Wigs Party Quotes

Mr Horsefry was a youngish man, not simply running to fat but vaulting, leaping and diving towards obesity. He had acquired at thirty an impressive selection of chins, and now they wobbled with angry pride.* * It is wrong to judge by appearances. Despite his expression, which was that of a piglet having a bright idea, and his mode of speech, which might put you in mind of a small, breathless, neurotic but ridiculously expensive dog, Mr Horsefry might well have been a kind, generous and pious man. In the same way, the man climbing out of your window in a stripy jumper, a mask and a great hurry might merely be lost on the way to a fancy-dress party, and the man in the wig and robes at the focus of the courtroom might only be a transvestite who wandered in out of the rain. Snap judgements can be so unfair.

The Viscount stepped into the room. "Came to see if you was dead," he said. "Laid Pom odds you weren't." Lethbridge passed his hand across his eyes. "I'm not," he replied in a faint voice. "No. I'm sorry," said the Viscount simply. He wandered over to the table and sat down. "Horry said she killed you, Pom said So she might, I said No. Nonsense." Lethbridge still holding a hand to his aching head tried to pull himself together. "Did you?" he said. His eyes ran over his self invited guest. "I see. Let me assure you once more that I am very much alive." "Well I wish you'd put your wig on," complained the Viscount. "What I want to know is why did Horry hit you on the head with a poker?" Lethbridge gingerly felt his bruised scalp. "With a poker was it? Pray ask her, though I doubt if she will tell you." "You shouldn't keep the front door open," said the Viscount. "What's to stop people coming in and hitting you over the head? It's preposterous." "I wish you'd go home," said Lethbridge wearily. The Viscount surveyed the supper-table with a knowing eye. "Card-party?" he inquired.

Centaurs!” Annabeth yelled. The Party Pony army exploded into our midst in a riot of colors: tie-dyed shirts, rainbow Afro wigs, oversize sunglasses, and war-painted faces. Some had slogans scrawled across their flanks like HORSEZ PWN or KRONOS SUX. Hundreds of them filled the entire block. My brain couldn’t process everything I saw, but I knew if I were the enemy, I’d be running. “Percy!” Chiron shouted across the sea of wild centaurs. He was dressed in armor from the waist up, his bow in his hand, and he was grinning in satisfaction. “Sorry we’re late!” “DUDE!” Another centaur yelled. “Talk later. WASTE MONSTERS NOW!” He locked and loaded a double-barrel paint gun and blasted an enemy hellhound bright pink. The paint must’ve been mixed with Celestial bronze dust or something, because as soon as it splattered the hellhound, the monster yelped and dissolved into a pink-and-black puddle. “PARTY PONIES!” a centaur yelled. “SOUTH FLORIDA CHAPTER!” Somewhere across the battlefield, a twangy voice yelled back, “HEART OF TEXAS CHAPTER!” “HAWAII OWNS YOUR FACES!” a third one shouted. It was the most beautiful thing I’d ever seen. The entire Titan army turned and fled, pushed back by a flood of paintballs, arrows, swords, and NERF baseball bats. The centaurs trampled everything in their path. “Stop running, you fools!” Kronos yelled. “Stand and ACKK!” That last part was because a panicked Hyperborean giant stumbled backward and sat on top of him.

But opposites attract, as they say, and that's certainly true when it comes to Emma Marchetta and me. She's the beauty and I'm the brains. She loves all forms of reality television, would donate a kidney if it meant she could pash Andrew G, is constantly being invited out to parties and other schools' semi formals, and likes any movie featuring Lindsay Lohan. I, on the other hand, have shoulder-length blonde hair, too many freckles and - thanks to years of swimming the fifty-metre butterfly event - swimmer's shoulders and no boobs. In other words, I look like an ironing board with a blonde wig. - Cat

Going into the Republican Party National Convention, in all objective truth, our non‑winning front‑runners are the sorriest collection of stuffed shirts, empty suits, self‑gratulatory ignorami, and outright wig‑flipped ding‑dongs in the history of the Republic.

