Lawrence Fox on the History of Drag Queen Story Hour

This is a video from Lawrence Fox’s Reclaim the Media channel on YouTube, which is part of his Reclaim party. I’m very much aware that by reblogging it I’m tempting the ire of the Labour party for publishing the ideas and content of a rival party. But I think here Lozza and his crew have a point. Looking at it, he doesn’t object to drag as a late night entertainment for adults. What he objects to is very sexualised drag performances being staged in front of children as a vehicle for indoctrinating them with Queer Theory and the gender ideology.

I state again that I am definitely opposed to anyone being stigmatised or persecuted because of their sexuality or gender identity. I’m putting this video up because I do think that there is an attempt to use drag as a vehicle for indoctrinating children, and that the theories about human sexuality and sexual identity are fundamentally wrong and dangerous.

The video traces the history of drag from the days of ancient Greece, the middle ages and the early modern period, when male actors took female roles because of the social taboos against women appearing on stage. He claims that drag as a distinct form of entertainment appeared in the 19th century. The word itself may be a contraction of ‘Dressed As A Girl’. By the late 19th century drag was subversive and political, critiquing social norms about gender. It was originally late night fun for adults, but now there are attempts to put into the classroom. Drag Queen Story Hour is in the vanguard of this campaign.

Queer Theory, which is part of this new movement, has its origins in the postmodernist philosophical movement of the 1960s and 1970s. It begins with Michel Foucault’s 1976 History of Sexuality. Lozza says that Foucault definitely wasn’t a paedophile. This is almost certainly irony, as Foucault used to travel to north Africa for sex with young, pre-teen boys. He also explicitly argued that children can give sexual consent. His book claimed that sexuality was a social construct shaped by culture and history. This was then extended further by Gail Rubin, a lesbian anthropologist in her Thinking Sex. This also argued that sex and gender were the product of cultural norms, which were themselves oppressive and had no basis in nature. She defended every sexual taboo, including ‘boy lovers’.

Rubin was followed by Judith Butler and her book, Gender Trouble, which introduced into the debate the theory of performativity. Gender was not innate, but something people perform. She also challenged the gender binary of male and female. Drag Queen Story Hour differs from other forms of drag in that it is an exercise in gender performativity. This is unlike pantomime dames, who are comic figures exaggerating some female mannerisms while preserving their male gait. Drag queens themselves evolved from gay nightclubs and cabaret to challenge gender norms, but they were adult entertainment.

Drag Queen Story Hour itself began in 2015 in San Francisco, launched by author and activist Michelle Tea. She started it as a way of spreading knowledge of gay culture. Tea was already involved with transgressive culture, touring with a sex workers’ artistic collective and with a Queer feminist poetry collective, Sisterspit, whose anthology included pieces by and about drug addicts and other marginalised, underground groups. Drag Queen Story Hour was launched with Tea’s own group, Radar Productions, and was first staged in San Francisco public library. It was intended to introduce children to gay culture and diversity, equity and inclusion. It was an immediate success, and spread to other cities and across the Atlantic to Britain.

Lozza states that the claim by its defenders that Drag Queen Story Hour is just about teaching children to read in a fun way is dishonest. Here he mentions the recent scandal of the drag king, who performed in schools in the Isle of Man. This individual sparked controversy and a review of the programme by teaching children that there were 72 genders. Amongst themselves, the advocates of Drag Queen Story Hour are quite clear about their intentions to indoctrinate children. He talks here about the paper ‘Queer Pedagogy’, co-authored by the drag queen Little Miss Hot Mess, which appeared in an American journal of education. This stated the goal was to attack racist, capitalist modes of reproduction and the nuclear family.

