A Quote by Michael Rosenbaum

Being in drag for three months - I now have an idea of what women go through. At least maybe a little. — © Michael Rosenbaum
Being in drag for three months - I now have an idea of what women go through. At least maybe a little.
The way I've always looked at drag has been a little bit different maybe than other people because the drag community that I started doing drag in is full of trans people and women and people of various educational backgrounds, of different ages.
The inspiration of my drag is the history of drag, the long tradition of drag queens being at the forefront of queer activism. That informs my drag style, and in a sense, that is the direction we need to go in the future.
The parents used to drag the little ones, and now the kids are coming--and they're not little anymore. Things are evolving. Maybe there's a renaissance for our music.
If the Chinese bubble bursts one day, which inevitably will happen - maybe not tomorrow, maybe in three months, maybe in three years - when it happens, it will have devastating consequences for the global economy.
I tended to write the book in these bursts of two or three months at a time. So I would know, or at least feel securely, that for the next few months I was at least going to have a few hours a day.
From the sense of being an ambassador for Jesus Christ, hopefully, through my story and through all the improbables and the miracles that happened in my life, people are inspired or at least a little bit warmer to the idea of exploring who Jesus is.
If you get through the primary and you work very hard for three months and you're not successful, you go back to being normal. The only thing that changes your life forever is if you win.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything. Or these lines will come into my head and I'll write 'em down in a little book, just little sets of lines, but I won't try to make stories or poems out of them. I'm doing a lot of that now, just the lines.
I begged my parents to let me go to LA for three months just to try it out. Three months turned into five years.
Maybe it's a little more pertinent now since the whole concept of evolution is being questioned by the know-nothing Republican right. Yes, maybe the play's a little more pertinent now.
In my early career I was sort of anti-drag. I said, 'Drag is dumb and boring, and I want to be an effing weirdo and go crazy and rebel.' But now it's like I've come to respect and understand how deep and traditional drag as an art form is.
I'm no perfect gymnast. I want to go out and eat junk food, or I maybe don't sleep as much as I should, or some days I'll leave the gym and think, "Maybe I should have worked a little harder. Maybe I'm not as tired as I need to be." Every day you push a little harder, eat a little better, maybe go to bed a little earlier.
From the second there was drag, trans people were doing it. And when cis women started being allowed in theaters, then cis women doing drag was part of theater.
You do a straight play for three months, four months, maybe. It's so brief. And then you're on to the next thing. I loved that. I love that rhythm and that pace.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything.
One thing I've found in any project is almost universally about three quarters of the way through - or maybe a little father, maybe seventh eighths on the way through - any project will explode.
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