Their heads were well back when their stomachs were pressed together. ‘A half-caste and Fitzgerald danced together alone about 9pm…They held each other very tightly at times. Cogan and Fitzgerald spoke in effeminate voices’. Their dancing consisted of suggestive movements and was exaggerated more than was necessary. Both Cogan and Fitzgerald ‘were both highly powdered and painted and their eyebrows were made up. Police reports chart Fitzgerald’s experience of the club over multiple nights in 1936. William Leggett, the owner of a gymnasium and employer of prisoner Hyatt, testifies to his work ethic, and closes the letter with the remarks ‘I trust you will be able to take the most lenient view possible of any breach of the law’.įitzgerald was another of those arrested. Some come from relatives, most often fathers, while others provide references from employers. Uniquely, letters survive that provide character testimonies relating to some of the arrested individuals. Character testimony from family and employers All were being treated as criminals for their choice to love freely and socialise in queer spaces. Even those just in attendance at Billie’s Club were seen, in the eyes of the law, as assisting and supporting the venue. The principle charge was keeping a disorderly house, and aiding and abetting.
Those arrested during the raid were tried at the Central Criminal Court on Tuesday 12 January 1936. Newspapers from the time noted the various professions of individuals, which included employees of the club, a soldier, a film artist, a music hall artist and a houseboy, and give an idea of the varied clientele and classes that the club attracted. Later that night 37 individuals (two women and 35 men) were arrested and taken to Bow Street police station. In nearly every instant the prisoners were noted to be powdered and rouged 4. Donaldson read her the warrant and she responded by saying, ‘They are not all bad, it is my job to control them’. Billie Joyce claimed she had never noticed any improper behaviour. Newspapers reported that several people fainted during the raid. On the 14 November police raided Billie’s Club. Catalogue ref: CRIM 1/903 ‘They are not all bad’ Literature found in Billie’s Club relating to music comedy performer Rosa Loader. ‘When I sat on one of the settees later, a male sitting there said to me: “Are you queer, dear?” I said: “What do you think?” He then said: “Are you coming home with me?” I made an excuse that I had to meet someone else.
The dance floor was said to be full of couples pressed close together. Throughout the evening’s performance the officers noted men disappearing into the toilets together. Police files collected various literature from performers of the era found in Billie’s Club, including the musical comedy actress Rosa Loader and performer George Barry, said to have ‘two voices in one’, which all hint at the other types of music that was heard here. The following lyrics stand out from the song: Catalogue ref: DPP 2/355Īt 10 o’clock that night it was announced that queer musical hall artist Fred Barnes would sing some of his songs to the eager audience he was particularly well-known for his signature song, ‘The Black Sheep of the Family’ 3. These items were found on individuals in Billie’s Club according to police reports. In this era police observations consistently related ‘effeminacy’ and stereotypically female gender expression as a sign of homosexuality. Not only were the individuals perceived to be wearing makeup but Miller noted that ‘their hair was waved or dyed’ one individual was highlighted as having pink nails. Furthermore, Murray noted, ‘the majority of the males were of the nancy boy type and several had rouge and powder on their cheeks’ 2. Straight away both officers observed that nearly all the members there were male.
On 5 November 1936 PC Kenneth Murray and PC George Miller entered Billie’s Club. Observations intensified between 31 October to 14 November 1936, and return visitors to the venue were noted by undercover police.
Police observationsįrom May 1936 the property was under plain-clothed police surveillance. The impressive club room consisted of a dance floor and grand piano, and was a more formal and less bohemian set up than at similar clubs such as the Caravan Club. Catalogue ref: CRIM 1/903īillie’s Club actively attracted a queer audience, and the acts that appeared on stage reflected this, including openly queer music hall performers. Interior photograph of Billie’s Club, facing the dance floor, used as police evidence.