Tag: queer culture

Put It In A Magazine

Wednesday morning in the Lost Apartment, where it is a staggering 39 degrees outside. Brrr! But I slept pretty well (even if I didn’t want to get up), and my mind is slowly but surely coming back to life. Yesterday wasn’t a bad day at all, but I was out of sorts and off-track for pretty much the entire day, because my routine was disrupted when I got to work and so…yeah. I did run my errands on the way home from work last night and got home to a needy Sparky, so I had to spend some time playing with him and then transformed my lap into a cat bed for a little while. Tomorrow morning I have to get up super-early for PT–which I am not looking forward to, and of course there’s a department meeting on Friday morning, that I think I’ll go into the office for despite it being my at-home day and having the ability to call in for it. I have some on-line events Saturday for the January Bold Strokes bookathon, which I should post more about, and then the rest of the weekend is mine.

I did some more research into a story I am writing last night, and yes, I actually started writing the story. I’m writing about Julia Brown, the “witch” of Manchac Swamp who worked as the healer in a small town inside the swamp and along the lake shore, which was only accessible by railroad. Frenier was a small community, and it was completely destroyed by the 1915 hurricane; all that is left of it is the cemetery and it’s only accessible by boat now. I’ve always wanted to write about the 1915 hurricane since I first learned of it–it came up when I was down a rabbit-hole about the Filipino settlements on Lake Borgne, which were also destroyed in the 1915 hurricane, which led me to reading about Frenier, and the so-called curse of Aunt Julia Brown. (I do wish I’d known about all this before I wrote a Sherlock story set in 1916; no mention of the previous year’s destruction in that story is odd but maybe unnecessary; it didn’t impact the plot of the story at all, but…if I set another Sherlock story in that same time period I need to address that elephant in the room.)

I also went down another research wormhole last night, too–inspired by Mary & George–about George Villiers, Duke of Buckingham and his close relationship not only with James I but with his son, Charles I…although the relationship between Villiers and Charles I wasn’t quite the same kind of erotic friendship as Villiers enjoyed with the senior Stuart. Buckingham was also one of the real historical figures that appeared in Dumas’ The Three Musketeers, which I still want to retell one day from the point of view of Milady deWinter. It’s such a fascinating period, really, and the clothes! Mon Dieu, the clothes! I’ve always been fascinated by Cardinal Richelieu, and really need to get over my fear of writing about a historical period and just buckle down and write that damned book, don’t I? Sigh. I also need to get back to both Chlorine and Muscles, too.

Heavy heaving sigh.

But I am also starting to feel like I am settling back into my normal, every day life, and I feel better than I have in years. That cloudy feeling in my brain seems to be gone, and I am adapting to getting back up early in the morning without much hassle; I suspect the sleeping pills are working their magic and sending me into a deep healthy sleep every night, which pays off in being both awake and lucid in the morning. I’ve also got some blog entries to finish writing–my thoughts on Saltburn, because I know everyone is just waiting to hear what I have to say about it, and some analysis of the most recent chapter of the graphic novel Heartstopper, both of which are destined to be queer cultural artifacts.

And I hope to finish reading Tara Laskowski’s The Weekend Retreat before the weekend, too. I should have spent some time with it last night, but it was after six when I got home and by the time I was finished with putting stuff away and quality Sparky time and writing, it was later and so I just went down the Villiers wormhole. I also watched the final episode of season 2 of War of the Worlds, and am officially tapping out now. Not only was the shark jumped, the story became preposterous. I thought it might be a bit more interesting and intriguing once I realized the direction they were going in, but no. I also forgot part one of the Real Housewives of Salt Lake City was airing last night, so I’ll be catching up on that tonight after reading. I get to go straight home from the office tonight, so fingers crossed that I’ll get some good reading time in before I shut my mind off and dig into some reality television.

And on that note, I am heading into the spice mines. Have a lovely Wednesday, Constant Reader, and who knows? I may be back later.

Cover Girl

Drag is a part of queer culture I’ve always known about but has also been something primarily on the periphery of my gay life and world; I’ve only occasionally ever thought about perhaps doing it–as a gag or as a costume at some point; a very dear friend has always wanted to dress me up as Joan Crawford (narrow waist, big shoulders, enormous eyebrows), which is something I would consider doing if it wasn’t so much work–I am way too lazy to ever do drag properly and respectfully. I did a very poor attempt at drag many years ago, for a Showgirls themed birthday party for a friend; the result was far from pretty. I did sometimes used to use mascara and eye liner when I would go out; it emphasized my enormous and expressive eyes which most people have always considered my best feature (although aging has deprived me of my eyelashes). Drag was just another part of the community and culture, like leathermen, bears, and gym queens–another patch on the quilt that makes up our queer world.

My primary interest in drag has always been historical and cultural; drag culture has always been a part of the gay bar scene, since time immemorial, it seems. I have always been interested in every aspect of gay culture since coming to terms with my own sexuality and recognizing that not coming to terms with it meant a lifetime of guaranteed misery, and shouldn’t I really take a chance on being happy? There was always a lot, for me, of misunderstanding about drag culture and its place in the gay community; but that also primarily came from people outside of the community and therefore didn’t have the slightest grasp of it–i.e. ignorant slurs that all gay men dressed like women whenever they had the chance, you know–not “real men.”

