Big Wigs: A Look Back at Ames' Premier Gay Bar and Its Vibrant Drag Scene

For a time, Ames, Iowa, had a vibrant hub for the LGBTQ+ community and drag enthusiasts: Big Wigs. Nestled in the former retail space of the Cornucopia on W.

Lincoln Way, this unique establishment offered more than just drinks; it was a stage for dazzling performances and a testament to the evolving social landscape. While Big Wigs has since closed its doors, its legacy as a pivotal spot for entertainment and community in Ames is worth exploring, especially when considering the broader history of drag and queer-friendly spaces.

The Rise of Big Wigs and Its Connection to Iowa's Drag History

Big Wigs was more than just a bar; it was a vision brought to life by Vanessa Taylor, a seasoned figure in Iowa's drag scene.

Taylor, who had a significant career as an office manager before pivoting during the COVID-19 pandemic, saw an opportunity to elevate drag performances in Ames. Initially, she organized and performed in shows at Bali Satay on Campustown, then moved to Headliners (formerly Peoples), seeking to increase the frequency and visibility of these events.

The establishment of Big Wigs represented the culmination of this effort, providing a dedicated venue for a more robust drag show schedule.

The bar itself was a transformation of a familiar Ames location, previously housing the Cornucopia restaurant and gift shop.

Taylor invested in creating a sophisticated atmosphere, evident in the "fancy" main bar area and the addition of a commercial kitchen. This meant that patrons could enjoy an enhanced dining experience alongside the entertainment, with a menu that included items like flatbread pizza and pretzel bites.

The commitment to a full-service experience highlighted a dedication to making Big Wigs a destination, not just a fleeting stop.

A Spotlight on Saturday Nights: The Drag Show Extravaganza

Saturday nights at Big Wigs were particularly anticipated, featuring a 10 p.m.

drag show that showcased some of Iowa's most celebrated performers. Taylor herself was a key figure, bringing her extensive experience and passion to the forefront. The source material mentions a specific Saturday show that was scheduled to feature "Iowa's most award-winning showcast," indicating a high caliber of talent gracing the Big Wigs stage.

These events weren't just about entertainment; they were about celebrating artistry, pushing creative boundaries, and providing a platform for performers to shine.

The success of these shows speaks volumes about the demand for inclusive and dynamic entertainment options.

In an era where visibility for transgender individuals in mainstream media is increasing, with characters appearing in dramatic television series, the presence of well-produced drag shows in local establishments like Big Wigs played a crucial role in normalizing and celebrating gender expression and performance art.

Beyond Big Wigs: Navigating Ames' Nightlife and the Broader LGBTQ+ Landscape

While Big Wigs was a significant player, understanding its context requires a look at other establishments and the general atmosphere of Ames and surrounding areas.

The provided information touches upon various venues, offering glimpses into different facets of local nightlife. For instance, AJ's is noted as a top dancing bar with a lively dance floor and the town's largest patio, suggesting a diverse range of entertainment options available.

Sips is mentioned as a consistently open establishment, highlighting the need for reliable social spaces.

When considering the broader LGBTQ+ scene, the text also references other cities. London is described as queer-friendly, though not specifically a gay bar, indicating that inclusivity can exist in various forms.

More directly, the mention of The Blazing Saddle in Des Moines as "the oldest gay bar" and "the only gay bar" in that city (though the latter seems to be a slight contradiction, possibly meaning "one of the most established") provides a point of comparison and highlights the importance of dedicated LGBTQ+ spaces.

The question of other potential gay bars or queer-friendly spots in Ames arises.

Mentions of "Buddy's Corral," "The Garden Restaurant & Show Lounge," and "Firebirds Wood Fired Grill" in a context discussing bars for meeting gay guys suggest a varied landscape, though their specific nature as LGBTQ+-focused venues isn't always explicit.

The inclusion of "The Blazing Saddle" again in the context of Big Wigs closing underscores the concern for the availability of such spaces.

A Historical Echo: The Story of Adrian Ames and the Evolution of Drag

To truly appreciate venues like Big Wigs, it's beneficial to look back at the historical evolution of drag.

The story of Adrian Ames, a prominent female impersonator from the mid-20th century, offers a fascinating parallel. Ames, known for his flamboyant personality and elaborate publicity stunts, carved out a space for himself in the entertainment world. He understood the power of image and media, sending out press releases and engaging directly with critics, much like a modern-day influencer.

Ames' career highlights a critical aspect of early drag performance: the distinction between "female impersonators" and "female illusionists." By using the title "Mr.

Adrian Ames," he deliberately positioned himself within a specific performance category, perhaps to navigate the social and legal complexities of the time. His life was a spectacle, marked by public divorces (even from his poodle, Lilly, in a famously dramatic announcement), theatrical pronouncements, and a refusal to fade into obscurity.

He understood that controversy could fuel celebrity.

Ames' journey also reflects the transient nature of entertainment trends and venues. After a successful run in Milwaukee, where he capitalized on a decade-long drag craze, he found that the scene had shifted, and "drag had gone back underground into the gay bars." This echoes the reality that dedicated performance spaces can be fleeting, and the underlying culture often finds its way into more established, albeit less visible, community centers.

Ames eventually moved to San Francisco, continuing his performances into the 1970s.

His story, marked by a dramatic life and a quiet passing, is a reminder that the pioneers of drag, like the establishments they graced, often faced challenges and shifting tides.

The fact that a memorial issue planned in his honor never materialized also points to the difficulty many performers had in self-promotion, a stark contrast to today's readily accessible social media platforms.

The End of an Era for Big Wigs, the Beginning of New Possibilities

The announcement of Big Wigs' closure at the end of May marked the end of a significant chapter for Ames' LGBTQ+ community and drag fans.

For Vanessa Taylor, it was likely a difficult decision, but one that perhaps allowed for reflection on the impact she had made. The presence of Big Wigs provided a vital space for celebration, artistic expression, and community building. Its existence demonstrated a growing acceptance and appreciation for drag culture, moving it from the fringes to a more celebrated position within the local entertainment scene.

While the physical space of Big Wigs may be gone, the spirit of its contribution to Ames' cultural landscape endures.

The conversations it sparked, the performances it hosted, and the community it fostered all contribute to the ongoing evolution of LGBTQ+ visibility and the appreciation of diverse forms of entertainment. As the nightlife scene continues to transform, the memory of Big Wigs serves as a reminder of the importance of inclusive spaces and the enduring power of drag as an art form.

The quest for queer-friendly venues is a continuous one, and while Ames may be mourning the loss of Big Wigs, the broader search for supportive and celebratory spaces continues.

The efforts of individuals like Vanessa Taylor, and the historical precedents set by performers like Adrian Ames, pave the way for future generations to create and sustain vibrant LGBTQ+ communities and entertainment experiences.