Everyone is welcome in drag. Everyone is important and valuable.
Sasha VelourRead
What I love so much about drag is that it has politics at its very core; drag performers aren't afraid to talk about politics in our community and the changes we need to see systemically in society.
Interpretation
Drag art incorporates political commentary to provoke societal change.
Sasha Velour highlights the essential relationship between drag performance and political activism, suggesting that drag artists not only entertain but also serve as voices for their communities, addressing crucial societal issues and advocating for necessary changes. This intersection of art and politics allows for important conversations about identity, representation, and social justice.
In practice
During a rally, to inspire participants about the role of art in social movements.
Everyone is welcome in drag. Everyone is important and valuable.
I hope we see more avenues for representation. More TV shows and films starring queer people, especially QPOC and nonbinary folks, more mainstream press coverage of our artwork and fashion, and more representation of our interests within politics.
Drag is literally so ancient that it predates modern understanding of gender, of transness, of queerness. Drag predates modern ideas of gender, of theater at all. Drag predates the word 'drag' itself.
Drag, at its core, is about honoring yourself and your own unique way of being a gendered, queer person. Your own unique way of using fashion to express yourself.
There are no limits to what kind of bodies, which types of people, which genders, or what races can do amazing drag, and I think the audience is clamoring fighting with each other more and more to see drag represented as fully as it possibly can be.
Drag has always inspired people to come together to be joyous and fight for what matters. If we can do it through beauty and positivity and lip-syncing our favorite pop songs, then let's do it.
I was the shadow of the waxwing slain By the false azure in the windowpane; I was the smudge of ashen fluff -and I Lived on, flew on, in the reflected sky. And from the inside, too, I'd duplicate Myself, my lamp, an apple on a plate: Uncurtaining the night, I'd let dark glass Hang all the furniture above the grass, And how delightful when a fall of snow Covered my glimpse of lawn and reached up so As to make chair and bed exactly stand Upon that snow, out in that crystal land!
If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void.
Bad artists ignore the darkness of human existence. Good artists often get stuck there. Great artists embrace the full catastrophe of our condition and find beyond it an even deeper truth of peace, healing, and redemption.
One of the ways my first novel failed was that I was too in love with my characters.
If you talk to any filmmaker, and if you said to them, 'I guarantee you x amount of money per month for the rest of your life, and it's not a big amount of money, but I can also guarantee that you will work continually, you will get to make what you want to make,' any filmmaker on the planet will make that kind of deal. I would have made it.
The act of writing a song involves a degree of letting go of yourself, and that's very much being a child.
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