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Thomas Morrison
Ms. Dorothy Chan
ENC 2135
21 July 2016

Whats The T? Everyone Needs Drag.

Behind the flashy makeup, the big eyelashes, the bigger attitudes, and the dazzling
clothes, drag queens present a realness covered by these showy facades. Queens represent real
culture and character hidden by stereotypes of gender, race, and sexual orientation. RuPauls
Drag Race (RPDR) reality competition television show exploits these offensive misconceptions
relating to gender fluidity, racial profiling, and sexual orientation by using challenges for the
queens that satirizes a common stereotype. Strings and Bui discuss the use of drag language in
RPDR for example, the term drag ball subculture is used throughout the journal article (Stings,
Bui 824). Drag Ball is specific to drag language referring to genres of queens. Two examples are
butch queen or femme queen, depending on the challenge or the queens style the fall into
drag ball subculture. This can also be interpreted as (mis)appropriation, (Stings, Bui 824).
RuPaul is simply trying to eliminate this by making fun of it in a satirical way that people think
is bizarre. However, it works because of the queen behind it all, RuPaul. Ru is the host of the
show and started from a humble beginning. Ru started poor but worked hard to become a model
with TV shows and a music career. Goldmark starts with how RuPaul was able to create her own
boiled-down version of the American Dream, By creating this dream, RuPaul was able to open
the gates for the Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) community to feel
accepted into the realm of reality TV and to perform drag (Goldmark 501). The TV show RPDR
is presented as a spoof or satire of how certain stereotypes are seen by society. Drag is simply

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just female impersonation, however, it is exaggerated to make people aware of the racial, gender,
and sexual orientation labels given by mainstream society and culture.
The use of racial stereotypes has been around since the 19th century specifically seen in
minstrelsy shows. These were extremely offensive but have influenced todays current media in a
less offensive way. Magubane examines miscegenation, blackface (or in this case, whiteface),
and stereotypes that are relevant in RPDR as well as RuPaul herself. Magubane focuses on the
term blackface minstrelsy from the 19th century minstrel shows by William H. West where he
would paint himself as a black man and perform. RuPaul is already black so he isnt exactly
using blackface but whiteface. Ru as well as other queens use makeup as a way to mask
themselves as woman but it also can be used to create a character, sometimes a different skin
tone than normal. Today this can be seen in pop culture where drag queens, such as RuPaul, are
using makeup and costumes as propaganda to promote awareness of degrading stereotypes. As
RuPaul suggestively asked, Who made the rules? Who says black people have to be black?
What is black? Is it the color of your skin? Do my freckles and light golden brown skin tone
make me black or white? (Magubane 240). RuPaul is redefining what it means to be Black.
Race doesnt define the way you have to dress, talk, act, perform, or anything else. Its not what
defines a person, just as being queer or transsexual doesnt define a person but is just an aspect of
who they are as a human being. There are more obvious visuals as Magubane points out. An
obvious difference between the meaning behind Rodman and RuPauls performance and that of a
minstrel actor or Eminem is that the latter are white men who don the black mask (either by
means of burnt cork or the appropriation of black aesthetic styles). In this way they symbolically
represent whites crossing over into black culture. Rodman and RuPaul, on the other hand, are
understood to be white men in black skin. This time the burnt cork mask is real and whiteness

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is metaphorical, (Magubane 235). The problem here isnt language at all, its the fact that over
the year society has tied everything to race. Yes, language is part of it but its not all of it. As Ru
said, Who made the rules...What is Black... why do Ru and Rodman have to feel like white
men in a black mans body (Magubane 240)? Why cant they just be themselves and not defined
by a race but as a person? Strings and Bui talk about drag ball subculture and realness in
Shes Not Acting, She Is which talks more to Magubanes idea that drag culture is real but its
also in a drag ball subculture of post Fordist and black minstrelsy, meaning, drag queens
are simply trying to eliminate the norm and remove miscegenation seen today (String, Bui
823) (Magubane 233). RuPauls Drag Race helps embrace different cultures, not mocking other
races or genders or sexualities, but using them and learning to embrace the difference.
Continuing on the idea of racial inequality in the 1800s, miscegenation were laws that
enforced racial segregation and while those laws might not exist in the same way they are still
apparent today. Cultural miscegenation speaks to the LGBTQ community with laws
discriminating against housing, bathrooms, and business (Magubane 241). The whole point of
RuPauls Drag Race is to exploit all of these issues with race, gender, and sexuality in society.
Magubane hones in on the cultural side of race and gender. Goldmark and Mann both argue that
language is the key term for drag realness, Goldmark grounds his argument using pathos in the
first paragraph by giving a brief intro to RuPauls upbringing. Ru was able to create her own
boiled-down version of the American Dream, however it doesnt reach mainstream media
limiting this gateway to those already aware of the problems (Goldmark 501). Currently the
show RPDR is limited to Logo TV, a channel already accepting of the LGBTQ community. But if
the show was viewed on a networks such as Bravo, A&E, The CW, or other larger networks, it
would be viewed by people who dont necessarily know much about the racial, gender, and

