Life's a Drag
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The Reconstruction of Gender and Sexuality in a Drag Show*
DUCT TAPE, EYELINER, AND HIGH HEELS: THE RECONSTRUCTION OF GENDER AND SEXUALITY IN A DRAG SHOW* Rebecca Hanson University of Montevallo Montevallo, Alabama Abstract. “Gender blending” is found on every continent; the Hijras in India, the female husbands in Navajo society, and the travestis in Brazil exemplify so-called “third genders.” The American version of a third gender may be drag queen performers, who confound, confuse, and directly challenge commonly held notions about the stability and concrete nature of both gender and sexuality. Drag queens suggest that specific gender performances are illusions that require time and effort to produce. While it is easy to dismiss drag shows as farcical entertainment, what is conveyed through comedic expression is often political, may be used as social critique, and can be indicative of social values. Drag shows present a protest against commonly held beliefs about the natural, binary nature of gender and sexuality systems, and they challenge compulsive heterosexuality. This paper presents the results of my observational study of drag queens. In it, I describe a “routine” drag show performance and some of the interactions and scripts that occur between the performers and audience members. I propose that drag performers make dichotomous American conceptions of sexuality and gender problematical, and they redefine homosexuality and transgenderism for at least some audience members. * I would like to thank Dr. Stephen Parker for all of his support during the writing of this paper. Without his advice and mentoring I could never have started or finished this research. “Gender blending” is found on every continent. The Hijras in India, the female husbands in Navajo society, and the travestis in Brazil are just a few examples of peoples and practices that have been the subjects for “third gender” studies. -
Kimmel Center Cultural Campus Presents Critically-Acclaimed Drag Theatre Show Spectacular Sasha Velour's Smoke & Mirrors
Tweet It! Drag icon @Sasha_Velour’s revolutionary show “Smoke & Mirrors” will be at the @KimmelCenter on 11/12. The effortless blend of drag, visual art, and magic is a can’t-miss! More info @ kimmelcenter.org Press Contact: Lauren Woodard Jessica Christopher 215-790-5835 267-765-3738 [email protected] [email protected] KIMMEL CENTER CULTURAL CAMPUS PRESENTS CRITICALLY-ACCLAIMED DRAG THEATRE SHOW SPECTACULAR SASHA VELOUR’S SMOKE & MIRRORS, COMING TO THE MERRIAM THEATER NOVEMBER 12, 2019 "Smoke & Mirrors is a spellbinding tour de force." - Forbes “The intensely personal [Smoke & Mirrors] shows what a top-of-her-game queen Velour really is, both as an artist and as a storyteller.” - Paper Magazine "[Velour’s] most spectacular stage gambit yet." - Time Out New York FOR IMMEDIATE RELEASE (Philadelphia, PA, October 9, 2019) – Sasha Velour’s Smoke & Mirrors, the critically-acclaimed one-queen show by global drag superstar and theatre producer, Sasha Velour, will come to the Kimmel Center Cultural Campus’ Merriam Theater on November 12, 2019 at 8:00 p.m., as part of the show’s 23-city North American tour. This is Velour’s first solo tour, following her win of RuPaul’s Drag Race Season 9, and sold-out engagements of Smoke & Mirrors in New York City, Los Angeles, London, Australia, and New Zealand this year. “Sasha Velour is a drag superstar, as well as an astonishing talent in the visual arts,” said Anne Ewers, President and CEO of the Kimmel Center for the Performing Arts. “Smoke & Mirrors invites audiences to experience the depths of Velour that have yet to be explored in the public eye. -
Christian Ulvert, the Man Behind the Candidates
Christian Ulvert (left), LOCAL NAME pictured next to his husband. GLOBAL COVERAGE Photo via Facebook. DECEMBER 23, 2020 VOL. 11 // ISSUE 51 PAGE 4 POWERBROKER CHRISTIAN ULVERT, THE MAN BEHIND THE CANDIDATES SOUTHFLORIDAGAYNEWS @SFGN SFGN.COM NEWS HIGHLIGHT SouthFloridaGayNews.com @SFGN December 23, 2020 • Volume 11 • Issue 51 2520 N. Dixie Highway • Wilton Manors, FL 33305 SKI CHAMPION COMES OUT AS GAY Phone: 954-530-4970 Fax: 954-530-7943 Publisher • Norm Kent [email protected] ‘IT’S A PART OF ME AND I’M PROUD OF IT’ Associate Publisher / Executive Editor • Jason Parsley [email protected] Kim Swan Editorial Art Director • Brendon Lies [email protected] Webmaster • Kimberly Swan fter struggling to keep his sexual [email protected] orientation a secret, Hig Roberts is the Social Media Director • Christiana Lilly first elite men’s Alpine skier to come Arts/Entertainment Editor • J.W. Arnold A [email protected] out as gay. In an interview with the New Food/Travel Editor • Rick Karlin York Times, Roberts said that by coming out Gazette News Editor • John McDonald publicly he hopes others are encouraged to HIV Editor • Sean McShee be themselves as well. Senior Photographer • J.R. Davis [email protected] “I just woke up one morning and I said, ‘Enough is enough,’” Roberts told the Times. Senior Feature Columnists Brian McNaught • Jesse Monteagudo “I love this sport more than anything — I’m so lucky and privileged to be doing this Correspondents Dori Zinn • Donald Cavanaugh — but I can’t go on another day not trying Christiana Lilly • John McDonald to achieve the person that I am meant to Denise Royal • David-Elijah Nahmod be. -
A Look at 'Fishy Drag' and Androgynous Fashion: Exploring the Border
This is a repository copy of A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/121041/ Version: Accepted Version Article: Willson, JM orcid.org/0000-0002-1988-1683 and McCartney, N (2017) A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion and Beauty, 8 (1). pp. 99-122. ISSN 2040-4417 https://doi.org/10.1386/csfb.8.1.99_1 (c) 2017, Intellect Ltd. This is an author produced version of a paper published in Critical Studies in Fashion and Beauty. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 JACKI WILLSON University of Leeds NICOLA McCARTNEY University of the Arts, London and University of London A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman Abstract This article seeks to re-explore and critique the current trend of androgyny in fashion and popular culture and the potential it may hold for gender deviant dress and politics. -
Drag King Camp: a New Conception of the Feminine
DRAG KING CAMP: A NEW CONCEPTION OF THE FEMININE By ANDRYN ARITHSON B.A. University of Colorado, 2005 April 23, 2013 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Theatre & Dance 2013 This thesis entitled: Drag King Camp: a New Conception of the Feminine written by Andryn Arithson has been approved by the Department of Theatre & Dance ________________________________________________ Bud Coleman, Committee Chair ________________________________________________ Erika Randall, Committee Member ________________________________________________ Emmanuel David, Committee Member Date_______________ The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. Arithson iii ABSTRACT Arithson, Andryn (M.A., Theatre) Drag Kings: A New Conception of the Feminine Thesis directed by Associate Professor Bud Coleman This thesis is an exploration of drag king performance through the lens of third wave feminism and Camp performance mechanisms. The term drag king refers to any person, usually female, that is making a performance of masculinity using costume, makeup and gesture. Camp is defined as an ever-changing system of humor and queer parody that works to subvert hegemonic cultural structures in an effort to gain queer visibility. Drag king Camp is posited as a theatrical mechanism that works to reveal maleness and masculinity as a performative act, therefore destabilizing the gender binary, and simultaneously revealing alternative conceptions of femininity. Drag king performance will be theorized in five sections. -
Drag.Qxd (Page 1)
Academy established its separate its established Academy courtesy Patsy Lynch Patsy courtesy Beulah Buskirk, 2004 Buskirk, Beulah America pageant. In 1986, the 1986, In pageant. America equally diverse in their styles and music with music and styles their in diverse equally took it over as the Miss Gaye Miss the as over it took offer a mix of all backgrounds. Performers are Performers backgrounds. all of mix a offer the St. James, and many others. many and James, St. the leading female impersonators, female leading white. The ethnic circuits overlap where clubs where overlap circuits ethnic The white. Kazans, the Maharises, the O’Haras, the Santanas, the O’Haras, the Maharises, the Kazans, , one of Washington’s of one , Buskirk cuits: African-American, Latino, Asian, and Asian, Latino, African-American, cuits: the Dennises, the Devereaux, the Kanes, the Kanes, the Devereaux, the Dennises, the Beulah a.k.a. Buskirk, Jerry Today’s club scene offers distinct ethnic cir- ethnic distinct offers scene club Today’s include the Bloomingdales, the Blues, the Carreros, the Blues, the Bloomingdales, the include first city-wide pageant. In 1964 In pageant. city-wide first beyond the gay community. gay the beyond eages as well. Well-known DC drag families drag DC Well-known well. as eages started a Masquerade Ball, the Ball, Masquerade a started sional drag performances to an audience far audience an to performances drag sional of them trainees of the Academy) created club lin- club created Academy) the of trainees them of In the fall of 1961, Bill Frye Bill 1961, of fall the In Brice and her Henry Street house brought profes- brought house Street Henry her and Brice trees. -
