The Horrific Roots of Drag Queen Story Hour
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The Horrific Roots of Drag Queen Story Hour
The story behind drag queen story hour reveals untold horrors and a history of grooming. We need to pray for protection for our children.
From City Journal. Drag Queen Story Hourāin which performers in drag read books to kids in libraries, schools, and bookstoresāhas become a cultural flashpoint. The political Right has denounced these performances as sexual transgressions against children, while the political Left has defended them as an expression of LGBTQ pride. The intellectual debate has even spilled into real-world conflict: right-wing militants affiliated with theĀ Proud BoysĀ and theĀ Three PercentersĀ have staged protests against drag events for children, while their counterparts in the left-wing Antifa movement have responded with offers to serve as a protection force for the drag queens.
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Families with children find themselves caught in the middle.Ā Drag Queen Story HourĀ pitches itself as a family-friendly event to promote reading, tolerance, and inclusion. āIn spaces like this,ā the organizationās website reads, ākids are able to see people who defy rigid gender restrictions and imagine a world where everyone can be their authentic selves.ā But many parents, even if reluctant to say it publicly, have an instinctual distrust of adult men in womenās clothing dancing and exploring sexual themes with their children.
These concerns are justified. But to mount an effective opposition, one must first understand the sexual politics behind the glitter, sequins, and heels. This requires a working knowledge of an extensive history, from the origin of the first āqueen of dragā in the late nineteenth century to the development of academic queer theory, which provides the intellectual foundation for the modern drag-for-kids movement. ā¦
Start with queer theory, the academic discipline born in 1984 with the publication of Gayle S. Rubinās essay āThinking Sex: Notes for a Radical Theory of the Politics of Sexuality.ā Beginning in the late 1970s, Rubin, a lesbian writer and activist, had immersed herself in the subcultures of leather, bondage, orgies, fisting, and sado-masochism in San Francisco, migrating through an ephemeral network of BDSM (bondage, domination, sadomasochism) clubs, literary societies, and New Age spiritualist gatherings. In āThinking Sex,ā Rubin sought to reconcile her experiences in the sexual underworld with the broader forces of American society. Following the work of the French theorist Michel Foucault, Rubin sought to expose the power dynamics that shaped and repressed human sexual experience.
āModern Western societies appraise sex acts according to a hierarchical system of sexual value,ā Rubin wrote. āMarital, reproductive heterosexuals are alone at the top erotic pyramid. Clamouring below are unmarried monogamous heterosexuals in couples, followed by most other heterosexuals. . . . Stable, long-term lesbian and gay male couples are verging on respectability, but bar dykes and promiscuous gay men are hovering just above the groups at the very bottom of the pyramid. The most despised sexual castes currently include transsexuals, transvestites, fetishists, sadomasochists, sex workers such as prostitutes and porn models, and the lowliest of all, those whose eroticism transgresses generational boundaries.ā
Rubinās projectāand, by extension, that of queer theoryāwas to interrogate, deconstruct, and subvert this sexual hierarchy and usher in a world beyond limits, much like the one she had experienced in San Francisco. … For Rubin and later queer theorists, sex and gender were infinitely malleable. There was nothing permanent about human sexuality, which was, after all, āpolitical.ā Through a revolution of values, they believed, the sexual hierarchy could be torn down and rebuilt in their image. ā¦
Where does this process end? At its logical conclusion: the abolition of restrictions on the behavior at the bottom end of the moral spectrumāpedophilia. Though she uses euphemisms such as āboyloversā and āmen who love underaged youth,ā Rubin makes her case clearly and emphatically. In long passages throughout āThinking Sex,ā Rubin denounces fears of child sex abuse as āerotic hysteria,ā rails against antiāchild pornography laws, and argues for legalizing and normalizing the behavior of āthose whose eroticism transgresses generational boundaries.ā These men are not deviants, but victims, in Rubinās telling. ā¦
Such positions are hardly idiosyncratic within the discipline of queer theory. The father figure of the ideology, Foucault, whom Rubin relies upon for her philosophical grounding, was aĀ notorious sadomasochist who once joined scores of other prominent intellectuals to sign a petition to legalize adultāchild sexual relationships in France. ā¦
