Michael Fulk, aka Victoria Weston, basks in the warmth of an IGRA title
RIDE ’EM COWGIRL! Victoria Weston brought the IGRA title back to Dallas with her win last month in California. (Terry Thompson/ Dallas Voice)
STEVEN LINDSEY | Contributing Writer
stevencraiglindsey@me.com
In 25 years of International Gay Rodeo Association pageants, the top honors have only been won by a contestant from the Texas Gay Rodeo Association three times — one of which was late last year, when Michael Fulk’s alter ego Victoria Weston walked away with the Miss IGRA 2012 crown, a first for Dallas and a victory decades in the making.
“I have been dressing in female attire ever since I could open my mom’s closet door,” Fulk laughs.
His drag career started in earnest, however, at a Halloween ball in St. Louis in 1988. One month later, he was doing his first fundraiser, “and within a year I had moved to New York City,” he says.
After many successful years as a full-time entertainer in New York City, Fulk returned to Dallas shortly after Sept. 11, 2001.
“My career switched upon my move,” he explains. “In NYC, I was an entertainer full-time and a hair and makeup artist part time. Now I am a full-time hair and makeup artist, makeup coach and educator for Artistic Salon Spa across from NorthPark. Entertainment was relegated to a passion rather than the breadwinner part of my life.”
But that didn’t stopped Fulk from competing and performing in drag — a description he’s proud to wear.
“We are all born naked, everything that comes after that is drag, honey!” he laughs. “Drag comes in all shapes and sizes: leather drag, business drag, casual, cowboy, club kid … the list is endless. I have no issue being called a drag queen, female impersonator, illusionist, yadda, yadda, yadda. If that size 11 pump fits and looks fabulous, I wear it. For the most part, though, when people around me speak of what I do, more often than not they simply refer to me as an entertainer.”
Victoria Weston stands out among many other drag performers because rather than lip sync, she sings live.
“The entertainers from before Stonewall were live,” Fulk explains. “Some sang, some danced, some stripped, but back then there wasn’t as much syncing and/or surgery as today. I think I am a throwback to that era. I am first and foremost closely related to the big band singer. That is my passion, whether it is blues, jazz, Broadway or standards.”
Since returning to Texas, Fulk has upped the quotient of country-western and pop music in Victoria’s act.
“I have heard people say my singing style resembles Shirley Bassey and I have always been compared to the look of Ann-Margret. I couldn’t ask for better comparisons. I’ll take both of those as high compliments,” he says.
Still, he insists, it’s best not to take himself too seriously.
“I take the illusion I portray serious enough to not make it a joke. I don’t want to be insulting or a cartoon of a woman. Every time I sit down to bring Victoria to life I view my job as putting together an ideal,” Fulk says. That means Victoria “doesn’t drink, smoke or do drugs. Old Hollywood glamour is my mainstay. Even though I am wearing a lot of makeup, hair jewelry, rhinestones, gowns and great shoes, I guess I want to appear to simply be a red carpet version of what I think a woman looks like: Totally put together. Besides that, I like to think of Victoria as a grounded, drama-free old soul with a wry sense of humor and a heart as big as all outdoors.”
Perhaps it’s this philosophy and a healthy sense of humor that has kept Fulk from suffering a fate foretold years ago by his drag mother from St. Louis, Miss Tracy.
“God rest her soul, [she] told me to be ready for a lonely life. She said, ‘They are either going to hate you as a drag queen and love you as yourself or they are going to love you as a drag queen and hate you as yourself. And be prepared for lesbians to hate and resent you.’” Fulk recalls. “I have found that to be false on all levels.”
And few things symbolize that overcoming of obstacles better than a really, really big crown.
This article appeared in the Dallas Voice print edition January 13, 2012.
