lj changes, some feminist ?s, and an awesome article on drag
oooohhh...i changed the colour scheme of my lj, it's boot-iful.
what's gender primarily about?
power
performance
Is Judith Butler a radical feminist?
Yes
No
She doesn't call herself that, so we both say no.
porn or prison?
"Lift your breasts, spread your legs, lift your hair, open your mouth, lift your tongue...I hate, it's humiliating."
one of the best analysis of transgender, esp. drag queens, that i've read: http://www.nostatusquo.com/Schacht/fourrenditions.pdf
this really makes for fascinating reading the diff quotes refer to diff kinds of drag, e.g. female impersonator, female illusionist, etc. He discovers diffs w/in "drag"
e.g. "Almost all this work has an exclusive emphasis on
how outsiders view seemingly gender bending behaviors - subversive to the
dominant culture’s conceptualizations of gender - all the while neglecting to
consider the actual intentions of those undertaking them. The resultant focus is
that all such individuals, conveniently housed under the “danger-ahead” marker
of the transgendered, are apparently real threats to the existing gender order.
And yet, when actual studies are undertaken with transgenderists (Gagne &
Tewksbury, 1998; Devor, 1999), they strongly suggest that the majority of such
individuals are quite content with preexisting notions of gender and sexuality,
and have no intention of undermining present gender inequalities."
"the mere terms “male” or “female” have only limited meaning until they are compared against that
which they are not supposed to be. Thus, to fully understand what it socially
means to be a woman or a man in any given setting, not only should the actual
gendered performance undertaken be considered, but its socially constructed
antithesis, present or imagined, must be given equal consideration. To successfully
perform being a man one must also have a very clear idea about what is
not supposed to be performed: being a woman. The same can be said about
presentations of sexuality. Doing heterosexuality only has limited meaning until
one considers its socially constructed antithesis - homosexuality - and only
then will a clear image of “straight” performance expectations emerge"
"In the ISCS, like all the courts I am familiar with, the drag queens are seen
as the group’s best performers and its rightful leaders. In the role of reigning
or past empress, the queens of court are responsible for the planning of all court
sponsored shows with the best serving as emcees at these events. While they
take center stage, gay drag kings (the masculine appearing personas of the
group) play a supportive, often behind-the-scenes role (Schacht, 1998). Serving
as “dressers” (personal attendants who help their chosen queen change outfits),
“seamstresses” (doing almost all the beadwork and sewing of gowns), stagehands
(responsible for the assembling and taking down of stages for more
extravagant events), and “escorts” (almost like a prop) when tipping other
performers, in both image and behavior, gay drag kings are very much the drag
queens subordinates. Moreover, both the lesbian drag kings and lesbian
drag queens of the court also often play similar supportive, secondary roles
in this setting (Schacht, forthcoming). Veiled beneath multiple layers of the
feminine, the drag queens of the court literally reign supreme over all present.
"As such, the men in the court doing female drag can very much be seen as
undertaking the masculine embodiment of the feminine. These female impersonators
view doing drag as a means to garner power and authority in the setting;
the most “elegant” and “tastefully” done female impersonators of the court are
its venerated leaders. They merely view doing female drag as a tool, its physical
image the real estate, for realizing and exercising masculine dominance over
other court members. In fact, many of the gay drag queens in this setting have
expressed quite misogynist sentiments about real women - often called “rg’s”
(real girls) and “fish,” with even straight female friends being referred to as “fag
hags.” Some even go as far to say they make better women than women8, and
as previously noted, the only time they wear feminine attire is for formal court
functions (many have told me they dislike wearing women’s clothing and when
outside of this setting most can and sometimes do pass as straight men).
"It can also be argued that since the drag queens of the court self-identify as
gay men, their resultant performance is a form of the homosexual embodiment
of the heterosexual. That is, when gay drag queens are relationally viewed
alongside their masculine appearing counterparts, especially gay drag kings, an
image of heterosexual conformity emerges. This is most clearly seen when
empresses and princesses are escorted by their emperor or prince. In fact, a
drag queen’s appearance is most compellingly “real” when it appears alongside
a hyper-masculine appearing gay drag king - as an escort or attendant - as he
provides the appropriate contrast to her striking feminine beauty. Regardless, I
believe that any resultant images of heterosexuality are more about trying to
imitate and seemingly live privileged images of regal prestige and authority -
through conjoined empresses and emperors - than challenging any notions of
what it means to be gay or straight in the dominant culture. After all, it is in
concert with the gendered performances of others present, that all members
of the setting, and the drag queens in particular, come to experience the various
events staged as status conferring. While the drag queens of the court oversee
an affirming, safe haven of sorts where they are able to garner respect and
power from their minions, they are far more conventional and supportive than
transgressive of accepted societal notions of gender or sexuality."