Rubinās American compatriots made the same argument even more explicitly. Longtime Rubin collaborator Pat Califia, who would later become a transgender man,Ā claimedĀ that American society had turned pedophiles into āthe new communists, the new n*****s, the new witches.ā For Califia, age-of-consent laws, religious sexual mores, and families who police the sexuality of their children represented a thousand-pound bulwark against sexual freedom. ā¦
The second prerequisite for understanding Drag Queen Story Hour is to understand the historical development of the art of drag. It begins with a freed slave namedĀ William Dorsey Swann, who dressed in elaborate silk and satin womenās costumes, called himself the āqueen of drag,ā and organized sexually charged soirĆ©es in his home in Washington, D.C. ā¦
Drag became explicitly political seven decades later, during the Stonewall riots of 1969, in which patrons of a gay bar in New York City rioted against police and began a wave of gay and lesbian political activism. As writer Daniel HarrisĀ explainedĀ in the counterculture journalĀ Salmagundi, traditional drag performances from William Dorsey Swann until the mid-1960s were sensual experiences, āan innocuous camp pastime,ā but with the onset of the sexual revolution, they became forms of resistance and revolution. ā¦
Suddenly, drag was not a private performance but a statement of public rebellion. The queens began using costume and performance to mock the fashion, manners, and mores of Middle America. In time, the need to shock required the performers to push the limits. āMen now wear such sexually explicit outfits as ball gowns with prosthetic breasts sewn on to the outside of the dresses, black nighties with gigantic strap-on dildos, and transparent vinyl mini-skirts that reveal lacy panties with strategic rips and telltale stains suggestive of deflowerment,ā Harris noted. āThe less drag is meant to allure, the bawdier it becomes, with men openly massaging their breasts, squeezing the bulges of their g-strings, sticking out their asses and tongues like porn stars in heat, and lying spread-eagle on their backs on parade routes with their helium heels flung into the air and their virginal prom dresses thrown over their heads.ā
The next critical turn occurred in 1990, with the publication ofĀ Gender Trouble, by the queer theorist Judith Butler. … Gender Troubleās basic argument is that Western society has created a regime of ācompulsory heterosexuality and phallogocentrism,ā which has sought to enforce a singular, unitary notion of āsexā that crushes and obscures the true complexity and variation of biological sex, gender identity, sexual orientation, and human desire. Butler argues that even the word āwoman,ā though it relates to a biological reality, is a social construction and cannot be defined with any stable meaning or categorization. There is nothing essential about āman,ā āwoman,ā or āsexā: they are all created and re-created through historically contingent human culture; or, as Butler puts it, they are all defined through their performance, which can change, shift, and adapt across time and space.
Butlerās theory of social change is that once the premise is established that gender is malleable and used as an instrument of power, currently in favor of āheterosexual normativity,ā then the work of social reconstruction can begin. And the drag queen embodies Butlerās theory of gender deconstruction. ā¦
By the 2000s, the performance of drag had absorbed all these elementsāthe social-justice origin story of William Dorsey Swann, the carnal shock-and-awe of Gayle Rubin, the ethereal postmodernism of Judith Butlerāand brought them together onto the stage. … Hankins describes three genres of dragāstraight-ahead, burlesque, and genderf**kāthat range from stripteases and lap dances to simulations of necrophilia, bestiality, and race fetishism. Hankins describes the world of drag as a āsociosexual economy,ā in which the members of āqueerdomā can titillate, gratify, and reward one another with cash tips and money exchanges. ā¦
The goal of drag, following the themes of Butler and Rubin, is to obliterate stable conceptions of gender through performativity and to rehabilitate the bottom of the sexual hierarchy through the elevation of the marginal. ā¦
The final turn in the story of drag is, in some ways, the most surprising. As the dark side of drag pushed transgression to the limits, another faction began moving from the margins to the mainstream. Some drag queensāmost notably, the drag performer RuPaulātoned down the routines, pushed the ideology deep into the background, and presented drag as good old-fashioned, glamorous American fun. Television producers packaged this new form of drag as reality programming, softening the image of the drag queen and assimilating the genre into mass media and consumer culture.
