A Quote by John Cameron Mitchell
Drag wasn't really on Broadway. It was considered low-class.
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You can have a beard and do drag; you can be a woman and do drag. I've met faux queens. I've met kings. Anything that you want can be considered drag in the context.
Compromise is low class. I don't have anything against the poor, but being low class is the root of all evil
It took me a while to figure it out, but to have a real hit on Broadway, you have to get the respected Broadway people to like it. But then the production also has to appeal to the most middle-class people who know nothing about Broadway and who come to see it later.
If you don't go to Broadway, you're a fool. On Broadway, off Broadway, above Broadway, below Broadway, go! Don't tell me there isn't something wonderful playing. If I'm home in New York at night, I'm either at a Broadway or an Off Broadway show. We're in the theater capital of the world, and if you don't get it, you're an idiot.
After all, chamber of commerce type conservatives love nothing more than to opine on the great virtues of Texas. The low taxes, the low regulation, delightfully paired with a low investment in education, health care and really anything else that might be of use to their working-class citizens.
MCJOB: A low-pay, low-prestige, low-dignity, no-future job in the service sector. Frequently considered a satisfying career choice for people who have never held one.
I do drag. Just because my drag is not the drag of Creme Fatale or Holy McGrail doesn't mean it's less drag. I perform live; I just sing with dancers. It's drag on a different level.
I always considered myself working class, because I was brought up on a council estate. I still do, really. I mean, I might have a bit more money now than I did then, but it's in your head, class, I think. It's how you feel in there.
In all social systems there must be a class to do the menial duties, to perform the drudgery of life. That is, a class requiring but a low order of intellect and but little skill. Its requisites are vigor, docility, fidelity. Such a class you must have, or you would not have that other class which leads progress, civilization, and refinement.
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.
In the West, it's just a given that art exists in this high-class place. But in Japan, there's no high class. The minute you come out, you're low class.
'Drag Race' doesn't claim to represent drag as a whole. 'Drag Race' is a reality show. If you see real drag shows, we just do drag and respect each other's art and who your real identity is - name, gender, hair color, anything.
The commercial theatre may still be considered one of New York's primary tourist attractions, but . . . there is no longer an audience for serious Broadway plays. . . . Perhaps we should acknowledge that, having lost its traditional audience, Broadway can never again be a home for new plays.
Drag really isn't just about exaggerating and celebrating femininity. Some drag queens want to look like monsters, some drag queens want to look like hot dogs. Really what it is is just dipping your toes in all the swimming pools of identity and allowing yourself. Because society really tries to compartmentalize humans in a certain way.
The truth is I do take drag really seriously, and I think that there's kind of a place for that - to see it as this political and historical art form, and to want to continue pushing it in new directions. And also honor the old directions as well. So I'm sort of like a drag intellectual/drag queen.
People pull from drag culture because drag artists are - it's the ultimate art form and it's the last underdog art form. I mean, even clowns have college, you know what I mean? Drag queens, you have to learn drag from another drag queen.
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