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sexual orientation misconceptions exploited through the show and creating awareness RuPaul
has even addressed this during an interview with Dan Harris from ABC News. I don't think the
show could ever go mainstream because drag is the antithesis of the matrix. You know, the
matrix says, 'Pick an identity and stick with it. Because I want to sell you some beer and
shampoo and I need you to stick with what you are so I'll know how to market it to you.' Drag is
the opposite. Drag says, 'Identity is a joke,' (Dawson et al.). This is how the show is used as a
spoof of stereotypes, its breaking down walls of preexisting ideals made up by narrow-minded
citizens. Ru also argues that he will never be accepted in mainstream media outlets like 'The
Tonight Show' or 'Ellen' or the late-night shows because the only way they could actually have a
conversation with me is to make fun of me, or if they could somehow make a joke about what
I'm doing, (Dawson et al.). Making fun of Ru and the show being funny and a spoof is not the
same thing. A spoof is funny because it is exploiting, in this case, stereotypes that shouldnt even
exist. Contrary to this, by making fun of Ru on a talk show it makes it more of a people pleaser
and makes the viewers more comfortable where it doesnt show an opinion one way or another,
which is a problem.
Drag Queen culture isnt for everyone, some people find it strange while others find it
intriguing, for some people its the truth revealed. Carroll et al. used a classroom setting to
discuss hot topics by Using RuPaul as an entry into more complex notions of oft-portrayed rigid
categories of identity, we hoped to destabilize traditional assumptions about gender and sex, and
believed clips from the show could provide an opportunity to talk about raced, classed, and
Eurocentric expectations for the performance of femininity, (Carroll et al. 227). However, this
wasnt enough, the students didnt discuss this as much as the researches would have liked. It did
show how these issues are harder to talk about but that doesnt mean they shouldnt be talked

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about, they need to be exploited and they are in RPDR. Just as its challenging to discuss RuPauls
world in the classroom its challenging for the show RPDR to become mainstream, nevertheless it
should be in order to raise awareness for stereotypes within the LGBTQ community as well as
racial labels.
Compared to researching students conversations about drag, Mann got more hands on
during his research and went to a drag show to learn more about the language of drag culture.
Mann argues that drag queens use language as a way to blur the lines of gender and race
(Mann 793). During his research he would transcript the queens dialogue and analyze it. What
makes his research more effective than Carroll is not only that his was more primary
observational but that he wasnt familiar with drag culture either but went to a show and was able
to get first-hand experience. After Manns research into the drag language and culture by
watching a performance he was able to come to the conclusion that, Language is a vital cultural
artifact; therefore, gaining an understanding of drag queens use of language is crucial, if social
scientists aim to explore the community, the culture, and the art of drag, (Mann 809). In a sense
its not just the exaggerated stereotypes queens use to impersonate woman using make up and
wigs but the language they use to remove boundaries and exploit racial and gender stereotypes
used by mainstream society. Mann uses logos and an analytical approach when discussing
styleswitching throughout his research (Mann 796). Styleswitching is referring to the diction
and dialect used by queens during performances and when they are not performing drag (Mann
796). Mann noticed that some queens do not speak often to keep the allusion alive as they lip
sync. The headliners however speak between performers to enhance the experience and crack
jokes to the audience. Drag queens are sometimes more of a drawing of a woman rather than
pretending to be one. In this case the man dresses as a woman but doesnt pretend to be a woman

