Born in Waco, Texas, on January 12, 1884, Mary Guinan at a young age went on the stage. For a number of years she barnstormed with stage companies and rodeos, and she had already made and broken two marriages when she arrived in New York City in 1905. There she won parts of increasing importance in a series of musical comedies and revues, including Miss Bob White, The Hoyden, The Gay Musician, and The Passing Show of 1913. She entertained troops in France during World War I. She had a highly successful career as a film actress in perhaps as many as 200 silent two-reelers, in which typically she portrayed a blunt, aggressive, blond Western heroine in the dime-novel tradition of Calamity Jane.
In 1924 Guinan began the career that made her famous. After a spontaneous performance one night as mistress of ceremonies at a party following a show at New York╒s Winter Garden, she was taken up by bootlegger and racketeer Larry Fay, who installed her as hostess of his El Fay Club. Perched on a stool in the center of the club, armed with a whistle and her own booming voice, ╥Texas╙ Guinan single-handedly created an atmosphere of camaraderie unique among nightclubs of prohibition-era New York. Each newcomer was greeted with a loud ╥Hello, sucker!╙ and she maintained her rule over the convivial chaos with a stream of wisecracks. Her good-humored challenges were effective in spurring club visitors to ever greater heights of extravagance, and her particular name for the free-spending out-of-towner, a ╥big butter-and-egg man,╙ entered the vernacular. After the police closed the El Fay Club, she reappeared almost immediately at the Del Fay and in succession at the Texas Guinan Club, the 300 Club, the Club Intime, and Texas Guinan╒s Salon Royale. In a short time she became one of the best known figures of a decade ever eager for titillation. Her diamonds were equally celebrated. Arrested several times for operating a speakeasy, she was never convicted, and her ownership of any of the clubs was never proved.
Guinan returned to the Broadway stage with her own revue, Padlocks of 1927, and made two talking pictures, Queen of the Night Clubs, 1929, and Broadway Thru a Keyhole, 1933. In 1931, after her road company was refused permission to perform in France, she renamed her revue Too Hot for Paris and took it on a western tour. She fell ill and died in Vancouver, British Columbia, on November 5, 1933.
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