"pageant rules that
clearly specify that all past or present titleholders must have a penis and should
they become a female transsexual, they would be stripped of their title.14
Moreover, given that female illusionists often make a good living performing
(Mimi Marks of the Baton reportedly makes upwards of $250,000 a year) there
is strong monetary incentive to keep one’s penis, and all explicitly perform as
such."
"Typical attire worn is suggestive and includes tightfitting
dresses, immaculately coiffured hair (almost always wigs) and applied
makeup, high heel shoes and boots (most four inches or taller), and large
sparkling earrings, bracelets, and necklaces. Female illusionists almost always
adopt a hyper-feminine demeanor - small tipsy steps, sashaying hips, quivering
lips, and accentuated but delicate hand movements. Yet they still often give
energetic performances with some utilizing high leg kicks and doing cartwheels
and the splits during their routines."
"While most women are given a cordial smile in return for their tip,
I have seen a couple treated in a rather harsh manner with the performer refusing
their money. In one case, a culturally attractive, large-breasted woman pointed
to her own breasts, and appeared to be saying “mine are real” while attempting
to tip Monica Munroe. In response, Monica took her dollar bill, threw it on the
stage, kicked the bill back at her and then continued on with her performance,
securing tips from other audience members as if nothing had happened. In
a different instance, another culturally attractive, young (and quite blonde)
bride-to-be attempted to tip Mimi Marks, who continually and overtly refused
her money until finally the young woman gave the dollar to a friend from whom
Mimi then accepted it. In both of these instances, I felt these women overtly,
or in image alone, threw into question who was “fairest-in-the-land” and
ultimately in control of the activities being undertaken.
"In a sense, since many audience members are themselves young, culturally
attractive women, during every show a seemingly high stakes contest occurs
over who can appear to be the most “real” woman. While the female illusionists
almost always “win,” those who in action or image seemingly question this
expected outcome must obviously be put in their place and situationally subordinated.
I believe to do otherwise would not only undermine the very real
power that the performers’ exercise in this context, but it would also diminish
the audience appeal of the shows - men as the most beautiful and glamorous
women you will ever meet.
"...although men are a notable minority in the
audience, the performers frequently use them as an additional performance prop
by almost always taking their money in an overtly seductive manner. A resultant
sexual tension between the illusionist and the man tipping emerges with the
man often becoming nervous and/or embarrassed ultimately appearing like some
teenager caught staring at someone on whom he has a crush. This interactive
performance of sorts seems to clearly frame and further highlight how beautiful
they are in explicitly (and quite important given the audience) heterosexual terms."
"First and foremost, as she stated
to me on numerous occasions, doing female impersonation for Danielle was
about being in control and having power; i.e. she told me that she “loved the
feeling of being up on stage . . . with the spotlight and everyone’s attention
focused on me” and performing in a setting where “it’s all about me.”21
Moreover, as head drag queen (club show director) and show emcee, she loved
that “no one in the crowd audience would ever dare fuck with Danielle, or any
of the other queens.” In a sense, Club 1105 provided Danielle with a stage
where brandishing a microphone and donning glamorous female attire, she
derived almost absolute contextual power over a largely appreciative and
admiring audience of (albeit situationally subordinate) others. Any parties
present who disliked Danielle (a few personally did) knew to either leave or
to keep their mouths shut in her presence. All of this was in direct contrast to
Danielle’s other jobs as a “boy” - janitor and part-time bartender at the club
- both of which she despised as she felt they were “shit” jobs.
"Second, Danielle felt there were concrete standards by which all female
impersonators should be judged. For her, the best queens were ones that applied
makeup in a noticeable but not overdone manner, carried themselves with confidence
but were still quite feminine in gesture, wore the latest, most expensive
looking attire, and overall most lived up to conventional standards of female
glamour and beauty found in most women’s fashion magazines; e.g. looked
like a super model. Or, as she more simply stated to me on several occasions,
the best female impersonators are “beautiful chicks with dicks,” and really
“make better women than women do.”
Third, Danielle felt being a female impersonator was an excellent way to
pickup guys, especially straight ones. Accordingly, she reported that many of
her previous boyfriends had been straight men, and when we first met, she
spent a great deal of time hitting on me until it eventually became clear that
my interests in her were truly research oriented.22 Like the female illusionists,
handsome men (both straight and gay) were given special attention during shows
by Danielle and seemingly used as an appropriate contrast for such an attractive
appearing “woman.” Finally, because of the situational power that doing drag
gave her, Danielle (like scores of female impersonators I have met over the
years) dreamed she eventually would do drag on a more full-time basis, truly
making a living as a female impersonator."
must stop cutting and pasting. ugh!
what's gender primarily about?
power
performance
Is Judith Butler a radical feminist?
