As-tu rempli ta vie de belles choses ?

It’s intended as ironic of course, as deliberate camp. The musical is intended as a parody of old sci-fi and horror movies, mixed with a camp drag aesthetic inspired by the contemporary glam rock movement. The mad scientist villains in the movies being parodied were often queer-coded, and vaguely effeminate.

So to parody that, Frank-n-Furter goes far beyond the queer-coding, and is outrageously effeminate and evil. He rapes people, kills them with an axe and serves them for dinner and force-fems them to take part in his climactic stage show. He is a Frankenstein parody, who literally makes an artificial man in order to fuck him (a joke about Frankenstein I’ve seen on tumblr). And does it all while wearing stockings, a bustier and heavy make-up. He is deliberately the ultimate evil man in a dress trope, referencing Psycho and all effeminate mad scientists in media.

That Frank-N-Furter isn’t explicitly a trans woman doesn’t matter. The musical deliberately blurs the line. The line “I’m just a sweet transvestite, from Transsexual, Transylvania” is like a perfect encapsulation of how horror movies treat transfemininity. “Men in dresses” (transvestites) trans women (transsexual) and a symbol of predatory horror movie villainy (Transylvania) are all conflated, making a pun of out how they all begin with “trans”.

Of course, it’s intended to be ironic. It’s a parody of queer-coded villainy in old horror movies by turning it up to eleven, so that you can’t take it seriously. The whole movie has this drag show camp aesthetic that it celebrates, and the supposed representatives of heteronormativity, Brad and Janet are turned in the end. Frank-N-Furter becomes a symbol of a hedonistic queer liberation “Give yourself over to absolute pleasure.. Don’t dream it, be it.”

This is the clear intent of Rocky Horror, and it’s how it became a “queer classic”. Does it work? I’ll admit that I enjoy the movie version. The glam rock aesthetic is fun, the songs are catchy, and they keep coming at a quick pace. A lot of it is admittedly that I love the old horror and sci-fi movies it’s parodying, so my cultural touchstones are similar. I’m the kind of person to get a thrill out of knowing that Frank-N-Furter at one point uses the exact same prop that Peter Cushing used in the second Hammer Frankenstein movie.

That is a different question however from how well it succeeds at subverting the transmisogynistic tropes it handles. Even in the most sympathetic possible account of the musical, it’s doing the equivalent of handling live grenades. Is it the creators tropes to subvert in the first place? Is it the fans?

Let’s talk about Rocky Horror’s creator, Richard O’Brien. He is certainly a weird and contradictory person, he identifies as a third gender and “70% male and 30% female“, and is using estrogen. So arguably he is a transfem enby and thus transmisogyny-affected. But he’s also a transmisogynist who doesn’t believe trans women are “real women”.( I would like to know what exact percentage of “female” as a transfem person turns you into a bad fake trans woman.)

Of course the important thing about O’Brien is that he is rich. He is in a vastly different class position than the majority of transfems. So while he may be taking estrogen and living as a third gender, he is simultaneously isolated by his own wealth from the effects of the transmisogyny he bolsters in the media (see Caitlyn Jenner for another example of a wealthy transfem doing the same thing).

And O’Brien is rich because Rocky Horror is a huge success. The stage show has seen tons of productions, the original ran for 7 years in the West End, and the movie is a slow but certain money maker, with probably the longest theatrical run out of any movie in history. He is swimming in residuals.

This raises the more interesting question of Rocky Horror’s position in the wider culture, and it’s status as “queer media”. It’s a movie which is just not passively watched but celebrated and performed by its fandom. People show up in cosplay to showings, “shadow casts” perform while the movie plays. And of course the original stage musical is still performed.

So we have to ask ourselves, what are people performing? And who is performing it? And I’ve already answered the former question earlier. Rocky Horror is largely an ironic performance of transmisogyny. And the fact is, the majority of people doing that performance are not the main targets of transmisogyny. They are largely TME cishet, queer and trans people. It’s “ironic” transmisogyny to be sure, I think most fans of Rocky Horror who have any understanding of what it is doing view Frank-N-Furter as the true hero of the show. But is it really their thing to be ironic about? Are transmisogyny-exempt people really the people who should reclaim with irony and camp transmisogynistic tropes in horror media? I don’t think so, and that’s why there is so much resentment about Rocky Horror from transfems. And it’s creator doesn’t help, because while he’s arguably transfem, he also spreads transmisogyny in the media.

It illustrates a lot of things, for example how imprecise “queer” is as a description of people. It’s an umbrella term, and does group together people who have much in common. But it also erases the material differences within the community. Queer people aren’t all equally oppressed.

So Rocky Horror status as queer media, as a campy celebration of queerness and parody of anti-queer tropes in genre films is kinda grating. Because it enables TME queer people to perform and celebrate Rocky Horror, because they are queer and it’s about “queerness”, when there are specifically transmisogynistic tropes parodied in the musical. It isn’t really their place to do so.

It appropriates specific transmisogynistic tropes in the media by thoughtlessly subsuming it into the general anti-queerness which it is part of.

Of course there are transfems who got to explore their gender at Rocky Horror showings. But I think the reason they did that is because mtf crossdressing is accepted as part of a camp ironic performance in such a context. It makes it feel safer to perform femininity in public, because you can backtrack and say it’s purely ironic. That’s no different from the comedy crossdressing in American Halloween parties, and I think we can all agree those are often transmisogynistic.

