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Who Does That Bitch Think She Is?: Doris Fish and the Rise of Drag

Who Does That Bitch Think She Is?: Doris Fish and the Rise of Drag

by Craig Seligman

PublicAffairs ·2023 ·352 pages ·Biography
Maybe Someday
Maybe Someday
I Index
35/99
Maybe Someday

35/99

Critics

Maybe Someday

35/99

Readers

n/a

Scholars

55/99

Rating

15/99

Volume

52/99

Rating

18/99

Volume

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About This Book

A vivid new history of drag told through the life of the pioneering queen Doris Fish In the 1970s, queer people were openly despised, and drag queens scared the public. Yet this was the era when Doris Fish (born Philip Mills in 1952) painted and padded his way to stardom. He was a leader of the generation that prepared the world not just for drag queens on TV but for a society that is more tolerant and accepting of LGBTQ+ people. How did we get from there to here? In Who Does That Bitch Think She Is? Craig Seligman looks at Doris' life to provide some answers. After moving to San Francisco in the mid-'70s, Doris became the driving force behind years of sidesplitting drag shows that were loved as much as you can love throwaway trash—which is what everybody thought they were. No one, Doris included, perceived them as political theater, when in fact they were accomplishing satire's deepest dream: not just to rail against society, but to change it. From the rise of drag shows to the obsession with camp to the conservative backlash and the onset of AIDS, Seligman adds needed color and insight to this era in LGBTQ+ history, revealing the origins and evolution of drag.


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Reviews

"I finished it persuaded this was a life well worth examining, if only because his peers are so often celebrated, or excoriated, in aggregate ..."

Alexandra Jacobs· The New York Times Read review ↗ Top of the Pile

"The frightening and tragic impact of AIDS in the late 1980s is explored ..."

Laurie Unger Skinner· Library Journal Read review ↗ Near the Top

"Seligman weaves in enlightening histories of the AIDS pandemic, Anita Bryant's Save Our Children campaign, and more, while making a strong case for drag shows as political theater that 'accomplish[ed] satire's deepest dream: not just to rail against society, but to change it.'"

Publishers Weekly Read review ↗ Near the Top

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