also thriving and living within a society that is oftentimes hostile to us.

She also had concerns about her professional life that encouraged discretion and her choice to be ‘stealth’ she explained that she “just wanted to compete on equal footing with other women…. I just wanted to act without labels” (Brevard, Waldron, 2017). Choosing to not disclose her transgender identity (Though I am not sure she would have phrased it exactly like that) allowed her to be seen for her merits and skills at a time when she would not have otherwise been.

She described the common thinking for trans women of the time as “to move forward, as seamlessly as possible, easing into mainstream society to live as our authentic selves… to live among, work alongside, and compete on an equal footing with other women, including those who had been born female (Brevard, Kowalska, 2013). While it is far more common now for transgender individuals to be open about their ‘transness’ (for lack of a better term), this is a sentiment shared by many transgender individuals still today and is an intensely personal one to make regardless of the decision made.

After her career as a director, Brevard moved to California, began teaching as a high school art teacher (Can you imagine having a movie star as an art teacher?), and began to work on her first memoir (Brevard, Waldron, 2017). This first book was titled ‘Woman I Was Not Born To Be: A Transsexual Journey’* and focused on “the early years and ends with the death of [her] mother in 1982. It was [her] mother’s death, and the absence of her ongoing support, that forced [Brevard] to find [her] own footing in life. (Brevard, Kowalska, 2013)

Upon publication, Brevard was stepping away from living her life in stealth, into the early 2000s online transgender community. She described the experience, saying “because I had lived in stealth, I had no idea about transgender becoming the umbrella term. When I published the book, I was absolutely shocked that I was spread all over the internet” (Brevard, Waldron, 2017).

On the the sequel, ‘The Woman I WAS Born to Be’, Brevard explained that she “had no intention of writing a sequel. [She] soon realized, however, that life had indeed gone on; the second half of [her] life had allowed many of Mozelle’s dreams for my future to come true. That struck me as much more important than the angst and early trauma that had gotten [her] there” (Brevard, Kowalska, 2013).

In the end “[t]he sequel, ‘WAS Born To Be’ [was her] favorite book, in that it chronicles a much happier and more fulfilling aspect of [her] life (Brevard, Kowalska, 2013), which is a wonderful example of how it does get better, even if it isn’t exactly the way we expected it to be.

Conclusion

Brevard passed away on July first, 2017, at the age of 79, from pulmonary fibrosis (Whiting, 2017) leaving behind a long list of film, television, and theatre credits, as well as many students whom she guided, as a theater professor, director, and art teacher. Not to mention all of the trans individuals who were, are, and will be inspired by her memoirs, and her story.

She is a wonderful example that anyone can be a superhero and that we all deserve to see ourselves in the world, and the media we consume. A talented actress, and devoted mother and teacher, Aleshia was able to create a space for herself in the world where she was valued and respected for her talents, not seen for the anatomy she had at any given point in her life.

Transgender individuals are able more now to exist openly and still be regarded for their skills and actions, but it is still so common for society to see the label ‘trans’ and just stop perceiving us, substituting stereotypes and preconceived notions for our personalities and skills.

This is a big part of why I live openly as a transgender individual, and create these biographic blog posts. It’s important to me that I share our history, curate and create that representation so that everyone, from widely openly transgender to completely stealth can have a form of representation in their lives that they may not have had otherwise.

The original painting featured in this blog is available for purchase, and Aleshia Brevard, and her story, are featured in the first collection of my Ancestor Cards.

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Any hyperlinks followed with an asterisk (*) indicate they are affiliate links. If you purchase something from this link, I receive a small commission from the site. It will not change the price of the product for you.

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Bibliography

Aleshia Brevard. Nashville Queer History. (2021, November 3). https://nashvillequeerhistory.org/glossary-main/aleshia-brevard/

Brevard, A., & Kowalska, M. (2013, January 25). Interview with Aleshia Brevard. The Heroines of My Life. other. Retrieved May 10, 2024,. Parts 1, 1 continued, and 5

Brevard, A., & Waldron, T.-L. (2017, April 5). Actress reflects on transitioning, Marilyn Monroe connection. Windy City Times. other. Retrieved May 10, 2024,.

IMDb.com. (n.d.). Aleshia Brevard | Actress, additional crew. IMDb. https://www.imdb.com/name/nm0108087/

Other hidden figures: Aleshia Brevard. Nashville Public Library. (2019, April 13). https://library.nashville.org/blog/2019/04/other-hidden-figures-aleshia-brevard

Rude, M. (2022, March 30). 6 trans & nonbinary characters in DC TV shows & movies. Out Magazine. https://www.out.com/television/2022/3/09/trans-and-nonbinary-characters-dc-comics-dceu-tv-shows-and-movies#rebelltitem1

Shepard, N. (2017, November 19). A Tennessee trans icon comes home: Remembering Aleshia Brevard. Spectrum South - The Voice of the Queer South. https://www.spectrumsouth.com/tennessee-trans-icon-comes-home-remembering-aleshia-brevard/

Whiting, S. (2017, July 24). Aleshia Brevard, SF drag star and transgender pioneer, dies at 79. SFGate. https://www.sfgate.com/bayarea/article/Aleshia-Brevard-SF-drag-star-and-transgender-11344975.php