LISTENING to DRAG: MUSIC, PERFORMANCE and the CONSTRUCTION of OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillmen
LISTENING TO DRAG: MUSIC, PERFORMANCE AND THE CONSTRUCTION OF OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Elizabeth Kaminski, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Vincent Roscigno, Advisor Professor Verta Taylor _________________________ Advisor Professor Nella Van Dyke Sociology Graduate Program ABSTRACT This study examines how music is utilized in drag performances to create an oppositional culture that challenges dominant structures of gender and sexuality. I situate this analysis in literature on the role of music and other cultural resources in the mobilization of social movement protest. Drawing from multiple sources of data, I demonstrate that drag queen performers make use of popular songs to build solidarity, evoke a sense of injustice, and enhance feelings of agency among audience members – three dimensions of cognition that constitute a collective action framework, conducive to social protest. The analysis is based on observations of drag performances; content analysis of the lyrics of drag songs; intensive interviews with drag queens at the 801 Cabaret in Key West, Florida; focus groups with audience members who attended the shows at the 801 Cabaret; and interviews with drag queen informants in Columbus, Ohio. I demonstrate how drag performers use music to construct new alliances and understandings of gender and sexuality among gay and heterosexual members of the audience. The data illustrate that drag performers strategically select songs to evoke an array of emotions among audience members. First are songs that utilize sympathy, sorrow, and humor to build solidarity. -
QUEEN LATIFAH Lina Bradford •Rupaul’S Queens•Fayslift April 2017 /May2017
Lina Bradford • RuPaul’s Queens • Fay Slift esented by PinkPlayMags www.thebuzzmag.ca Pr QUEEN LATIFAH For daily and weekly event listings visit Wishes on a Star April 2017 / May 2017 Issue #018 The Editor Greetings and salutations! Publisher + Creative Director: Our cover feature this issue is with Queen Latifah, Antoine Elhashem who currently has a lead role in the new FOX television Editor-in-Chief: series, Star, which has just been renewed for a second Bryen Dunn season and can be seen here in Canada on Netflix. Our Art Director: writer Jerry Nunn chatted with Latifah about her role as Mychol Scully Carlotta Brown, the owner of an Atlanta beauty salon, her General Manager: trans daughter Cotton (played by Amiyah Scott), and the Kim Dobie wonderful wigs she wears. Sales Representatives: Carolyn Burtch, Michael Wile Our second feature is a spotlight on up and coming Kitchener musician, Aylsha Brilla, who’s new album, Events Editor: Sherry Sylvain Humans, has been getting regular play on CBC radio. She Counsel: discusses the challenges of being a female in the male Lai-King Hum, Hum Law Firm dominated music industry, her community work, and her Columnists: love of Amy Winehouse and Bob Marley. Cat Grant skips Fay Slift, Shangela, Paul Bellini, Boyd Kodak, this issue of her She Beat column, and RuPaul protege Raymond Helkio Shangela steps in to tell us all about the upcoming Feature Writers: Queens WERQ The World tour kicking off in Toronto on Jerry Nunn, Bryen Dunn May 26. Cover Photo: Courtesy of FOX Our Wigged Out column this issue is written by Lady- Published by Bear-Extraordinaire, Fay Slift, who is teacher by day and INspired Media Inc. -
Transvestism and Drag
Author Title ISBN Dressing Up - Transvestism and Drag: The History Peter Ackroyd 05000121516 of an Obsession Caroline Cossey My Story 0571129099 Dressing Up - Transvestism and Drag: The History Peter Ackroyd 0671250914 of an Obsession Bert Broe Theatrical Make-up 0720715261 Diagram Group Man's Body - An Owners Manual 0846701073 Peter Kenna Drag Show 0858930285 Clare Miller 8 Minute Makeovers 0874917360 75,000 Plus Baby Names for the Twenty-First Lori Cooper 100 Century Christopher Margrave Cosmetic Surgery - Facing the Facts 101 M. T Haslam Transvestism. A Guide. 