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by changing his voice, sometimes by using a manly voice it adds to the humor. RuPaul is trying
to show how life shouldnt be taken so seriously all the time, in some cases even Ru will change
her voice. In the show RuPauls Drag Race, RuPaul highlights different aspects of her sexual,
racial, and gendered identity through styleswitching in order to better connect with different target audiences during her appearances on two talk shows: the Joan Rivers Show and the Arsenio
Hall Show, (Mann 797). Goldmarks main argument is that language can cause barriers in drag
culture realness, in "Drag Queens' use of Language and the Performance of Blurred Gendered
and Racial Identities," by Stephen L. Mann, the main argument is that language is the key to
blurring the lines in gender, race, and sexuality by styleswitching (Mann 793,796). Goldmark
focuses on Queens like Nina Flowers from RuPauls Drag Race and how not being a native
English speaker caused conflict within the reality show. In return, Mann believes that its not
necessarily a barrier but a tool used to emphasize their drag character. In schooling having a
language barrier causes difficulties learning and making friends however in reality TV its almost
used for a twist in the plot. It shouldnt be used as a twist but to simply add realness and
character to the queen.
There is this idea in our culture that only homosexual males can be drag queens, that it is
not okay for woman or heterosexual males to do drag, however, Drag U, RuPauls spin off show
removes the gender barrier. Drag U or Drag University is for woman who learn to become drag
queens. RuPaul refers to drag queens as superheros, to show that its also fun to dress up and
pretend to be someone else for a bit (Macsai 52). During Rus interview with Time he compared
drag to a facade that most of us put up. We as human build walls and fake characters to show
people to please them, make them like us, make them leave us alone, or maybe because we dont
know who we are. By making these kind of shows, such as Drag U and RPDR, mainstream, the

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public benefits by understanding the real issue with common stereotypes and broadening their
minds on topics they wouldnt normal think about. At the same time its fun to watch, RuPaul
wants to make it clear that life should be enjoyed, sometimes a little makeup can help with that.
These shows reveal truth to society and ourselves. Drag is a mask people wear to feel strong
again, to pretend to be something youre not and build confidence and self-esteem. LeMaster
argues that, Drag U works to integrate drag/trans/queer bodies into an unchanged
homonormative and gender-normative mainstream that fails to address the various needs of those
queer bodies that do not so easily yield to its demands. In the end, I advocate for a queer
coalitional potentiality that resists individualization and competition, (LeMaster 167). By using
heterosexual woman, it makes drag culture more prominent in the heteronormative society.
Women who dress up in full drag are now allowed to be a different woman than before, they can
use it as a mask to feel strong or sassy, or bold, or sweet, or whoever they want to be. Drag can
help woman break down walls they built themselves. Using a post-feminist lens, LeMaster points
out how cissexism and homonormativity are apparent in the show RuPauls Drag U
(LeMaster 167). Cissexism is a form of sexism that is aimed towards transgender men and
woman, binary or not. In context to the show, its opening up eyes to the audience as woman
dress in full drag that, exaggerates biological gender differences that already exist (74). The
result of this exaggeration is the illusion that male and female are mutually exclusive and at
odds with each other, (LeMaster 175). This ties into the idea that walls must be broken down to
make homonormativity a reality. LeMaster dives into it with the perfect example that, sexuality
is always present and constitutive of our sociocultural worlds. Mainstream discourse tries to
make the case that sexuality is best left in the bed-room (Slagle, Queer 134). Although
heteronormative sexuality is ever-present, queer sexuality is relegated to the bedroom and

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rendered private, (LeMaster 171). It is just now starting to be seen in TV shows openly gay
characters to have sexual relations, while its always been normal for heterosexual relations to be
public and not taboo. Drag U is working to make homonormativity into mainstream culture.
Unlike Magubane, Goldmark, and Mann, LeMaster doesnt focus on Drag Race but Drag U. In
this spinoff from RuPauls Drag Race, heterosexual woman dress up in full drag to help build
power and self-confidence. While others argue that Drag Race is for men to dress up as woman
to make a point, LeMaster makes a different point to show how race and gender are major issues
but sexism is seen in both queer and straight relations.
Everyone needs a little drag culture in their life, not only spice it up and learn a thing or
two about being shady but to be aware of social problems plaguing society. Throughout history
there have been racial conflicts causing war, fights, unnecessary deaths, and today we still have
to deal with racial stereotypes, as well as gender and sexual orientation stereotypes. RuPauls
Drag Race is a step in the right direction to ending any misconceptions dealing with race, gender
identity, and sexuality. Now that marriage between same sex couples is legal there has been a
larger upbringing of citizens coming out of the closet, however that doesnt mean life is easy,
all it means is that we have one more basic human right. As Ru said there arent rules to race,
you dont have to act, dress, or even look a certain way to be defined into a race. Its not a
defining factor no matter how hard mainstream society tries to imprint this idea into our brains.
During an interview for Time Magazine interviewed RuPaul was asked about his new show,
Drag U, where woman dress up in drag to find their inner Superman (Macsai 52). RuPauls
main point during the interview is that The truth is, we're all in drag. We're all playing dress-up.
Even if you work on Wall Street or at McDonald's, you're putting on a persona, (Macsai 52).
Overtime everyone falls into a faade of some sort, as Ru said we put on a persona either to

