During the 1890-1930 heyday of vaudeville, a number of female impersonators enjoyed impressive, successful careers and became household names across the country. Even during 1920s Prohibition, the tradition expanded into nightclubs and cabarets and drew enormous crowds in large cities like New York and Chicago. American entertainment tastes started to become more conservative, repressive oversight of liquor consumption followed Prohibition’s 1933 repeal, and female impersonation almost immediately disappeared from “legitimate” and cabaret stages throughout the United States. But in wide-open Pendergast-era Kansas City, female impersonators remained popular until the late 1930s.
When it comes to assessing the trajectory of a political machine such as the one cobbled together over time by first Jim Pendergast, and then by his younger brother “Boss” Tom Pendergast, it is always best to follow the advice of the later Watergate journalists – that is, to “follow the money.” Under Jim, the Pendergast machine seems to have dealt more in dispensing jobs and small favors, with Jim taking a rather small cut of the proceeds. Jim, however, could meet his relatively small personal needs, which included taking care of his bride Mary Doerr (married in 1886) and her young son by a previous marriage. He chose never to live “high on the hog.” Tom, on the other hand, always seemed to need more money, especially after his own marriage to Carolyn Elizabeth Dunn in 1910.
On March 24, 1935, Annie Chambers, a former prostitute and Kansas City brothel owner, passed away at the age of 92. By the time of her death, Chambers's own life had roughly paralleled Kansas City's untamed years of the late 19th century, which were followed by extensive modernization and reform efforts in the early 20th century.
Parker was born in Kansas City, Kansas, on August 29, 1920. He grew up in Kansas City, Missouri, where he played in jazz clubs as a teenager and young man. The local jazz culture based in the Vine Street nightclub district cultivated his talents as a teenager. Indeed, it was during this period that Kansas City made notable contributions to jazz with hometown artists such as Count Basie, Bennie Moten, and Buster Smith.