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His dramatic life was an ever changing saga, a wild and sad story of extremes and incredible plot twists. He ran away from home at age 8 and shot himself attempting suicide as young teen. Soon after, while home from boarding school for the holidays, his mother and grandmother drank poison committing a double suicide. His older sister Louisa's many escapades frequently made national news.

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Bruz's ambitious father lost the grand fortune, sprawling manor and prestigious banking buisness the family built over generations and eventually found work as an elevator operator. Bruz later lost his own home and possesions in a fire. His record 5 year run at L. An out and bold pioneer, Fletcher and his partner Casey Roberts lived together openly in home after home, in state after state, hosting salons and publicly collaborated on numerous artistic endeavors ranging from the theatrical, to literary, to the decorative and fine arts.

The two kept no secrets about living together over the years. Their domestic arrangements were written often about in newspapers and magazines as were their many artistic collaborations. Few such open, prominent and well documented gay couples existed in that era. In , baby-faced Fletcher asphyxiated himself in a running car in friend's garage, leaving behind three albums of wonderful songs, a handful of theatrical works , two novels and a short story all of which are peppered with autobiographic details that provide some colorful and candid glimpses into his world of dark contrasts populated by society dowagers, misfits, celebrities, addicts, servants, lovers, and eccentrics who represent a wide variety sexualities and mores.

Bruz was an early feminist of sorts creating a myriad of bold, powerful, smart, independent, female characters who were often sexual outsiders such as single mothers and prostitutes. These women resonated deeply with gay folks who related to a variety of aspects of their motives, actions and circumstances living outside what anthropoligist Gayle Rubin has called "The Charmed Circle.


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Bruz even created a joyful trans gender character in a hostile climate before such people were a part of mainstream consciousness or imagination. Bruz Fletcher's songs make a fascinating study as well as still relevant entertainment. Living as openly as a gay man could, he became a master of gay code and double speak in order to survive and flourish in a very homophobic era. His lyric gender-play reveals the necessity for gay men of his generation to speak out of three sides of their mouths.

With lyrics sprinkled with gay code, he also cleverly manages to delight and titillate the general public -- or at least the sophisticated public. Much like Jay Little, or Samuel Steward, Bruz Fletcher is one of the few rare and forgotten pre-Stonewall gay artists whose story has recently come to light. Research has revealed tantalizing glimpses into Fletcher's world and many fascinating details about this amazing performer.

Since going online in , the goal of this website has been to rescue Bruz Fletcher and his music from obscurity. At that time, little more than a few vauge paragraphs summed up all that was known about him.

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Comprehensive and creative research eventually revealed an intriguing biography and portrait of the colorful character. Queer encyclopedias and anthologies published before my research never included Fletcher or Frances Faye. Now I am proud to say, every new one does, and often puts their contributions front and center. In , the website had grown so large that it was turned into a page book that chronicled in detail Bruz's incredible life and documents his work. The latest editions grew to pages for the public edition and pages for the private "collectors'" version. The website still highlights some of these details, is a place to continue updating new discoveries and is a forum for all to contribute comments and details.

Over the years, this site has been the original source for all portrait photos of Fletcher that you find elsewhere online and essentially any information about Fletcher other than a simple discography. Collaborator JD Doyle collects and posts some original source articles and his website is the first stop anyone should make for beginning research on any queer performer. Last updates to this site: May No detail too small or insignificant.


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Each bit of trivia and source helps to build the story. I would be willing to buy or trade for Fletcher, Roberts or Reynard related materials. Contact me first!

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Available Here. That year Bruz published both his novels. The parallels to his life and the fiction he created were numerous and obvious. Bruz himself seems to be a perfect mix of both Judy and Peter, almost as if he split himself in two in order to create the fiction.


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The second book is again a high society affair, the most memorable character a saucy dowager of the type he would later cast in a few of his best songs and the handsome love interest is an aviator given the deliciously camp moniker Gayland Boye! Just as the first book seems to parallel his own life, the second loosely retells many of the public turmoils of Bruz's older sister : how she ran away to make a life for herself, took an alias, a failed society wedding to a foreign count.

His play The Greater Thing is a n over-the-top Oedipal nightmare, in which the leading man is consumed with rage and grief from the childhood loss of his adored mother, a character whose circumstance Bruz saddly understood intimately well. The villian, in typical Fletcher fashion, is dangerously alluring.

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Fletcher is not the least bit subtle in making that clear in his unnecessarily lustful and slightly too long description of the character: "He is a man around fifty years of age, powerfully built, good looking in a rather evil way, essentially masculine and very sex attractive. The taboo love story certainly would have resonated with gay folk back then, a time when they regularly refered to with the term "perverts" in mainstream news media, harrased by police and suffered terrifying legal persecution.

Surprisingly, Fletcher's prose and playwriting do not feature the cleverness, humor or complex characterizations that his short narrative songs do. But his bright songs have a strong sense of humor and humanity that has kept them fresh and relevant after 8 0 years.

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Although they are amusing fictional tales, they are autobiographical windows into his world. One can't help but speculate if there is not some autobiographical truth in the song " Peter Lillie Daisy. His songs are a showcase of his quick comic wit, but include a heavy mix of tragedy. His protagonists often have terrible ends in spite of the light, happy nature of the songs. A definite homoeroticism flavors his entire songbook. Bruz recorded for the small independent label Liberty Music Shop.

His songs have a only a few direct uncoded homosexual references but can be described as sophisticated, energetic, witty, gossipy, campy, bitchy, cosmopolitan, bawdy; in a single word gay. They are full of rhymes, innuendo and amusing puns much in the manner of fellow Hoosier Cole Porter or Noel Coward. Fletcher frequently in jected elements of his own biography into his songs and other writing.

His yearings are voiced by the characters he created but can often be clearly attributed to him directly because of the numerous biographic elements and parallels he infuses into his writing.

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They comingle with and validate the emotional and poetic content. The lonely streets of Manhattan and the dark places he found comfort there, the sophisticated "New York Man" and blue collar ice man he longed for, the exquisite meals prepared by Marcel Lamaze at the cafe Bruz played before the Bali, his mother's death by poison are but a few examples.

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Bruz wrote and performed in an era when homosexuality was considered a perversion by the medical community, a sickness to be cured and was legally a crime punishable by imprisonment. He spoke out against that mentality in the only way he could, guised in metaphor and comedy. Send out quickly and get me an ape! Bruz would have to use metaphor and comedy to express that kind of social criticism.

No one was publicly challenging the misunderstood nature and harsh treatment of homosexuality in the thirties. I think it may be his most daring lyric! Fletcher created his own fictional version of gender chameleon Jennie June. Little Peter Lillie Daisy or "It" is a misunderstood young person with the wonderful ability to instantly change from male to female and back again. His use of the pronoun 'it' predates by 80 years our new use of pronouns "they, them and theirs. Haskell " gets the delightful pleasure of eloquently exposing the hypocrisy of her society peers one by one.

This proud tale of a sexual outsider would resonate with a gay audience. Skip to main content. Update required: To play the media you will need to either update your browser to a recent version or update your Flash plugin. Volume mute unmute max volume. Colorado Matters. By Ryan Warner ryan. Remembering Poet Jake Adam York. You're like us! Colorado Matters Colorado Matters. Donate To CPR Support impartial journalism, music exploration and discovery with your monthly gift today. Learn More. Give today before this match ends.

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