A Quote by Janet Mock
Trans folk, especially of color, should not be obligated to help cis folk play catch-up on our experiences. The effort can detract from our work to protect and liberate ourselves.
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We understand that, in our communities, black trans folk, gender-nonconforming folk, black queer folk, black women, black disabled folk - we have been leading movements for a long time, but we have been erased from the official narrative.
Anytime that we - and when I say "we," I mean feminine people, trans feminine folk, women - do anything that is centered on our own pleasure or desire, it's seen as frivolous. But learning how to love your own body and finding pleasure in something that has brought you pain [in the past] is so important. I think that it's probably a greater struggle for trans folk, because we struggle more with our bodies.
I think what makes the Byrds stand up all these years is the basis in folk music. Folk music, being a timeless art form, is the foundation of the Byrds. We were all from a folk background. We considered ourselves folk singers even when we strapped on electric instruments and dabbled in different things.
Over the centuries we have transformed the ancient myths and folk tales and made them into the fabric of our lives. Consciously and unconsciously we weave the narratives of myth and folk tale into our daily existence.
There are two types of folk music: quiet folk music and loud folk music. I play both.
Historically, we have seen cis men play trans women and vice versa. That casting breaks through the fourth wall, and it gives people the message that trans people are being played by cis men in real life, which is where we get this idea of men in dresses.
There is not a history of black intellectuals being allied with dominant forces to hold white people in social and cultural subordination for a few centuries. Second, the "our" of black folk has always been far more inclusive that the "our" of white folk. For instance, there would have hardly been a need for "black" churches if "white" churches had meant their "our" for everybody - and not just white folk. But "our" black churches have always been open to all who would join. The same with white society at every level.
We lavender folk spray up, spontaneously flowering in the color we had learned as an identifying mark of our culture when it was subterranean and secret.
As artists, we must not go down to the level of the masa; we should bring them up, intellectualize our languages, create classics out of our folk arts. We can do this if we are true to our roots and strive for excellence.
Trans women, trans men, AFAB - which is assigned female at birth - and non-binary performers, but especially trans women of color, have been doing drag for literal centuries and deserve to be equally represented and celebrated alongside cis men.
If someone asked what kind of music I play, I wouldn't say I'm a folk singer; however, if folk music means music for the people, and playing music to entertain them and share different messages, then sure, I'd like to think that I'm part folk singer.
It's weird, in New York, it's like the big theme of everything is folk music and interacting with people. Maryland is where the landscape of our music comes from, it was more like, let's walk around. People are saying that we are part of some sort of folk scene. We don't feel connected with it. We do live in the city, and communicate with people. It's all folk music.
I think there's a difference between the type of folk music that people put into the box of "folk music" and then there's the kind of folk music that I aspire to and am in awe of, and that is the kind of folk music where it's very limited tools - in most cases a guitar, in a self-taught style that is idiosyncratic and particular to that musician.
I'm a folk preacher. A folk therapist. A folk musician. I come from authentically that which is of my experience. Therefore, the music is strictly from the soul, strictly improvisational.
Demons frighten us because we set ourselves up to be frightened. We are overly attached to our reputations and possessions. When we love and desire what we should be rejecting, we are in conflict with our true selves. That's when the negative energies catch us and use our weapons against us. Instead of taking up what we have to defend ourselves, we put our swords in the hands of our enemies and make them attack us.
Most people's intuitions are drowned out by folk sayings. We have a moment of real feeling or insight, and then we come up with a folk saying that captures the insight in a kind of wash. The intuition may be real and ripe, fresh with possibilities, but the folk saying is guaranteed to be a cliche, stale and self-contained.
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