The M(onetization)odernization of Drag
Written by Brie Sheridan
Graphics by Lily Hobl
There was a time not too long ago when the concept of drag going mainstream seemed like a pipedream. Thanks to the success of shows like RuPaul’s Drag Race, drag was slowly beginning to build a wider audience within the queer community. Regardless, no one could have predicted the trajectory the art took. There’s a plethora of representation in the media nowadays, one that even expands into comics and movies. It’s become like every other piece of “acceptable” creativity in the world; marketable.
Drag is now like the gay Superbowl. Straight people know it exists, they know that RuPaul is a famous drag queen, and they know that queer people can go absolutely crazy at viewing parties. However, unlike football fans, streetlights and cars have remained intact whenever someone’s favorite queen wins or loses. Drag is still evolving, so you never know.
That being said, mainstream perception of drag is still limited. Most people are familiar with a specific and stylized form of female impersonation, or a highly elevated display of femininity. Drag is meant to be anything an artist wants it to be. Funny, dirty, horrifying, ethereal… the possibilities are entirely endless and every single one of them is valid.
The art has its roots in theatre and was used to prohibit women from acting on stage. Commonly looked at as nothing but a form of absurdity, drag roles were often exaggerated and layered with misogyny and transphobia. The only purpose of it was to entertain, regardless of who or what it ridiculed. Having existed as early as Ancient Greece, it's both a relief and unsurprising to see how much drag has evolved. It wasn’t until the late 20th century that drag started to become the more expanded and inclusive community that mainstream audiences are familiar with.
Ironically, trans people and women were and continue to be the innovators and pioneers of modern drag, originating in ballroom culture. Ballroom was formed in direct response to the racism heavily prevalent in the existing drag pageantry system. Pushing and breaking the boundaries of race, sexuality, and gender, the Balls allow participants of all LGBTQI+ identities to compete. Showcased extensively in the 1990 documentary Paris is Burning, Ballroom continues to impact drag culture today.
Drag performers don’t often have the same structure family dynamic as Ballroom, but drag mothers and fathers do exist to help guide and mentor aspiring artists. Still, it's an aspect of drag culture that has changed because of the influence of mainstream entertainment and social media, and not entirely in a good way.
“Drag families are built off the idea of chosen family,” says Rhedd Rhumm*, a drag queen based in New Jersey and Vermont. The mother of four active and performing drag children herself, Rhedd is there to provide support with whatever they may need.
“It’s about doing for one another, both on and off stage, being there for someone with purpose,” Rhedd continues. “Whether it’s helping at a show, where to source wigs, what to do in life situations, how to apply for apartments. I see drag performers getting drag children just to say they have a drag child and not really understanding what that means.”
Even ten years ago, ballroom, drag, and queer expression were still largely underground. Outside of reality television, social media was one of the main driving forces for Drag exposure. Social media has enabled and enhanced accessibility, subsequently affecting the way the art brands itself. Some artists don’t even publicly perform anymore, which is often a rite of passage for drag performers.
“To me, it’s about the approach,” states Rhedd Rhumm. “I still believe getting on stage and physically getting into the scene is the best route to take for anyone. There's only so much that can be done from social media. At the same time, there have been performers who had their start on social media then moved to being in clubs because that was the next step.”
There’s nothing wrong with virtual drag, of course. It’s art, and art is subjective. For a time, virtual performances became commonplace thanks to the onset of COVID-19. Performers couldn’t travel, they couldn’t even perform in their towns, and most were afraid they’d never be on stage again. Thanks to social media platforms like Twitch, TikTok, and Instagram, drag was able to survive.
Everyone deserves a chance to express their creativity as long as they’re not hurting themselves or others. The issue is that there are plenty of performers who’ve been in the business for years and are continuing to struggle. Whether it’s to make a name for themselves or even support their livelihood, some artists are isolated because their style of drag isn’t as “acceptable” as mainstream audiences want them to be. Certain aspects of the art aren’t as well received as they once were. Something as quintessential and timeless as “shade” - where someone playfully points out another’s flaws - has been unreasonably demonized. Most notably, performers who’ve been on any kind of reality show are sometimes targeted and harassed, even for the smallest and most insignificant issues. It’s all a symptom of commercialization.
Having Drag be as accessible as the touch of a button is unprecedented. Social media has allowed exposure to flourish through an entirely new demographic, which includes people who may not have even known that Drag existed. The art form gained so many different ways to expose itself. Dance, makeup, singing, modeling, and drag does it all. Since it's able to feature so many facets of performance and art into itself, it makes it all the easier for artists to be exposed and for consumers to appreciate it.
There’s plenty of room for everyone, and no one, especially people from the communities directly responsible for drag’s success, should be overlooked. In the past, drag has helped push the boundaries of acceptance and inclusivity, and with its new-found virtual platform, it should continue to do so.
*Rhedd Rhumm (she/they) first started performing in 2013 in New Jersey at Asbury Park, and since then became a staple of the greater NJ drag scene. Having taken her talents all along the East Coast nightlife scene, they can be currently found in the Vermont performance community. A capable host and entertainer, she’s your “friendly neighborhood drag queen.” You can follow them on Instagram @rheddrhumm.