This song is not for you, lovers

A/N: please don’t sue me, o anime overlords, I’m not making any money off of this! I’m just a broke student! I don’t have any money!

A/N: I totally wrote this while high off 10 Red Bulls wheeeeeee!!!!!

remember when there’d be interactions with the author and the characters?

InuYasha: I don’t get why I have to be here for this

KAREL HEŘMÁNEK jako LUCIFER XIV.

zákazník: nechci, on mi to doma nikdo nepro-

já:

já: chcete účtenku?

zákazník: tu dejte fial-

já:

zákazník: ještě si vezmu červený čestrfíldky

já: dlouhý nebo krátký?

zákazník: normální

já:

*8 hodin ráno*

já: je to 37 korun

zákazník: *vytáhne dvoutisícovku*

já:

To Wong Foo Thanks for Everything, Julie Newmar (1995)

If you’re younger, you may not know Patrick Swayze; he was Taken From Us in 2009. But Patrick Swayze was an icon of masculinity. Men were willing to watch romantic movies because Patrick Swayze was in them.

Patrick Swayze was fucking beefcake.

And this man didn’t just agree to do a movie where the only time he’s not actually in drag is the first three minutes, which involve stepping out of the shower, doing make up, and getting Dressed. He has ONE LINE that is delivered in a man’s voice, and it’s not during those three minutes.

And if you watch those three minutes, you see a stark difference between his portrayal of Miss Vida Bohéme and Wesley Snipes as Noxeema Jackson. (I am not criticizing Snipes’ performance. They were different roles.) Noxeema was a comedy character. Chi-Chi was a comedy character. But Miss Vida Bohéme was a dramatic role, played by a dramatic powerhouse.

When Vida sits down in front of the mirror, she sees a man. And she doesn’t like it.

Then she puts her hair up, and her face lights up.

“Ready or not,” she says. “Here comes Mama.”

And while Noxeema is having fun with her transformation (at one point breaking into a giggling fit after putting on pantyhose), Vida is simply taking pleasure in bringing out her true self. And when she’s done, she sees this:

And you can FEEL her pride.

“I grew up in the ‘70s and even within the street culture, there was a lot of flamboyancy,” Snipes told TODAY of his perception of drag before filming. “Pimps wore the same furs as theprostitutes wore.

“Some of the great musicians of the world, like Parliament-Funkadelic, were very androgynous. So it wasn’t really new for me to see men dressed as women or men dressed as drag queens.”

Snipes attended the famed LaGuardia High School of Performing Arts and then State University of New York at Purchase. He wasn’t a dance major, but most of his friends were. “That exposed me to the world of glam, vogue, drag, transgender and gay people, LGBTQ… but it wasn’t in fashion those days. But it existed and I was around it.”

Not only did “Priscilla, Queen of the Desert” pave the way for “To Wong Foo,” so did films like the 1968 documentary “The Queen” and “Paris Is Burning,” the 1990 doc that chronicled ball culture of New York and the various Black and queer communities involved in it.

Even though he was known for his action roles, Snipes’ portrayal of Noxeema wasn’t the first time he played a drag queen. In 1986, he made his Broadway debut in the play “Execution of Justice,” playing Sister Boom Boom, a real-life AIDS activist and drag nun who acted as the show’s voice of conscience. Snipes pointed out, “Sister Boom Boom did not have Noxeema’s makeup kit.”

On whether he got any pushback for stepping into Noxeema’s pumps, he said, “Not so much professionally but the streets weren’t feeling it, and there were certain community circles. The martial arts community… they were not feeling it at all.”

“In fact, when the movie came out and they would come down the street, I would see them in Brooklyn sometimes, they started listing all my movies. I noticed they would always skip that one. I would correct them, ‘Now you don’t got the full count!’”

Lesser-known than his co-stars at the time, Lequizamo didn’t really anticipate becoming a transgender icon, but he did know that they were working on something special when they started filming.

“Drag didn’t really exist in movies,” Lequizamo, who was nominated for a Golden Globe for his portrayal, told TODAY. “There were straight men pretending to be women to get out of trouble or into trouble but this was not that. I was trying to make Chi-Chi a real life trans character and Patty and Wesley were trying to be real drag queens.” Never fully articulated in the film, Chi-Chi Rodriguez has always been perceived as transgender, something that ending up making an indelible mark on LGBTQ people in the late ‘90s as trans representation in media was limited.

“Chi-Chi was a trans icon, but she also showed us that gay men and trans women can both perform and work in drag side by side, and that those relationships are symbiotic,” Cayne explained.

“It was a powerful thing. I get lots of fan mail from LGBTQ teens telling me how my character helped them come out to their parents,” Leguizamo said. “They didn’t feel like they were seen, so that was a beautiful gift from the movie.”

Lequizamo also articulates that if “To Wong Foo” were cast today, a trans actor should be cast in his role. (And that just may happen, since Beane is developing a musical for Broadway.) “Anybody can play anything, but the playing field is not fair that way,” he said. “Not everybody is allowed to play everything. So until we get to that place, it is important for trans actors to get a chance to act which they don’t. In the project I’m doing, I’m making sure that the person playing trans is a trans person so we can make it legit, make it real. That just needs to be done right now.”

it was formative for modern society, too.

there are a lot of action fans out there who learned from their idols that respect doesn’t cost a damn thing to give. i know plenty of people who aren’t queer saw trans women and drag queens presented as people to them for the first time in wong fu. suddenly, strange and foreign queer identities that had only been presented to them as jokes if they’d even heard of them, seemed a little more relatable, and very human.

we’re all just people.

and i am so fucking grateful for these people and i’m grateful when we can do re-makes, but never forget that we are able to do those because others took shots that were intended for us. and that we have taken shots in the past.

The villain of “Ace Ventura” is a closeted trans woman who has assumed the identity of a deceased cis woman. It’s a mystery film and the mystery is resolved when the title character realizes the police lieutenant (the aforementioned trans woman) he’d kissed earlier in the film is the same person as a man who had gone missing some years before. On realizing he’d kissed a “man,” the title character enters a state of extreme anger, disgust, and panic in a scene meant to be comedic.

In a time and a place where a legally accepted excuse to murder me was played for a joke, I’ll take Patrick Swayze and Wesley Snipes in dresses with good intent any fucking day.

Follow up:

#That’s it. #That’s the show 

the thing about these plays is, they are deemed THE source of info on cimrman – the people acting them out call themselves cimrmanologists and the “perfromance” is always divided into two parts: the seminar and the play itself. the plays span a variety of genres (though all of them are to huge extent comedies) and the seminars always present a sort of background, be it historical context in cimrman’s life or any other relevant information

Knew a guy who made a sign “Jára Cimrman probably never had a lunch in this house”

[Trans: picture 1: extraordinary man for ordinary country, Jára Cimrman, the candidate for the president of the Czech Republic, support me’