From this he moves to the matter of expense and how much these events cost. Much of it is funded by the Arts Council. In 2019 the British Library hosted a Drag Queen Story Hour as part of their ‘Live, Love, Liberty’ exhibition. Last year, 2022, New York public library spent $200,000 on such events. The organisers insisted that these performances were safe, with background checks made on the performers and the performances themselves not sexual and suitable for children. This was belied by clips of some of these events showing very sexualised performances. Seven of the drag queens who performed in the Story Hours have been charged with child sex offences. Sharon Le Grand, another drag queen, also said in 2022 ‘We need to teach our children to open their hearts. We need to teach our children to open their minds. We need to teach our children to open their legs.’ Drag kings, a recent addition to the show, have also exposed their chests during the performances to show their mastectomy scars, blurring the line between drag and strip shows. He also talks about the problem of the adult nature of the drag acts away from children. Many of them have web pages with very adult jokes and content, which children can easily find. As an example, he gives a rather coarse joke from Ruby Violet’s description of herself, who performed in front of children aged 3-11 in an event staged by Hertfordshire council.

He concludes by discussing the way opposition to Drag Queen Story Hour has been misrepresented and the attempts to outlaw protests against it. The Beeb declared that opponents of drag queens were motivated by conspiracy theories and were members of the far right. In Canada a law has been passed banning protests within a certain limit of drag queen performances, punishable by a fine of $25,000. The video concludes with him mentioning that there are a number of organisations fighting the gender ideology and Drag Queen Story Hour, whose details he’ll put in the blurb about the video, and a plug for another YouTube series from Reclaim, Bad Education.

While I feel that the video is broadly accurate, obviously that doesn’t mean that each and every drag queen involved in story hour is ideologically motivated or a danger to children. Clive Simpson and Dennis Kavanagh have said in their YouTube videos, The Queens’ Speech, that many drag queens are just gay men trying to make a buck, and so don’t want a blanket ban on such shows. The EDIjester has also drawn a distinction between British and American drag. In his view, British drag, unlike its American counterpart, came out of the music hall tradition and wasn’t sexual. Again, I remember when British TV comedy frequently included drag. One of the major stars of 70s week day TV was Danny La Rue, while comedians and comic actors like the Two Ronnies, Dick Emery and Les Dawson also performed in drag. Also back in the 70s and 80s were Hinge and Bracket, which mixed musical comedy with drag. Again, this was mainstream entertainment on TV and radio and considered entirely innocuous. There have also been Paul O’Grady’s Lily Savage and Barry Humphries with Dame Edna Everege.

And yes, some of the opponents of Drag Queen Story Hour are far right conspiracy theorists. You can see that with Correct, Not Political, who hold weird conspiracy theories about the World Economic Forum, staged counter-protests against left wing demonstrations and openly admire Mosley. Their opposition to Drag Queen Story Hour comes from a deeper hostility to homosexuality and its promotion.

But I think critics of Drag Queen Story Hour and Queer Theory, like James Lindsay, are absolutely correct about the attempts to use drag as a vehicle for explicit political indoctrination and very harmful ideas about gender. It’s this aspect of it that needs to fought and combated.

Harlan Ellison’s ‘Dangerous Visions’ Published as SF Classics

Also looking through Waterstone’s SF shelves last week, I found that Gollancz has published the groundbreaking short story anthology, Dangerous Visions as part of their range of classic works of Science Fiction. The book, edited by Harlan Ellison, who wrote the classic Star Trek episode ‘The City on the Edge of Forever’, caused uproar when the stories were published in the early ’70s. Several of the stories had appeared in Michael Moorcock’s New Worlds, and constituted the American equivalent of the British ‘New Wave’. The controversial subjects of some the stories and their sexual explicitness resulted in a questions in parliament about the magazines’ perceived obscenity. This came after the arts council had renewed its grant to Moorcock’s magazine for the following year, which is more than a little ironic. Brian Aldiss and David Wingrove in their history of Science Fiction, The Trillion Year Spree, quote Ellison as saying of the ‘New Wave’ writers ‘these guys is blasphemous’. However, in their opinion the American writers were far more traditional and less radical and iconoclastic than their British counterparts. But if you’re interested, you can now read it again and judge for yourself.