102 Joanne Roberts Coping With Crossdressing 103 John Gray Men Are From Mars, Women Are From Venus 104 Council of Social Services Legalities NSW - Guidelines for Running a 106 NSW Community Organisation Viginia Erhardt PhD Head Over Heels 107 Charles Anders The Lazy Crossdresser 108 Carlotta and James He Did It Her Way - Carlotta, the Legend of Les 109 Cockington Girls Sophia Loren Women and Beauty 11 He Did It Her Way - Carlotta, the Legend of Les Carlotta 110 Girls He Did It Her Way - Carlotta, the Legend of Les Carlotta 111 Girls Peter Wherrett The Gender Trap 112 Miss Vera's Finishing School for Boys Who Want Veronica Vera 113 To Be Girls Peggy J. Rudd Crossdressing with Dignity 114 Chameleon Society of WA Transceiver Dec 2001 115 Chameleon Society of Vic The Chameleon Issue 59 116 Chameleon Society of Vic The Chameleon Issue 61 117 Chameleon Society of WA Transceiver June 2001 118 Chameleon Society of WA Transceiver July 2001 119 Chameleon Society of WA Transceiver Sept 2001 120 Richard J. -
Drag Performance and Femininity: Redefining Drag Culture Through Identity Performance of Transgender Women Drag Queens
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2017 Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy Dougherty Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Women's Studies Commons Recommended Citation Dougherty, C. (2017). Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/730/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens By Cristy A. Dougherty A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Communication Studies Minnesota State University, Mankato Mankato, Minnesota July 2017 Title: Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy A. -
Lauren Morelli Mandy Goodhandy•Unit2oldsoulrebel
Mandy Goodhandy • Unit 2 • Old Soul Rebel esented by PinkPlayMags www.thebuzzmag.ca Pr Lauren Morelli From Orange Is The New Black to Tales Of The City For daily and weekly event listings visit RuPaul’s Drag Race: Season 11 Tour Asia O’Hara and Plastique Tiara JUNE 2019 / JULY 2019 2 June 2019 / July 2019 theBUZZmag.ca Keep moving your way From coast to coast, we encourage diversity—it’s part of what makes each of us unique and proud to be Canadian. The VIA Rail logo is a trademark owned by VIA Rail Canada Inc. TMTrademark owned by VIA Rail Canada Inc. theBUZZmag.ca June 2019 / July 2019 3 Issue #031 The Editor Publisher + Creative Director Greetings and Salutations! Antoine Elhashem Welcome to our big summer Pride issue! We’re proud to Editor-in-Chief feature writer/director, Lauren Morelli, on our cover. Not Bryen Dunn only was she the brains behind one of the first Netflix Art Director series to create a real BUZZ, Orange Is The New Black, Mychol Scully but now she’s taking on the leadership role for the new General Manager Tales Of The City mini-series recently premiered on Netflix Kim Dobie this month just in time for Pride season. The show features Sales Representatives one of the most diverse cast ever assembled on screen, Carolyn Burtch, Michael Wile including trans actress Jen Richards and trans-nonbinary Events Editor actor Garcia, RuPaul’s Drag Race legends, Bob The Drag Sherry Sylvain Queen and Katya, Canadian icons Paul Gross and Ellen Counsel Page, and even a cameo appearance from Molly Ringwald. -
The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz a Dissertation Submitted in Part
The Trouble with “Queerness”: Drag and the Making of Two Cultures By Katie Rebecca Horowitz A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Catherine Cole Professor Judith Butler Fall 2012 Abstract The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Linda Williams, Chair This dissertation responds to the frequent charge within academic and activist circles that queer theory is simply gay male theory cloaked in more inclusive language. Taking as its starting point an ethnographic case study of drag king and queen performance cultures, it challenges the efficaciousness of an everything and the kitchen sink approach to queer theorizing and organizing. This work constitutes the first academic monograph centered on queer life in Cleveland, Ohio and is also the first to focus simultaneously on kinging and queening, a lacuna at once explained by and demanding interrogation of the fact that these practices have almost nothing in common with each other. Despite the shared heading of drag, these iconically queer institutions overlap little with respect to audience, movement vocabulary, stage persona, and treatment of gender, class, race, and sexuality. The radical (in)difference between these genres serves as a microcosmic representation of the perennial rift between lesbians and gay men and highlights the heteronormativity of the assumption that all of the identity categories subsumed under (and often eclipsed by) the queer umbrella ought a priori to have anything in common culturally, politically, or otherwise.