So I got my stuff and the girl at the register puts these other things in my bag, too. Little free samples: gum and a comb and a marker pen. So I says to her, 'Look, girlie, I got false teeth and I wear a wig.' So she fishes back in my bag and takes out the comb and the gum. Left the pen in there. Anyways, I went back to the van, even though I knew it was locked. Figured I'd just wait and have a smoke. You can't smoke in the van, see? So while I'm waiting there, minding my own business, this car pulls into the handicapped space right next to us--brand-new car, white and clean, and it's got this bumper sticker on it that says, 'Life Is a Shit Sandwich.' Isn't that stupid? So this guy gets out--good-lookin' fella, in his twenties. I say to him, 'Hey, handsome, tell me something.' He takes a look at my walker and gets all panicky. 'I'm just running in for two seconds,' he says. See, he thinks I'm going to yell at him for parking in a handicapped space, but I ain't. I don't give a rat's ass about that, you see. I'd rather walk the extra ten feet than be called handicapped. Where was I?' She amazed me. 'Life's a shit sandwich,' I said. 'Oh, yeah. Right. So that guy goes runnin' into the store and here's what I did. I fished that free pen out of the bag and marched right over there to that bumper of his. Got myself right down on the ground--and I wrote--just after the 'Life's a shit sandwich' part--I wrote, 'But only if you're a shithead.' 'Course, then I couldn't get myself back up again--had to yell over to a couple of kids at the phone booth to come pick me back up.

Georgette was a hip queer. She (he) didn't try to disguise or conceal it with marriage and mans talk, satisfying her homosexuality with the keeping of a secret scrapbook of pictures of favorite male actors or athletes or by supervising activities of young boys or visiting turkish baths or mens locker rooms, leering sidely while seeking protection behind a carefully guarded guise of virility (fearing that moment at a cocktail party or in a bar when this front may start crumbling from alcohol and be completely disintegrated with an attempted kiss or groping of an attractive young man and being repelled with a punch and - rotten fairy - followed with hysteria and incoherent apologies and excuses and running from the room) but, took a pride in being a homosexual by feeling intellectually and esthetically superior to those (especially women) who weren't gay (look at all the great artists who were fairies!); and with the wearing of womens panties, lipstick, eye makeup (this including occasionally gold and silver - stardust - on the lids),long marcelled hair, manicured and polished fingernails, the wearing of womens clothes complete with a padded bra, high heels and wig (one of her biggest thrills was going to BOP CITY dressed as a tall stately blond ( she was 6'4 in heels) in the company of a negro (he was a big beautiful black bastard and when he floated in all the cats in the place jumped and the squares bugged. We were at crazy pad before going and were blasting like crazy, and were up so high that I just didnt give ashit for anyone honey, let me tell you!); and the occasional wearing of menstrual napkin.

Bekka treated her role has Frankenstein's bride more like an audition to be Brett's bride. Every part of her body had been colored bright kelly green - even parts that her mother had stressed were 'not to be seen by anyone except God and the inside of a toilet bowl.' Instead of wearing a wig, Bekka had teased and then shellacked her own hair into a windblown cone and she'd used female-mustache bleach to create white streaks. Her seams, made of real suture thread, had been attached to her neck and wrists with clear double-sided costume tape because drawing them on with kohl would not have been 'honoring the character.' Her Costume Castle dress had been exchanged for something 'more authentic' from the Bridal Barn. If Brett didn't see his future in her heavily black-shadowed eyes tonight, he never would. Or so she believed.

We're at a dinner party in an apartment on Rue Paul Valéry between Avenue Foch and Avenue Victor Hugo and it's all rather subdued since a small percentage of the invited guests were blown up in the Ritz yesterday. For comfort people went shopping, which is understandable even if they bought things a little too enthusiastically. Tonight it's just wildflowers and white lilies, just W's Paris bureau chief, Donna Karan, Aerin Lauder, Ines de la Fressange and Christian Louboutin, who thinks I snubbed him and maybe I did but maybe I'm past the point of caring. Just Annette Bening and Michael Stipe in a tomato-red wig. Just Tammy on heroin, serene and glassy-eyed, her lips swollen from collagen injections, beeswax balm spread over her mouth, gliding through the party, stopping to listen to Kate Winslet, to Jean Reno, to Polly Walker, to Jacques Grange. Just the smell of shit, floating, its fumes spreading everywhere. Just another conversation with a chic sadist obsessed with origami. Just another armless man waving a stump and whispering excitedly, "Natasha's coming!" Just people tan and back from the Ariel Sands Beach Club in Bermuda, some of them looking reskinned. Just me, making connections based on fear, experiencing vertigo, drinking a Woo-Woo.