Yes
No
She doesn't call herself that, so we both say no.
porn or prison?
"Lift your breasts, spread your legs, lift your hair, open your mouth, lift your tongue...I hate, it's humiliating."
one of the best analysis of transgender, esp. drag queens, that i've read: http://www.nostatusquo.com/Schacht/fourrenditions.pdf
this really makes for fascinating reading the diff quotes refer to diff kinds of drag, e.g. female impersonator, female illusionist, etc. He discovers diffs w/in "drag"
e.g. "Almost all this work has an exclusive emphasis on
how outsiders view seemingly gender bending behaviors - subversive to the
dominant culture’s conceptualizations of gender - all the while neglecting to
consider the actual intentions of those undertaking them. The resultant focus is
that all such individuals, conveniently housed under the “danger-ahead” marker
of the transgendered, are apparently real threats to the existing gender order.
And yet, when actual studies are undertaken with transgenderists (Gagne &
Tewksbury, 1998; Devor, 1999), they strongly suggest that the majority of such
individuals are quite content with preexisting notions of gender and sexuality,
and have no intention of undermining present gender inequalities."
"the mere terms “male” or “female” have only limited meaning until they are compared against that
which they are not supposed to be. Thus, to fully understand what it socially
means to be a woman or a man in any given setting, not only should the actual
gendered performance undertaken be considered, but its socially constructed
antithesis, present or imagined, must be given equal consideration. To successfully
perform being a man one must also have a very clear idea about what is
not supposed to be performed: being a woman. The same can be said about
presentations of sexuality. Doing heterosexuality only has limited meaning until
one considers its socially constructed antithesis - homosexuality - and only
then will a clear image of “straight” performance expectations emerge"
"In the ISCS, like all the courts I am familiar with, the drag queens are seen
as the group’s best performers and its rightful leaders. In the role of reigning
or past empress, the queens of court are responsible for the planning of all court
sponsored shows with the best serving as emcees at these events. While they
take center stage, gay drag kings (the masculine appearing personas of the
group) play a supportive, often behind-the-scenes role (Schacht, 1998). Serving
as “dressers” (personal attendants who help their chosen queen change outfits),
“seamstresses” (doing almost all the beadwork and sewing of gowns), stagehands
(responsible for the assembling and taking down of stages for more
extravagant events), and “escorts” (almost like a prop) when tipping other
performers, in both image and behavior, gay drag kings are very much the drag
queens subordinates. Moreover, both the lesbian drag kings and lesbian
drag queens of the court also often play similar supportive, secondary roles
in this setting (Schacht, forthcoming). Veiled beneath multiple layers of the
feminine, the drag queens of the court literally reign supreme over all present.
"As such, the men in the court doing female drag can very much be seen as
undertaking the masculine embodiment of the feminine. These female impersonators
view doing drag as a means to garner power and authority in the setting;
the most “elegant” and “tastefully” done female impersonators of the court are
its venerated leaders. They merely view doing female drag as a tool, its physical
image the real estate, for realizing and exercising masculine dominance over
other court members. In fact, many of the gay drag queens in this setting have
expressed quite misogynist sentiments about real women - often called “rg’s”
(real girls) and “fish,” with even straight female friends being referred to as “fag
hags.” Some even go as far to say they make better women than women8, and
as previously noted, the only time they wear feminine attire is for formal court
functions (many have told me they dislike wearing women’s clothing and when
outside of this setting most can and sometimes do pass as straight men).
"It can also be argued that since the drag queens of the court self-identify as
gay men, their resultant performance is a form of the homosexual embodiment
of the heterosexual. That is, when gay drag queens are relationally viewed
alongside their masculine appearing counterparts, especially gay drag kings, an
image of heterosexual conformity emerges. This is most clearly seen when
empresses and princesses are escorted by their emperor or prince. In fact, a
drag queen’s appearance is most compellingly “real” when it appears alongside
a hyper-masculine appearing gay drag king - as an escort or attendant - as he
provides the appropriate contrast to her striking feminine beauty. Regardless, I
believe that any resultant images of heterosexuality are more about trying to
imitate and seemingly live privileged images of regal prestige and authority -
through conjoined empresses and emperors - than challenging any notions of
what it means to be gay or straight in the dominant culture. After all, it is in
concert with the gendered performances of others present, that all members
of the setting, and the drag queens in particular, come to experience the various
events staged as status conferring. While the drag queens of the court oversee
an affirming, safe haven of sorts where they are able to garner respect and
power from their minions, they are far more conventional and supportive than
transgressive of accepted societal notions of gender or sexuality."