This provided an opportunity. As the queer theoristsā vanguard intellectual project was running aground on incest and bestiality fantasies, the most enterprising among them took a different tack: using the commercialization of drag and the goodwill associated with the gay and lesbian rights movement as a means of transforming drag performances into āfamily-friendlyā events that could transmit a simplified version of queer theory to children. The key figure in this transition was a āgenderqueerā college professor and drag queen named Harris Kornsteināstage name Lil Miss Hot Messāwho hosted some of the original readings in public libraries and wrote the childrenās bookĀ The Hips on the Drag Queen Go Swish, Swish, Swish. ā¦
Kornstein also published the manifesto for the movement, āDrag Pedagogy: The Playful Practice of Queer Imagination in Early Childhood,ā with coauthor Harper Keenan, a female-to-male transgender queer theorist. ā¦
[The] authors propose a new teaching method, ādrag pedagogy,ā as a way of stimulating the āqueer imagination,ā teaching kids āhow to live queerly,ā and ābringing queer ways of knowing and being into the education of young children.ā As Kornstein and Keenan explain, this is an intellectual and political project that requires drag queens and activists to work toward undermining traditional notions of sexuality, replacing the biological family with the ideological family, and arousing transgressive sexual desires in young children. ā¦
For the drag pedagogists, the traditional life pathāgrowing up, getting married, working 40 hours a week, and raising a familyāis an oppressive bourgeois norm that must be deconstructed and subverted. As the drag queens take the stage in their sexually suggestive costumes, Kornstein and Keenan argue, their task is to disrupt the ābinary between womanhood and manhood,ā seed the room with āgender-transgressive themes,ā and break the āreproductive futurityā of the ānuclear familyā and the āsexually monogamous marriageāāall of which are considered mechanisms of heterosexual, capitalist oppression. … Though Drag Queen Story Hour events are often billed as āfamily-friendly,ā Kornstein and Keenan explain that this is a form of code: āIt may be that DQSH is āfamily friendly,ā in the sense that it is accessible and inviting to families with children, but it is less a sanitizing force than it is a preparatory introduction to alternate modes of kinship. Here, DQSH is āfamily friendlyā in the sense of āfamilyā as an old-school queer code to identify and connect with other queers on the street.ā That is, the goal is not to reinforce the biological family but to facilitate the childās transition into the ideological family. ā¦
The purpose, then, is to subvert the system of heteronormativity, which includes childhood innocence, and reengineer childhood sexuality from the ground up. And drag performances provide a visual, symbolic, and erotic method for achieving this. Kornstein and Keenanās language of the disciplineāāpleasure,ā ādesire,ā ābodies,ā āgirls,ā āboys,ā āglitter,ā āsequins,ā āwigs,ā and āheelsāāgives it away.
Of course, the organizers of Drag Queen Story Hour understand that they must manage their public image to continue enjoying access to public libraries and public schools. They have learned how to speak in code to NGOs and to appease the anxieties of parents, while subtly promoting the ideology of queer theory to children. While many of Drag Queen Story Hourās defenders claim that these programs are designed to foster LGBTQ āacceptanceā and āinclusion,ā Kornstein and Keenan explicitly dismiss those objectives as mere āmarketing languageā that provides cover for their real agenda. … Drag Queen Story Hour has learned the dance of operating a cash-flow-positive activist organization, winning government contracts, and securing access to audiences, while providing a plausible rhetorical defense against parents who might question the wisdom of adult men creating āsite[s] of queer pleasureā with their children. ā¦
Though the spread of sexually charged drag performances has an aura of inevitability, one should keep in mind that transgressive ideologies always contain the seeds of their own destruction.
As the movement behind drag shows for children has gained notoriety and expanded its reach, some drag performers have let the mask slip: in Minneapolis, a drag queen in heels and a pink miniskirtĀ spread his legs openĀ in front of children; in Portland, a large male transvestiteĀ allowedĀ toddlers to climb on top of him, grab at his fake breasts, and press themselves against his body; and in England, a drag queenĀ taughtĀ a group of preschoolers how to perform a sexually suggestive dance.