…are you saving enough stuff to furnish a whole alternate universe in which a skinnier you uses that dusty abdominal crunch machine every morning before inserting all your photos into a new album and then dons the old wig you’ve been storing for a costume party you’re hosting at which everyone will be lounging in the extra chairs that have been languishing in your basement for the last six years?

If every person is to be banished from society who runs into debt and cannot pay—if we are to be peering into everybody's private life, speculating upon their income, and cutting them if we don't approve of their expenditure—why, what a howling wilderness and intolerable dwelling Vanity Fair would be! Every man's hand would be against his neighbor in this case, my dear sir, and the benefits of civilization would be done away with. We should be quarreling, abusing, avoiding one another. Our houses would become caverns, and we should go in rags because we cared for nobody. Rents would go down. Parties wouldn't be given any more. All the tradesmen of the town would be bankrupt. Wine, wax-lights, comestibles, rouge, crinoline-petticoats, diamonds, wigs, Louis-Quatorze gimcracks, and old china, park hacks, and splendid high-stepping carriage horses—all the delights of life, I say,—would go to the deuce, if people did but act upon their silly principles and avoid those whom they dislike and abuse. Whereas, by a little charity and mutual forbearance, things are made to go on pleasantly enough: we may abuse a man as much as we like, and call him the greatest rascal unhanged—but do we wish to hang him therefore? No. We shake hands when we meet. If his cook is good we forgive him and go and dine with him, and we expect he will do the same by us. Thus trade flourishes—civilization advances; peace is kept; new dresses are wanted for new assemblies every week; and the last year's vintage of Lafitte will remunerate the honest proprietor who reared it.

Who happen to be in the Lord Chancellor's court this murky afternoon besides the Lord Chancellor, the counsel in the cause, two or three counsel who are never in any cause, and the well of solicitors before mentioned? There is the registrar below the judge, in wig and gown; and there are two or three maces, or petty-bags, or privy purses, or whatever they may be, in legal court suits. These are all yawning, for no crumb of amusement ever falls from Jarndyce and Jarndyce (the cause in hand), which was squeezed dry years upon years ago. The short-hand writers, the reporters of the court, and the reporters of the newspapers invariably decamp with the rest of the regulars when Jarndyce and Jarndyce comes on. Their places are a blank. Standing on a seat at the side of the hall, the better to peer into the curtained sanctuary, is a little mad old woman in a squeezed bonnet who is always in court, from its sitting to its rising, and always expecting some incomprehensible judgment to be given in her favour. Some say she really is, or was, a party to a suit, but no one knows for certain because no one cares. She carries some small litter in a reticule which she calls her documents,

Who happen to be in the Lord Chancellor's court this murky afternoon besides the Lord Chancellor, the counsel in the cause, two or three counsel who are never in any cause, and the well of solicitors before mentioned? There is the registrar below the judge, in wig and gown; and there are two or three maces, or petty-bags, or privy purses, or whatever they may be, in legal court suits. These are all yawning, for no crumb of amusement ever falls from Jarndyce and Jarndyce (the cause in hand), which was squeezed dry years upon years ago. The short-hand writers, the reporters of the court, and the reporters of the newspapers invariably decamp with the rest of the regulars when Jarndyce and Jarndyce comes on. Their places are a blank. Standing on a seat at the side of the hall, the better to peer into the curtained sanctuary, is a little mad old woman in a squeezed bonnet who is always in court, from its sitting to its rising, and always expecting some incomprehensible judgment to be given in her favour. Some say she really is, or was, a party to a suit, but no one knows for certain because no one cares. She carries some small litter in a reticule which she calls her documents, principally consisting of paper matches and dry lavender. A sallow prisoner has come up, in custody, for the half-dozenth time to make a personal application "to purge himself of his contempt," which, being a solitary surviving executor who has fallen into a state of conglomeration about accounts of which it is not pretended that he had ever any knowledge, he is not at all likely ever to do. In the meantime his prospects in life are ended. Another

HYSTERICAL HISTORY Bumping into Vincent O’Neil makes me think about what Uncle Frankie said. I need new material for Boston, not Vincent’s stale and stinky fart jokes from The Big Book of Butt Bugles and Blampfs. So I keep my eyes open for new concepts to work out as I go to history class that afternoon. We’re supposed to give a presentation on our favorite president. I chose Millard Fillmore. Why? Because nobody else will. Plus, his name is funny. Who knows? Maybe I’ll get a whole bit out of him for Boston. I roll to the front of the class and prop a portrait of President Fillmore on the flip-chart easel. “Millard Fillmore was the thirteenth president of the United States. Born in January 1800, he was named after a duck. No, I’m sorry. That was his brother Mallard Fillmore. Millard Fillmore was the last member of the Whig Party to ever hold the office of president. Probably because they all wore wigs.