"pageant rules that
clearly specify that all past or present titleholders must have a penis and should
they become a female transsexual, they would be stripped of their title.14
Moreover, given that female illusionists often make a good living performing
(Mimi Marks of the Baton reportedly makes upwards of $250,000 a year) there
is strong monetary incentive to keep one’s penis, and all explicitly perform as
such."
"Typical attire worn is suggestive and includes tightfitting
dresses, immaculately coiffured hair (almost always wigs) and applied
makeup, high heel shoes and boots (most four inches or taller), and large
sparkling earrings, bracelets, and necklaces. Female illusionists almost always
adopt a hyper-feminine demeanor - small tipsy steps, sashaying hips, quivering
lips, and accentuated but delicate hand movements. Yet they still often give
energetic performances with some utilizing high leg kicks and doing cartwheels
and the splits during their routines."
"While most women are given a cordial smile in return for their tip,
I have seen a couple treated in a rather harsh manner with the performer refusing
their money. In one case, a culturally attractive, large-breasted woman pointed
to her own breasts, and appeared to be saying “mine are real” while attempting
to tip Monica Munroe. In response, Monica took her dollar bill, threw it on the
stage, kicked the bill back at her and then continued on with her performance,
securing tips from other audience members as if nothing had happened. In
a different instance, another culturally attractive, young (and quite blonde)
bride-to-be attempted to tip Mimi Marks, who continually and overtly refused
her money until finally the young woman gave the dollar to a friend from whom
Mimi then accepted it. In both of these instances, I felt these women overtly,
or in image alone, threw into question who was “fairest-in-the-land” and
ultimately in control of the activities being undertaken.
"In a sense, since many audience members are themselves young, culturally
attractive women, during every show a seemingly high stakes contest occurs
over who can appear to be the most “real” woman. While the female illusionists
almost always “win,” those who in action or image seemingly question this
expected outcome must obviously be put in their place and situationally subordinated.
I believe to do otherwise would not only undermine the very real
power that the performers’ exercise in this context, but it would also diminish
the audience appeal of the shows - men as the most beautiful and glamorous
women you will ever meet.
"...although men are a notable minority in the
audience, the performers frequently use them as an additional performance prop
by almost always taking their money in an overtly seductive manner. A resultant
sexual tension between the illusionist and the man tipping emerges with the
man often becoming nervous and/or embarrassed ultimately appearing like some
teenager caught staring at someone on whom he has a crush. This interactive
performance of sorts seems to clearly frame and further highlight how beautiful
they are in explicitly (and quite important given the audience) heterosexual terms."
"First and foremost, as she stated
to me on numerous occasions, doing female impersonation for Danielle was
about being in control and having power; i.e. she told me that she “loved the
feeling of being up on stage . . . with the spotlight and everyone’s attention
focused on me” and performing in a setting where “it’s all about me.”21
Moreover, as head drag queen (club show director) and show emcee, she loved
that “no one in the crowd audience would ever dare fuck with Danielle, or any
of the other queens.” In a sense, Club 1105 provided Danielle with a stage
where brandishing a microphone and donning glamorous female attire, she
derived almost absolute contextual power over a largely appreciative and
admiring audience of (albeit situationally subordinate) others. Any parties
present who disliked Danielle (a few personally did) knew to either leave or
to keep their mouths shut in her presence. All of this was in direct contrast to
Danielle’s other jobs as a “boy” - janitor and part-time bartender at the club
- both of which she despised as she felt they were “shit” jobs.
"Second, Danielle felt there were concrete standards by which all female
impersonators should be judged. For her, the best queens were ones that applied
makeup in a noticeable but not overdone manner, carried themselves with confidence
but were still quite feminine in gesture, wore the latest, most expensive
looking attire, and overall most lived up to conventional standards of female
glamour and beauty found in most women’s fashion magazines; e.g. looked
like a super model. Or, as she more simply stated to me on several occasions,
the best female impersonators are “beautiful chicks with dicks,” and really
“make better women than women do.”
Third, Danielle felt being a female impersonator was an excellent way to
pickup guys, especially straight ones. Accordingly, she reported that many of
her previous boyfriends had been straight men, and when we first met, she
spent a great deal of time hitting on me until it eventually became clear that
my interests in her were truly research oriented.22 Like the female illusionists,
handsome men (both straight and gay) were given special attention during shows
by Danielle and seemingly used as an appropriate contrast for such an attractive
appearing “woman.” Finally, because of the situational power that doing drag
gave her, Danielle (like scores of female impersonators I have met over the
years) dreamed she eventually would do drag on a more full-time basis, truly
making a living as a female impersonator."
must stop cutting and pasting. ugh!