Jeffrey Bowyer-Chapman Quotes

Historically a publicly unaccepted but incredibly rich culture, queer love was only able to exist privately for a long time, expressed in society through coded art forms.

I think, from the beginning, I was healed and inspired by queer culture, and Christine and the Queens, as an idea from the beginning, is queer because it questions the norm.

My films might have been queer - because I was - but they were not gay.

I love St. Vincent. She is like our queer rock goddess and that's so needed.

I get a real thrill for being 'overtly queer' in my aesthetic.

As a person who doesn't identify as straight, any love song I write is contextualized by a queer identity.

I hope 'Hellcat' is picked up again in years to come by people who realize just how queer it is: not just in its characters but its sensibility.

I didn't know Charlie before doing the movie, but I was a huge fan of the British Queer as Folk.

There were interesting ways that queerness could hide out and get played out pre-Stonewall. It is part of a vast history that is getting forgotten quickly as we trumpet forward into gay marriage and gays in the military and a much different cultural attitude toward gay lives.

The term 'new queer cinema' and the films of mine that were associated with that term are from a very, very different time, one almost entirely defined by the AIDS era. It was a very different social and cultural regard for the lives, the experiences, the worth of gay people.

By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.

Queerness isn't just Lady Gaga and overpriced drinks and fauxhawks. It's James Baldwin and Bea Arthur and Gertrude Stein and Gore Vidal.

Drag is never going to be completely mainstream because it's still a queer art form.

Is the mainstream becoming more queer? Or is it the opposite? That artists like me are mainstreaming queer music?

A lot of artists I like end up being queer. Or maybe it's a subconscious thing that you can identify of, like, 'Oh this person understands the nuances of the romantic narrative of a queer person, or the social narrative of a queer person.' And then you discover, lo and behold that they are a queer person.

There are a lot of queers starved for entertainment from their own community.

I have a naturally camp sensibility and a camp sense of humour. I love the icons that gay people love.

Being queer you're supposed to adore figure skating. It's a sport, not an art. I love the costumes and hate the music and of course I worship Johnny Weir because so does he. Also he's real. It's a full gay thing and it always has been.

When I first started to write, I was aware of being queer, but I didn't write about it. Queer poems would probably not have been accepted by the editors I sent them to.

I think they do a great job on Queer as Folk.

I read everything and anything related to being queer. I found solace in reading authors like Audre Lorde and bell hooks, who would become my activist staples - their words helped me grow up and taught me how to be bold and courageous. By studying them, I came to understand that being young and queer and black would not be easy.

People often ask me why I choose to primarily play queer characters, and my answer is that as a queer man, I choose to align myself with projects in which I can be of service for a purpose greater than myself: to be for an audience of queer people of color, something I didn't have the privilege of seeing as a young man.

What we do is provide a suggestion. We say, 'We're queer. We're going to do this; we're going to open up the space to queer thought.' People don't have to show up, but they do.

After the 'Fallon' set, I had a lot of queer people message me about how much it meant to see a queer perspective on late night TV.

We need to talk about representation for queer people in the media and also in law. And there's a long history of drag queens leading those discussions in marches on the street and even in bars going back to the time of Stonewall and before.