Personally, I experience success when I enjoy what I'm doing. I love the creative process, even if the end result isn't embraced by anyone else.
RupaulRead
Drag is involved with changing identities and not taking identities too seriously at all. That's why drag is such a hard sell to a network - or anyone, really - because it's up against the ego.
Interpretation
Drag celebrates fluid identities and challenges the seriousness of societal norms.
In this quote, Rupaul highlights how drag performs a critical role in changing perceptions of identity, emphasizing the importance of not taking oneself too seriously. The art of drag confronts ego and societal expectations, making it a difficult concept to market to mainstream media, as it destabilizes conventional understandings of identity and self-expression.
In practice
During a speech at a pride event to emphasize acceptance of different identities.
Personally, I experience success when I enjoy what I'm doing. I love the creative process, even if the end result isn't embraced by anyone else.
The secret of success in every field is redefining what success means to you. It can't be your parent's definition, the media's definition, or your neighbor's definition. Otherwise, success will never satisfy you.
All things to do with drag are inherently therapeutic because the realization of your own insanity is the beginning of sanity.
I started out in this business in rock and roll bands and stumbled into drag. Drag just happened to be my vehicle for my creativity. So, you know, it's afforded me the opportunity to create new shows, to make music.
Drag breaks the fourth wall, which is why it's never been quite accepted, because nobody wants to be told that they are really a caricature of themself and to not take yourself too seriously.
From childhood, we're trained to be a certain way, to behave a certain way - so that the power base can control us, really. And punk and drag are completely outside of that.
I am very depressed and deeply disgusted with painting. It is really a continual torture.
Poems infatuated with their own smarts and detached from any emotional grounding can leave the reader feeling lonely, empty and ashamed for having expected more. Like icy adolescents, such poetry is more interested in commiserating than acknowledging that feelings β the sentiments that make us susceptible to sentimentality β actually exist.
I don't care much about music. What I like is sounds.
I had rescued the moment by using my camera and in that way had found how to stop time and hold it. No one could take that image away from me because I owned it.
Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.
My songs are personal music, they're not communal. I wouldn't want people singing along with me. It would sound funny. I'm not playing campfire meetings. I don't remember anyone singing along with Elvis, Carl Perkins or Little Richard.
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