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the transgender archives of the university of victoria

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glbt historical society (digital)

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a masterpost of lesile feinberg’s works by @genderoutlaws

the dyke march compilation 

paris is burning 

how to survive a plague

united in anger: a history of ACT UP

one archives

LIGHTHOUSE

• The mom friend

• Also a bit of a bitch

• Dramatic AF (insists they are not)

• Great at giving advice, not so great at taking it

• Self-esteem issues

(Stede, Olu, Lucius, Fang)

KRAKEN

• A badass with a heart of gold

• Tired ™️

• Do not fuck with them if you want to keep your body parts

• Do not fuck with people they love if you want to live

• Loves a good statement jacket

(Ed, Jim, Izzy, Spanish Jackie, Evelyn)

SEAGULL

• That One Weird Friend

• Actually quite wise?

• Connects easily with animals

• Might eat you but don’t take it personally

• Walks around naked with the curtains open

(Buttons, Roach, Ivan, Swede)

REVENGE

• Takes their hobbies very seriously

• Loves a good cuddle

• Anti-establishment/ACAB

• Prefers it when people think they are badass, but definitely a softie

(Frenchie, Black Pete, Wee John, Mary)

BONUS HOUSE: KNIFE TURTLE

• Chaotic Evil

• Stabbity stab

• Will betray you for tapas

• Exceptionally skilled at doing dumb shit

(Calico Jack, Badminton Twins, Geraldo)

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.

romance and tenderness aside, dean’s knees really aren’t what they used to be and neither is his back and cas’s hips have gotten “clicky” – as he calls it, the joints popping and catching loudly when he tenses his muscles.

so it’s not the most sun-dappled, soft-focused way for them to make love with eyes locking and fingers lacing and mouths brushing along one another’s. but they still do that, from time to time, but also, sometimes, they do this.

they do, cas with his face pressed into the pillow and one knee hitched up to the side and dean absolutely spread over top of him. They do Dean mouthing along Cas’s shoulder, breathing out his name, over and over, and little praises, that’s it and so good and fuck fuck and i gotcha i gotcha as he works his fingers, one at a time, slow, into Cas.

Cas opens for him all over.

Under his fingers, under his mouth. His knees spreading, his hip flaring, his mouth wide and panting, his eyes blue, blue, practically glowing in the dim, blue. 

Once his hands are free and Dean has made a mess of the sheets from the excess lube, he trails one hand up to sift through Cas’s hair. Pulls a little.

Cas keens for it – he always does, whatever it is. Keens for Dean’s hands on his hips, keens for Dean pulling him open, for Dean’s mouth over the blade of his shoulder or the knob of his spine or the soft, tender skin at the nape of his neck where his hair curls. He gives a whimpered sigh when Dean presses in and little exhales for each further press.

Dean isn’t picky when it comes to positions. Sure, he likes when he gets to see Cas’s eyes, watch them flare, and see Cas’s mouth move in silent prayers to only him. And he likes the more adventurous stuff, with thighs and mouths and arms looped under knees and knees over shoulders. But he likes this a lot.

He likes being able to feel the heat of Castiel’s body against every inch of his own skin. He likes the messy slot of their mouths, off-angle, over Cas’s shoulder. He likes the solid give of the mattress underneath them as he rocks his hips down and in, to Cas. He likes when his pace picks up and Cas grits his teeth and turns his head into the pillow and stares to swear loudly, only just barely muffled.

https://twitter.com/profannieoakley/status/1357768408671027202

 This thread is gold… make your own here: https://htck.github.io/bayeux/#!/