A Quote by Marc Almond
A lot of the early songs I wrote were about the experience of going to London and meeting rent boys and transvestites and drag queens. A lot of my early material is that: the wide-eyed adventures of a middle-class boy.
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I was always a show girl. My parents were wonderful. There wasn't a lot going on where we lived, but they ferried me to classes and competitions all over the place. When I was 12, I came to London as a finalist in a singing competition and I was completely wide-eyed.
In 'House of Boys,' I wanted to be in drag. It was amazing to be in the middle of all these drag queens. They did my makeup. I hardly recognized myself! That was very funny.
A lot of people still have the idea that drag goes from one end of the gender spectrum to the other end of the gender spectrum, and they expect drag queens to be masculine out of drag and hyper-feminine in drag. I think that portrays a lot of binary thinking and, ultimately, a lot of misogyny.
I've been producing since the early stages of Gym Class Heroes. A lot of the songs on the first 'Papercut Chronicles' were actually beats that I made.
Before I did comedy, I'd freestyle with all of my friends. In high school and into college, I recorded songs with my friends, not to perform but just to play for them. So I've had interest in music for a while. Early on, I'd host a lot of music open nights or hip-hop nights, so a lot of my early experience performing was around music.
A lot of the city boys in London, a lot of the hedge-fund, young city workers at the height of the financial boom were a lot of working-class, brilliantly minded young fellows and women.
Back in the early '90s, I started going to Nashville to do a lot of co-writes. One of the first people I met there was Keith Follese. Keith and his wife Adrienne are both songwriters, and we wrote some songs together.
The transgender movement even divides itself up by gender, as many folks stick with their same trans-genders (female-to-male or male-to-female). Additionally, the movement gets strangely subdivided among, for example, male cross-dressers, sissy boys, butch women, femme dykes, drag kings, drag queens, transvestites, intersexed, transsexuals (post-op, pre-op, and non-op).
When I was a kid, a lot of my parents' friends were in the music business. In the late '60s and early '70s - all the way through the '70s, actually - a lot of the bands that were around had kids at a very young age. So they were all working on that concept way early on. And I figured if they can do it, I could do it, too.
Most middle-class people I know don't really live like me. Middle-class people worry a lot about money. They worry a lot about job security, and they do a lot of nine-to-five stuff.
A lot of my early career, I wrote story songs that had narratives, that had plots.
I only write about stuff I know. I don't have a lot of experience with boys and stuff so I write a lot of songs about interesting and strange subjects that people wouldn't write songs about.
In the gay community there are not very many Jewish drag queens. I've always found that funny because there are a lot of Jewish gay people out there, so why aren't there more Jewish drag queens?
A lot of people just feel really impacted and inspired by drag in ways that I don't think we, as self-absorbed drag queens, think about that often.
One of the fascinating things about early writing on slates, on papyrus, even on early handwritten books, is for instance, there were no space between the words. People just wrote in continuous script.
There is quite a lot of mutual misunderstanding between the upper middle class and the working class. Reviewing what's been said about the white working class and the Democrats, I realized that there's even a lot of disagreement about who the working class IS.
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