Drag in the United States has a long history, as it is visible in Shakespeare's writings. The ancient history of drag is rooted in religion as men were involved in religious activities in women's clothing. Women were not allowed to take part in any theatrical event publicly as it was considered a break of moral codes. Art has changed over time from only being a religious activity to become a form of entertainment that has allowed people to express themselves fully. The revolution has seen many drag performers coming out and fully standing out to be seen performing the art. Bar rooms and ballrooms were the only places where drag superstars could perform their arts, but drag activities are now being broadcasted on live television as an appreciation to their efforts. This article is set forth to look at the history of drag in the USA in 2000, giving much attention to its function and checking if drag was mainly used in theater and any other place. The article will also identify a drag performer regarded as a legendary figure checking on their life history regarding their performance and what was said about their performance.
At the end of the 19th century, the drag community had revolutionized entirely as the society was trying to embrace femininity. The time saw an increased number of ballroom parties with categories like "high fashion evening wear" and "butch queen first time in drag at a ball. The parties in the ballroom were then pushed on the streets marking the beginning of the wigstock festival. The entrance of the drag pop culture at the beginning of the 90s was a boost to the drag community as it made it more visible to their audience. The visibility made drag queens like RuPaul stand out after realizing her song that was a hit "supermodel," making The Washington brand her "American favorite drag queen." The transformation shows other drag superstars performing masculine as individuals like Murray Hill were crowned as the Drag king in the 1999 extravaganza (Moncrieff, & Lienard,1). The link between the trans-community and the drag community grew closer as many members of the trans community turned out to be drag superstars. It was evident to the public on the distinguishing factors in gays, Trans, and drag. The years in 2000s saw drag being changed from the rigidly performed art to realness that saw the drag queens perform with much energy. Drag was significant at this particular time as it was a substantial way of helping the queer people come out strongly. It helped those individuals that had fears in expressing themselves, but could do it through the art (Hillsborough, &Joss Rae,1)
Pepper Labeija was regarded as a super drag mother in the 2000s. She was known to be a drag mother after establishing the house of Labeija that saw her lead it for more than 20 years. She is remembered after her house provided shelter to many young queer people sent away from home after their families realized their sexuality. She competed in many ball competitions, and she is believed to have won over 250 trophies. She was considered a true Icon in the ballroom, yet she was among the first generation in the community. Her life was brought to a standstill when she was diagnosed with diabetes. She did not stop going to the ballroom even after she began using a wheelchair. She succumbed to diabetes in a hospital in Manhattan where Wolfgang was a frequent visitor checking up on her well-being in May 2003. Her presence was also felt in 2006 after the release of "How do I look" dance, a documentary that was released to the ballroom community and was believed to be an influence on the pop culture in the ballroom (Habersham &, Jack 1)
In summary, drag art is an integral part of the ballroom community. Art has a long history in the US as it was present in the region before being transformed into entertainment. The art has seen many young people express themselves fully through modeling and the various ballroom activities, making them feel at home even after being rejected at their families. The most iconic drag superstars at this point were Rupal, Molly Hill, and Labeija, who stood out to be a mother figure to many after establishing the house of the Labeija. The drag was a form of entertainment, self empowerment/expression and remained a great form of entertainment to the ballroom members. The drag followers have increased over time, making the art familiar to the LGBTQ community and the entire world.
Moncrieff, Michael, and Pierre Lienard. "A Natural History of the Drag Queen Phenomenon." Evolutionary Psychology 15.2 (2017): 1474704917707591.
Hillsborough, Joss Rae. "CATEGORY IS RELIGIOUS "REALNESS" A Consideration of Disparate Subjectivity via "RuPauline Drag” and the House of LaBeija." (2019).
Halberstam, Jack. "4. Trans* Generations." Trans. University of California Press, 2017. 63-83.
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