Inside, the house was filled with people dressed in varying interpretations of the party's "Roaring Twenties" theme- chosen to commemorate the end of Kat's own roaring twenties. There were a couple of flapper dresses and Louise Brooks wigs, but the majority of the crowd was simply dressed up: girls in sequins, guys in blazers and jeans. They spilled out of the living room and onto the patio and garden surrounding the swimming pool; they clustered around the outdoor bar and the long table laden with finger foods: dumplings in bamboo steamer baskets, assorted sushi rolls, chicken satay made onsite by a hired cook- a wizened Malay man who'd brought his own mini grill and pandan-leaf fan.

The story you’ve just been listening to is called Falsehood Exposed, or The Tale of a Grandmother. It is a story which took place under the reigning dynasty, on this very day of this very month of this very year on this very spot and at this very hour. How can Grannie “with one mouth tell a double tale”? Ah, how indeed! Our tale puts forth two tails. Which tail to wag? Wig-wag. But for the time being we do not inquire which tale is false, which true. Our story turns rather to those people in the party who were admiring the lanterns and watching the play… Just give these two kinsfolk a chance to drink a cup of wine and watch a scene or two more of the play, Grannie, and then you can get on with your Exposure of Falsehood – dynasty by dynasty.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

If whelk is the first name on the list, it will almost definitely be course number one – unless the chef sends out three or four unadvertised courses beforehand, boosting the eight-course lunch up to twelve. I realise that nowadays almost all five-course tasting menus are actually around eight courses, because the chef will send ‘palate cleansers’ and ‘amuse-bouches’ and ‘snacks’ and ‘extra courses’. This will seem generous but is actually just the restaurant buying time – a bit like when you go to a Beyoncé gig and three of the tracks are videos of her daughter at a family party, which is really cute, but it’s just filler so Beyoncé can sit down and change her wig.

RORY O’NEILL: Older gays – for want of a better description – they were used to going on marches. They still don’t think the Pride parade is a parade, they think of it as a march. They’re used to being politically engaged and fighting for things. They remember Declan Flynn getting murdered. They remember decriminalisation. It’s just part of their DNA. Obviously as you get older, most people, gay and straight, find it hard to keep up the energy for those kinds of things except for the ones who are very dedicated; the GLENs and the Marriage Equalitys and the Ailbhe Smyths and so on. The younger gays, that wasn’t part of their DNA. Going out on a march was something they never did. … They’ve never been out on the streets. To them, going out on the streets was a big party on Pride where they wore wigs and skipped along, which is great, and I love that and it’s fabulous. But it’s not a protest. They had no connection to that. And so I think [LGBT] Noise gave them not only an opportunity, but also an excuse to get involved in something like that. I think it made younger people feel they were useful. Suddenly they felt they had a power. You went to those marches, of course you did. The Marriage Equality marches, the Noise marches, there was a real energy about that, wasn’t there? A sense of all these young people out with their placards. I’m quite sure a lot of them had never walked down the street with a placard in their lives.

The very next morning It was Valentine’s Day! They grabbed all their cards and went on their way. The classroom was decked out in red, pink, and white, with balloons and streamers, so festive and bright. Someone dropped by with a giant bouquet addressed to the teacher, who blushed right away. The card was signed “From a secret admirer,” but everyone knew it was Mr. O’Meyer! They played pin the heart and won goofy toys, and girls ran away from kissy-face boys. The art teacher came and painted kids’ faces. She put hearts on cheeks and sillier places! At last it was time to deliver the cards. Look! One for Lisa, Jim, and Bernard. They opened them up, read them and smiled, and laughed at the cards that were totally wild. Then they ate goodies, sweet cherries, and grapes, and drank punch with ice cubes in little heart shapes. And just when they thought the party was done, a knock on the door came at quarter past one. When what to their wondering eyes should appear, but the principal himself dressed in full Cupid gear! His arrows--how golden! His bow--curved and tight! The wig that he wore was a comical sight. He spoke not a word and was gone in a minute, leaving a present behind. Now what could be in it? They read Cupid’s note as he leapt down the hall: “Happy Valentine’s Day-- to one and to all!