Gay Icons Quotes

The top list of reasons to love you goes brain, then dick, then imminent status as a revolutionary gay icon.

Some believe that as an icon the image of Oscar Wilde is too old and notorious--all right, not an icon, let him be our oriflamme.

I don’t care if he hangs out with Skream/Benga or whoever,” he spat, “it’s just pure nonsense to ruin a hardcore genre with gay synths, chopped chipmunk vocals and cheesy poppy shit just so you can make a shitload of money and be an icon to a fanbase that consists of 13 year old wannabe dubheads and doesn’t know shit about music.

Most televangelists, popular Christian preacher icons, and heads of those corporations that we call megachurches share an unreflective modern view of Jesus--that he translates easily and almost automatically into a modern idiom. The fact is, however, that Jesus was not a person of the twenty-first century who spoke the language of contemporary Christian America (or England or Germany or anywhere else). Jesus was inescapably and ineluctably a Jew living in first-century Palestine. He was not like us, and if we make him like us we transform the historical Jesus into a creature that we have invented for ourselves and for our own purposes. Jesus would not recognize himself in the preaching of most of his followers today. He knew nothing of our world. He was not a capitalist. He did not believe in free enterprise. He did not support the acquisition of wealth or the good things in life. He did not believe in massive education. He had never heard of democracy. He had nothing to do with going to church on Sunday. He knew nothing of social security, food stamps, welfare, American exceptionalism, unemployment numbers, or immigration. He had no views on tax reform, health care (apart from wanting to heal leprosy), or the welfare state. So far as we know, he expressed no opinion on the ethical issues that plague us today: abortion and reproductive rights, gay marriage, euthanasia, or bombing Iraq. His world was not ours, his concerns were not ours, and--most striking of all--his beliefs were not ours. Jesus was a first-century Jew, and when we try to make him into a twenty-first century American we distort everything he was and everything he stood for.

Strangely, the subsequent AIDS works that have become iconic in our culture rarely mention the movement, or the engaged community of lovers, but both formations were inseparable from the crisis itself. Now, looking back, I fear that the story of the isolated helpless homosexual was one far more palatable to the corporations who control the reward system in the arts.The more truthful story of the American mass - abandoning families, criminal governments, indifferent neighbors - is too uncomfortable and inconvenient to recall. The story of how gay people who were despised, had no rights, and carried the burden of a terrible disease came together to force the country to change against its will, is apparently too implicating to tell. Fake tales of individual heterosexuals heroically overcoming their prejudices to rescue helpless dying men with AIDS was a lot more appealing to the powers that be, but not at all true.

Thus Paul has been used to support systems of cultural conventions oppressive to more than half of the human race. No wonder slaves, women, gays and lesbians, and those who care about them have often found Paul appalling.

As it turns out, queer villains become far more interesting among other gay characters, both within a specific project or universe and the zeitgeist at large. They become one star in a larger constellation; they are put in context. And that’s pretty exciting, even liberating; by expanding representation, we give space to queers to be—as characters, as real people—human beings. They don’t have to be metaphors for wickedness and depravity or icons of conformity and docility.11 They can be what they are.

As it turns out, queer villains become far more interesting among other gay characters, both within a specific project or universe and the zeitgeist at large. They become one star in a larger constellation; they are put in context. And that’s pretty exciting, even liberating; by expanding representation, we give space to queers to be—as characters, as real people—human beings. They don’t have to be metaphors for wickedness and depravity or icons of conformity and docility.11 They can be what they are. We deserve to have our wrongdoing represented as much as our heroism, because when we refuse wrongdoing as a possibility for a group of people, we refuse their humanity. That is to say, queers—real-life ones—do not deserve representation, protection, and rights because they are morally pure or upright as a people.12 They deserve those things because they are human beings, and that is enough.

For nearly two centuries, everyone but trans women have monopolized the meaning of trans femininity. Fearful of interdependence, many have tried to violently wish trans femininity away. The non-trans woman has become gender critical, willing to dispose of her trans sister to secure her claim on womanhood. The gay man celebrates queens as iconic but separates himself anxiously from faggotry’s intimacy with trans femininity, claiming he is only on the side of sexuality, not gender. The straight man acts out in violence to disavow his desire for the girls he watches in porn, the girls he cheats on his wife with, and the girls from whom he buys sex. The state has used trans femininity most of all to generate the pretense it needs to expand its sovereignty as a monopoly on violence. And even queer and trans people, whether as cultural producers, activists, or scholars, have used the symbolic value of trans femininity to guarantee their political authenticity. But this is only to tell half of the story. The anxious and angry rejection of everyone’s interdependence with trans women is an attempt to refuse a social debt accrued, to refuse the power trans femininity holds.

