A Quote by Billy Eichner

'Billy on the Street' is a persona. It's crafted; it has writers. It's a mixture of performance art and comedy. — © Billy Eichner
'Billy on the Street' is a persona. It's crafted; it has writers. It's a mixture of performance art and comedy.
I'm interested in confronting police brutality and police abuse of cracking down on street performers and street artists, but also in valorizing street art as legitimate performance within the artistic sphere, where it's so often conflated with pan-handling and begging and not "successful" art. I want to change laws around street performance.
The 'Billy On The Street' persona is truly inspired by who I was as a child - obviously not having an adult perspective on the world.
To me, what the 'Billy on the Street' persona is, is me as a 12-year-old.
I went to art school for fine art and then I started doing performance art, and then I started making fun of performance art, and it turned into comedy.
I'm a big believer in comedy writers. I've always defended the honor of all comedy writers. It's extremely difficult, but I've always felt that comedy writers far more easily can move toward drama than vice versa.
We have a whole art department on 'Billy on the Street.' We give away dioramas that we've made.
Street art belongs on the street. But I'm a working street artist and I earn my money selling art in the style of street art via galleries.
'Billy On The Street' has no doubt always been about the people we talk to. That being said, it thrills me that the show really has a dedicated following in the comedy world.
There's so many variables in comedy. Comedy is not this thing that's a performance like a play. It's really an interaction with every single person in the room. And if there's a weirdness in the room for any people, be it something the comedians did at the top of the set or be it the mixture of the people isn't right, something can go awry. So it's really great to see you proven wrong about someone.
I really love 'Real Housewives.' It's like the, you know, comedy stuff that's, like, intentionally funny. Like, I love 'Nathan for You,' that Comedy Central show. It's just brilliant. My friend Bill Eichner has a show called 'Billy on the Street' that I write for, and even if I didn't write for it, I'd still love it.
The essence of all jokes, of all comedy, seems to be an honest or well intended halfness; a non performance of that which is pretended to be performed, at the same time that one is giving loud pledges of performance. The balking of the intellect, is comedy and it announces itself in the pleasant spasms we call laughter.
I grew up loving David Letterman and Pee-wee Herman, but as far as live performance comedy, all I knew were the Jerry Seinfeld-type comedians of the world, and that's what I thought live performance comedy was all about.
The work I'm doing on the screen differs from that of anyone else. My comedy is of a peculiar nature...no writers have been developed along the lines of my type of comedy and this is why I sometimes have differences with writers, supervisors and directors alike.
When it comes to the street-art world, there are a lot of people who realize if they go out and put up a few pieces of street art and photograph them really well, even if their locations weren't actually that high-profile or dangerous, with the level of exposure they get from the Internet, with a large audience, they can maintain that rebel cache by having it be theoretically documented street art.
I believe in the city as a natural human environment, but we must humanize it. It's art that will re-define public space in the 21st Century. We can make our cities diverse, inspirational places by putting art, dance and performance in all its forms into the matrix of street life.
As far as a theoretical point of view for my generation, I'm probably the most successful theoretician. I mean, double albums and concepts and dresses and major disasters and wonderful successes and yet you don't see the critical review of my work. Why? Because it's all focused on the persona. Billy Corgan. But I get to sort of jump in and be Billy Corgan. But then I get to sort of jump back out and be like, sensitive man in the corner.
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