But seriously, who wants to buy into the cult of toxic masculinity? No fucking thanks.

I don’t know the history of drag, but I did know–from the very beginning–that there was a significant difference between drag and the trans experience; there’s definitely crossover, but the Venn diagram of drag and trans is not a complete circle. I understood this always, even when I knew very little of either. This was always the issue I had with To Wong Foo Thanks for Everything Julie Newmar–the queens in the movie didn’t just do drag for performance or pageants, but dressed as women in their everyday life…which made them transwomen who also did drag. The failure of that film to define the difference between the two, I think and believe, has a lot to do with the current-day conflation by the Right of drag queens with transwomen. Likewise, was the Nathan Lane character from The Birdcage (and the French original) a transwoman or a drag queen?

And the fact that I, knowing as little about gay life and culture as I did in 1994, knew that the Wong Foo movie was conflating two completely different things as the same certainly means that other, better-educated people should have, as well.

But it’s also important to remember that the movie wasn’t made for the queer community–no Hollywood studio film with queer characters is intended for a queer audience, and thus there’s a falseness to them that rings hollow to me (don’t even get me started on Philadelphia); what Sarah Schulman once (paraphrasing) described as “the creation of a fake public homosexuality that will play in Peoria.”

There’s an essay in that, methinks.

The first time I went to a gay bar in Houston is my first true memory of seeing someone in drag performing on the bar in person. She was doing Liza as Sally Bowles from Cabaret, and as I walked in the door with some co-workers from That Airline, the first thing I saw was her up on the bar, with a musclebound dancer on either side of her in bikinis or thongs, and I can remember thinking wow this is decadent like Isherwood’s Berlin–but I liked it. I felt at home there, in a way I never did in gay bars in Fresno (or anywhere else I was able to sneak away and visit one), and felt like that night was when my gay life actually began: I was with co-workers, I was going to a gay bar openly, and the co-workers knew I was gay but had never really experienced being gay as anything but misery and depression and a curse. I don’t remember the name of the queen, but ever since then, “Mein Herr” always brings a nostalgic smile to my face.

But again, I didn’t go out much or do much during those two years in Houston as I still wasn’t completely comfortable being totally out. I moved to Tampa in 1991 and started living as an out gay man…and started spending more time in gay bars. A popular night for airline employees as Tuesday Nights at Tracks, where cocktails were only fifty cents and no cover before ten. There was also a drag show at midnight, with an actual stage in a show room, and that was my first real experience watching drag queens perform. There was a gay paper there–I cannot remember what it was called to save my life; I know the one in Texas was This Week in Texas, called TWIT by everyone–but it often had information about performances and other night life ads and so forth. I began to get a better understanding of drag, its place in the community, and its importance to gay culture, period.

And of course, once I moved to New Orleans, there was Bianca del Rio.

The mainstreaming of drag actually began in the early 1990’s, with RuPaul having a surprise hit record out of nowhere, “Supermodel (You Better Work)”, which started exposing more people to drag who ordinarily would have never seen one. RuPaul was everywhere in the early 1990’s, and even had her own talk show on MTV for a while. The Adventures of Priscilla Queen of the Desert and its homogenized American version To Wong Foo, Thanks for Everything, Julie Newmar were both incredibly popular. (I enjoyed Priscilla, and I’ve already touched on my issues with Julie Newmar–which will probably become an essay at another time.)

There were, of course, other successful queens out there before RuPaul’s big breakthrough and later, comeback with Drag Race, but few had as large a profile in the culture as RuPaul. Lady Bunny, Miss Coco Peru, Miss Richfield 1998, and Varla Jean Merman were all making a pretty decent living as performers before the drag explosion that followed the launch of Drag Race.

I’ve met numerous drag queens on the local scene both in and out of drag–I’ve always been fond of Princess Stephaney and Blanche Debris (who is retired now), and the drag community of New Orleans was always incredibly supportive of the NO/AIDS Task Force. I met Bianca out of drag a couple of times, but I doubt he remembers me…but Drag Bingo at Oz on Sundays with Bianca and Blanche (I just realized their first names both translate into English as white) was always a blast–and I made a point of never trying to get Bianca’s attention because she was always quick and that tongue was sharp as a scalpel always.

I also work with several co-workers who either did drag or have started doing it while I’ve known them, which indirectly helped me with the writing of Death Drop and my original story for a drag queen. Jem is sort of patterned in some ways on one of my former co-workers who actually went to a drag school here in New Orleans–and eventually quit his full-time job to do drag full-time. He’s been in Queer as Folk and numerous other shows filmed here, and has been booking gigs all over the country–check out his Instagram, isn’t he fucking gorgeous? So that gave me the idea to make the first book with Jem his drag origin story.

Learning about drag to write this book–and its sequel–has been an enjoyable learning experience for me. At some point I know I am going to have to do a transformation; I need to know how it feels to have the make-up and the padding and the wig and the dress and shoes on. I can imagine it all from doing theater in high school, but it’s not the same.

And yes, I will share the pictures when and if it does happen.