Everyone wants to perform at Wembley Arena. It's a mecca.

Anything goes when I perform. That's the way it's been since I started. I do whatever I want, and I know my humor isn't for everybody.

I'll be the first to thank RuPaul, who gave me the money and let me out into the world. RuPaul is an excellent role model. I'm talking about someone who has worked hard in the business for quite some time. RuPaul put gay men in wigs into people's living rooms. RuPaul is the reason that we're not threatening.

I have problems like everybody else. I have problems with razor burn, and I try not to eat food that will make me gassy before meet-and-greets with fans.

With 'Drag Race' in particular, I'd seen seasons four and five, before mine. So I wasn't a huge, knew every word, knew every queen type of fan. There are some contestants who have done this show who know everything about it.

The thing with the comedian is you can make all the jokes you want and not every joke it going to be a winner, and not every joke is going to land, there'll be some that somebody doesn't laugh at, but that's just part of the deal.

There's always something that you go 'I should've done this better, I would've done that.'

There's drag queens who lip sync brilliantly. There's drag queens who sing live brilliantly - none of those are me.

I think every city and every drag queen has a different aesthetic or set up, but in the end, it's mutual respect for one another.

Put it this way: I can wear three wigs at one time and three pairs of eyelashes. That's some strength there. And I roll my eyes extensively, so they get a good workout on a daily basis.

People love sympathy, people love the underdog. For me, sympathy is not part of my drag aesthetic.

If I'm going in to a competition, I'm going in to do the best I can do.

I am a grown man who is an entertainer with a specific type of humour and if you don't like it, that's okay, I owe you nothing.

No matter what I do, you're going to be upset by something.

I'm not a person who lives for sympathy.

We live in a world where everybody's an expert. Everybody's doing a YouTube video. Everyone's doing a tutorial of what needs to happen.

Work was always a part of my life.

Things in life just happen and then you make the best of the situation and you keep moving.

I don't dream. I'm not a person who makes a list of things that need to happen in my life. It just evolves, and you roll with the punches.

Shockingly, I'm pretty normal.

I laugh at myself on a daily basis.

I think it's great that 'Drag Race' is mainstream.

I think for many people, they think that being in drag means you want to be a girl. Being trans and doing drag is completely different.

I'm a worker bee, I like to have a schedule, I like to have a place to be, and a time, and a schedule - it just makes sense to me.

Bounce is a primarily call-and-response style of hip-hop over a 'Trigger Man' beat. It's a New Orleans-created hip-hop style that developed in the late '80s, early '90s.

I'd love to work with Snoop Dogg, Skrillex, Lil Wayne, Kendrick Lamar.

Outside of Bounce, I listen to Beyonce, Sia, Rihanna.

I'm an artist who happens to be gay.

I've always liked to dance.

Once I started rapping, I had to start dancing more. I had to really use my craft, and take everything I did for fun and put it into my professional shows.

I still feel like there are so many things that I have to do to really become an icon. I've done a lot and laid down a lot of groundwork, but there's so much more work to be done. There's a lot more that I want to do, LGBTQ centers that I want to open. After I leave my legacy, then I will be that icon.

Me and Drake and all his people hung out. I had the whole club jumping.

I've worked tremendously hard to make things happen for New Orleans culture.

If I'm just trying to get to different levels... and it takes levels to get to levels, and I just have to do what I have to do to keep on climbing the charts and getting where I need to be.

Bounce music is uptempo, heavy bass, call and response.

There's no such thing as 'sissy bounce.' We don't separate it here in New Orleans at all. It's just bounce music. Just because I'm a gay artist, they don't have to put it in a category or label it.

Twerking is definitely from New Orleans.

Duffy is go hard or go home. It's just a concept that I wanted to have when we're doing different things. When me and my dancers go in, we usually go hard or we go home. We're not here to play. We go duffy.

I'm comfortable with who I am.

You know, being the artist and not knowing when you sometimes create a song, you don't think about whether it's gonna start controversy or whatever. Sometimes you just write and you're in the zone.

Some issues just need to be dealt with - that we're still dealing with in the world, with police brutality and racism.

I'm a beast in the kitchen.

Beyonce has a platform; what's a better way to speak on your platform than through your music?

I'm a bounce artist, straight born and raised from New Orleans, Louisiana, and I love what I do.

Everyone is unique to the way that they dance in New Orleans.

Everyone has a butt. No matter what size it is, you can work it.

About 1998, my best friend, Katey Red, was the first transsexual male to come out with bounce music. And I background Katey for about two years. And then that's when the game totally switched when me and Katey jumped in it.

No one can predict what God is going to do.

I come from the city of New Orleans where it's live and vibrant.

I started travelling doing shows everywhere to make people feel like a sense of New Orleans wherever they may be.