Readers accustomed to thinking of Piers Gaveston and Edward II as gay icons may have been surprised to learn that both men fathered out-of-wedlock children.

To many today Oscar is a gay icon who can do no wrong, but, in truth, he was human, multifaceted and no saint. Part of the tragedy of Oscar Wilde is that it is now almost impossible to view him except through the prism of his downfall.

Queer contagion, including the anxiety triggered by gender nonnormativity, found its viral materiality in the early 1980s. The diagnosis of gay cancer, or GRID (gay-related immune disorder), the original name for AIDS, was a vengeful nomenclature for the perversion of existing in a world held together, at least in part, by trans/queer undoing. Found by chance, queers began showing symptoms of unexplainable illnesses such as Kaposi's sarcoma (KS) and Pneumocystis carinii pneumonia (PCP). Unresponsive to the most aggressive treatments, otherwise healthy, often well-resourced and white, young men were deteriorating and dying with genocidal speed. Without remedy, normative culture celebrated its triumph in knowing the tragic ends they always imagined queers would meet. This, while the deaths of Black, Brown, and Indigenous trans and cis women (queer or otherwise) were unthought beyond the communities directly around them. These women, along with many others, were stripped of any claim to tragedy under the conditions of trans/misogyny. Among the architects of this silence was then-President Ronald Reagan, who infamously refused to mention HIV/AIDS in public until 1986. By then, at least 16,000 had died in the U.S. alone. Collective fantasies of mass disappearance through the pulsing death of trans/queer people, Haitians, and drug users - the wish fulfillment of a nightmare world concertized the rhetoric that had always been spoken from the lips of power. The true terror of this response to HIV/AIDS was not only its methodological denial but its joyful humor. In Scott Calonico's experimental short film, "When AIDS Was Funny", a voice-over of Reagan's press secretary Larry Speakes is accompanied by iconic still images of people close to death in hospital beds. LESTER KINSOLVING: "Over a third of them have died. It's known as a 'gay plague.' [Press pool laughter.] No, it is. It's a pretty serious thing. One in every three people that get this have died. And I wonder if the president was aware of this." LARRY SPEAKES: "I don't have it. [Press pool laughter.] Do you?" LESTER KINSOLVING: "You don't have it? Well, I'm relieved to hear that, Larry!" [Press pool laughter.] LARRY SPEAKES: "Do you?" LESTER KINSOLVING: "No, I don't.

I didn’t admit to my mom that I had no idea how to be a part of my community, because there seemed to be a whole second step after coming out, and that was finding your people. I mean, I had cis gay male friends, I did community theater growing up, but they didn’t really feel like my community. And Nova certainly hadn’t invited me into her community, and even if she had, I was pretty sure I didn’t want to be a part of it. But that night at Candace’s felt like I had inched closer to the thing that I wanted. They were just. So. Gay. Effortlessly so. Each with their own iconic style and vibe and fluent in a language that made my head spin. But unlike Nova’s elitist group of self-proclaimed Celesbians, I felt welcome here. Wanted. It was thrilling, and terrifying. It had been four months since that queer hang, and I finally looked forward to having weekend plans. Candace invited me everywhere, like Gay Bowling Tuesdays at the alley in town, and queer book club, and she binged all of Atypical with me in two nights. But even though we were close, there was still something that made me feel distant from everyone else. Like if I got too close, something terrible would happen.

She was a girl who knew how to be gay, even when she was sad. And that’s important — you know?” Parton

Next to Alma on our All Saints’ table was an icon of another accidental saint, Harvey Milk (the first openly gay person elected to public office in California, who was shot to death by a fellow city employee in 1978). The icon showed Milk standing in front of the Golden Gate Bridge with five silver bullet holes in his chest and a golden halo behind his head. The icon was created by Bill, one of our congregation’s artists, who called me later when someone challenged him for creating a visual representation of sainthood for someone who was not Christian. I explained to Bill that what we celebrate in the saints is not their piety or perfection but the fact that we believe in a God who gets redemptive and holy things done in this world through, of all things, human beings, all of whom are flawed.

In Taiwan as in Shanghai, as well as in Rio, Moscow, Jakarta, and Beirut, the same global gay icons appear in gay-friendly cafés and bookstores and on the walls of LGBT organizations. On five continents, I see Harvey Milk, Lady Gaga, Elton John, Ricky Martin, and, of course, the two Brokeback Mountain cowboys everywhere. There’s even a Brokeback Mountain Café in the gay Chapinero neighborhood of Bogotá.

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at 146 West 133rd Street, laying it down gently in front of a nondescript residential building that was once the site of the infamous gay speakeasy Harry Hansberry’s Clam House. Doing this at a spot owned by Gladys Bentley, pioneering drag king and Black lesbian icon, reminded