Scenes from drag events hosted across the United States in bars, clubs, and outdoor festivals have been even more shocking and disturbing: in Miami, a man with enormous fake breasts and dollar bills stuffed into his G-stringĀ grabs the handĀ of a preschool-aged girl and struts her in front of the crowd; in Washington, D.C., a drag queen wearing leather and chainsĀ teachesĀ a young child how to dance for cash tips; in Dallas,Ā hulking male figures with makeup smeared across their faces strip down to undergarments, simulate a female orgasm, and perform lap dances on members of a roaring audience of adults and children. ā¦
When parents, voters, and political leaders understand the true nature of Drag Queen Story Hour and the ideology that drives it, they will work quickly to restore the limits that have been temporarilyāand recklesslyāabandoned. They will draw a bright line between adult sexuality and childhood innocence, and send the perversions of āgenderf**k,ā āprimitivism,ā and ādegeneracyā back to the margins, where they belong.
How are you praying against drag queen story hour? Share this article to keep people informed.
(Excerpt from City Journal. Photo Credit: Bret Kavanaugh on Unsplash)
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Comments
I feel defiled just reading this. Plus the temptation to click on the links to find even more hideous info.
It was time for me to go to bed so I turned off my computer. Then felt the need to repent and came back again to say I am reminded of the scripture “Be excellent at what is good and innocent of evil and the God of peace will soon crush Satan underneath your feet” (Romans 16: 19,20)
Men dressed in drag, wearing garish, clown-like makeup make a mockery of femininity. And look how far people have strayed from “between consenting adults only” to “boylovers”. We MUST NOT let sexual abusers of children or anyone luring children into a confusing world of depravity and captivity not be anywhere near the children!!
Father God pull back the scales of these people that are blind to what they’re doing protect our children your children from the poisonous evil schemes of the devil put a stop to it once and for all in Jesus name I pray
Anything my GOD calls an abomination I do not need to read about over and over again! We have elections coming up that could change our country forever if seats are stolen again! We have prices rising daily on food, gas, and everything! We have illegals entering our country daily and getting free everything using our tax dollars; while homeless Americans going to hospitals receive a bill, yet the illegals do not pay! Every parent should know that a man or woman in drag will pervert their children! Do not support places that sponsor these drag story hours! Do not vote yes on levies for schools or libraries or anything public that support these events! FATHER GOD please send YOUR angels to surround and protect all of our children from perverts and evil parents! Put a halt to these wicked story times. Wake up parents and educators to say NO to the lgbtq/trans agenda and not back down to these bullies in JESUS NAME! Amen!
After perusing the study titled, “Drag pedagogy: The playful practice of queer imagination in early childhood” by Harper Keenan that was cited in the article, I fully understand why God has to essentially obliterate/destroy the cities of Sodom and Gomorrah (Genesis: 18-19). Queer thinking is so beyond wicked, it becomes abominable and actually tries to rationalize the wicked deeds perpetuated with this demonic lifestyle. In 1 Cor. 6:9, it states that, “Know ye not that the unrighteous shall not inherit the kingdom of God? Be not deceived: neither…., or effeminate….”. It seems to me that since most drag queens are men masquerading around as women, that they fit this qualification. They truly feel that this lifestyle should be taught to little children.
Father God, we stand on our righteous authority as adults and parents and say to satan, you cannot have our children. In Jesus Name, we will not offer our children’s hearts, minds and spirits to satan and his minions. You said in Matthew 18:6, “But whoso shall offend one of the little ones which believe in me, it were better for him that a millstone were hanged upon his neck, and he were drowned in the dept of the sea.” So let us be about the arduous task of teaching our children about Jesus and be bold in drawing the line when it comes to queer theology coming into our communities. While we have compassion for those following this lifestyle of sin, we have enough mercy and grace to tell them about Jesus and how they can avoid ending up in the pit of Hell! Amen.
So Jews like Rubin and Kornstein were pioneers in pushing this filth.
The Pink Swastika 5th Edition
https://www.scottlively.net/tps/
In the Pink Swastika book Scott Lively describes the Pagan roots of pederasty…
I prayed against the lure of our children.
How does one comment on something as base and godless as this?
If I was a parent, I would not allow my children to go into these government dens of iniquity.
Unfortunately even parents who raise their children right and send them off into the sick world we live in, live to see their adult children chose to live a godless lifestyle like this one. Once you decide there is no God, the sky is the limit.