And of course, Rocky Horror is an example of how cis men can perform femininity, and get celebrated for it in mainstream society, while escaping the effects of transmisogyny that transfems experience, and in fact often furthering that transmisogyny. It’s often a (negative) performance of transfemininity, in which actual transfems play no part and are mocked.

Tim Curry is a very good example. He made his career from playing Frank-N-Furter, and he probably couldn’t have done that if he was actually transfem, and not just crossdressing for an ironic performance on stage and screen. Like I don’t have anything against him in particular, quite the opposite, he’s one of my favourite actors, love him in everything from Clue to Muppet Treasure Island to Gabriel Knight. My objection is to the patriarchal and transmisogynistic system that favors cishet men like him.

Speaking of crossdressing on stage, the drag culture which Rocky Horror is inspired by of course has a complex history. It’s deeply rooted in both African-American and queer culture, and transfems have played major roles in drag. But Rocky Horror is if anything even an appropriation of drag culture. It represents drag’s commercialization and recuperation into the mainstream. It took drag out of the gay bars being raided by the police and onto the more respectable West End stage, making a lot of money in the process.

Rocky Horror beyond any qualities it has as a stage and film musical, due to its popularity represents a lot of complex issues. It’s important to queer culture, but it also represents the commercialization and recuperation of queer drag into the cishet mainstream. And within the queer community, it is a shining example of how TME queers can appropriate specifically transfem struggles as their own. It shows how cis men can gain wealth and fame performing transmisogynistic caricatures (even if they are ironic and don’t mean it).

And that this is actually a really fun, low cost way to not only access news and larger cultural magazines, but also to get free patterns for many different crafts that you can screenshot if need be and that lower the financial barriers to entry for trying new things

From my experience working in both academic and public libraries, many libraries are use it or lose it funding-- I have to say this because a lot of patrons feel guilty for how much they use the library and how often they're using it funny enough, but the worst thing you can do for libraries is not try out new features and not use what's already given to you as much as possible.

you're getting ice cream with your friend and they make a comment about the fat person eating an ice cream cone you SAY, "oh then I guess you don't want ice cream, let's go." (fat people don't need to earn food even for enjoyment)

you're at the beach and a fat person is laying out and your dad says something rude about it you SAY, "I think they look comfortable. It's good they're getting some sun. I bet they work hard all year for this vacation." (fat people deserve to appear in public)

Si vous ne saviez pas quoi faire de votre samedi !

Two-Spirit

Two-Spirit is a term created by Indigenous peoples of North America in 1990 to bring together the diverse gender identities and sexualities that exist within their cultures.

It is not a single gender. Each nation has its own traditions, names, and ways of understanding these experiences.

For many communities, Two-Spirit people held important social, cultural, and spiritual roles before European colonization.

The term should not be used by non-Indigenous people, as it is specifically connected to the cultures and experiences of the Indigenous peoples of North America.

Irawhiti (Māori)

Irawhiti is a Māori-language term used by some people to describe transgender or gender-diverse experiences.

The term is part of the contemporary revitalization of Māori language and culture, allowing Indigenous people to describe their identities through their own cultural frameworks.

Although it may be translated as "transgender" in some contexts, Irawhiti carries meanings connected to Māori cultural realities and should not be understood simply as a copy of Western gender categories. ( Flag design by Irauí on Tumblr. ) @irawhiti

takatāpui (Māori)

Takatāpui is a Māori term used by Indigenous LGBTQIA+ people in New Zealand.

Historically, the word referred to an intimate relationship between people of the same sex.

Today, many Māori people use the term to express both their Indigenous identity and their gender or sexual diversity.

More than a specific sexual orientation or gender identity, Takatāpui connects a person to their culture, ancestry, and community.

The term is part of the Māori cultural revitalization movement and demonstrates that gender and sexual diversity can be understood through Indigenous perspectives, not only through Western categories. ( Flag design by Irauí on Tumblr. ) @irawhiti

Māhū (Kanaka Maōli)

Māhū is a traditional Hawaiian cultural identity associated with people who embody both masculine and feminine qualities.

Historically, māhū people held important roles as educators, keepers of knowledge, healers, and transmitters of cultural traditions.

The arrival of colonization and Christian missions attempted to erase these identities, but many Native Hawaiians continue to preserve and revitalize the māhū identity today.

Māhū is not simply the Hawaiian equivalent of "transgender" or "nonbinary." It is a distinct cultural identity deeply connected to Hawaiian history, culture, and spirituality.

Tibira/ Tybyra

Tibira is a historical figure documented during the colonial period.

According to interpretations by Indigenous researchers and collectives, Tibira may be understood as a man who had relationships with other men, or as a person who lived with a feminine gender identity or expression, challenging the norms imposed by colonizers.

Their story is remembered as an example that gender and sexual diversity already existed among Indigenous peoples long before colonization. ( Made by me )

Çacoaimbeguira

Accounts of the Tupinambá people mention the çacoaimbeguiras.

According to interpretations by Indigenous researchers and collectives, they may be understood as women who had relationships with other women, or as people who lived with a masculine gender identity or expression outside the norms imposed by colonization.