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make us feel safe, get out of our box, or sometimes its to make a stance. Ru uses the term
superhero to explain the point of woman doing drag. The goal is to have fun with drag! And
to help women get in touch with their superhero spirit animals, (Macsai 52). When someone
wears a mask they feel stronger and they are able to act out in ways they wouldnt normally. In
the case of drag, its a way to enhance self-esteem and bring out the sassy side of ones self but
also to exploit stereotypes in a funny way. Everybody's got one. A lot of times, if women have a
family, they put themselves second or third or fourth. They become like Clark Kent. And we help
them find their inner Superman, (Macsai 52). By making the allusion to superman, RuPaul
helps explain the idea behind the show. Its bringing homonormativity to heteronormativity
society. You dont have to be queer to do drag, its not only for the LGBTQ community but for
those dealing with any issue relating to gender, sexism, confidence, or race. LeMaster would
agree with RuPaul using the superman allusion to help explain the purpose of using
heteronormative woman to dress in full drag. Magubane would see it as posy Fordist in the
fact that its not the norm for woman to do drag but who ever said they couldnt? Overall, the
point of drag is not just entertainment but an expose for men and woman to feel confident and
exploit the facades built up by those who dont agree with being different, rather you are black,
Latino, Asian, gay, queer, bisexual, lesbian, or transgender, its okay to be you.

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Works Cited
Carroll, Robert W., Madeleine H. Redlick, and Jenna N. Hanchey. "Is RuPaul enough?
Difference, Identity, and Presence in the Communication Classroom." Communication
Education 65.2 (2016): 226-9. Print.
Dawson, Durrell, Alexa Valiente, and Dan Harris. "RuPaul on Why He and 'RuPaul's Drag Race'
Can Never Go Mainstream." ABC News. ABC News Network, 12 May 2016. Web. 30 July
2016. <http://abcnews.go.com/Entertainment/rupaul-rupauls-drag-race-mainstream/story?
id=39075322>.
Goldmark, Matthew. "National Drag." GLQ: A Journal of Lesbian & Gay Studies 21.4 (2015):
501-20. Print.
LeMaster, Benny. "Discontents of being and Becoming Fabulous on RuPaul's Drag U : Queer
Criticism in Neoliberal Times." Women's Studies in Communication 38.2 (2015): 167-86.
Print.
Macsai, Dan. "Rupaul." Time 180.1 (2012): 52-. Print.
Magubane, Zine. "Black Skins, Black Masks Or "the Return of the White Negro": Race,
Masculinity, and the Public Personas of Dennis Rodman and RuPaul." Men & Masculinities
4.3 (2002): 233. Print.
Mann, Stephen L. "Drag Queens' use of Language and the Performance of Blurred Gendered and
Racial Identities." Journal of homosexuality 58.6 (2011): 793-811. Print.

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Strings, Sabrina, and Long T. Bui. "She is Not Acting, She is." Feminist Media Studies 14.5
(2014): 822-36. Print.

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Bibliography
Carroll, Robert W., Madeleine H. Redlick, and Jenna N. Hanchey. "Is RuPaul enough?
Difference, Identity, and Presence in the Communication Classroom." Communication
Education 65.2 (2016): 226-9. Print.
Dawson, Durrell, Alexa Valiente, and Dan Harris. "RuPaul on Why He and 'RuPaul's Drag Race'
Can Never Go Mainstream." ABC News. ABC News Network, 12 May 2016. Web. 30 July
2016. <http://abcnews.go.com/Entertainment/rupaul-rupauls-drag-race-mainstream/story?
id=39075322>.
GODFREY, ESTHER. ""to be Real."." Genders.41 (2005): 2-. Print.
Goldmark, Matthew. "National Drag." GLQ: A Journal of Lesbian & Gay Studies 21.4 (2015):
501-20. Print.
LeMaster, Benny. "Discontents of being and Becoming Fabulous on RuPaul's Drag U : Queer
Criticism in Neoliberal Times." Women's Studies in Communication 38.2 (2015): 167-86.
Print.
Macsai, Dan. "Rupaul." Time 180.1 (2012): 52-. Print.
Magubane, Zine. "Black Skins, Black Masks Or "the Return of the White Negro": Race,
Masculinity, and the Public Personas of Dennis Rodman and RuPaul." Men & Masculinities
4.3 (2002): 233. Print.
Mann, Stephen L. "Drag Queens' use of Language and the Performance of Blurred Gendered and
Racial Identities." Journal of homosexuality 58.6 (2011): 793-811. Print.

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MUSTO, MICHAEL. "The Accidental Historian of Drag Queens." New York Times 164.56950
(2015): D7-. Print.
Simmons, Nathaniel. "Speaking Like a Queen in RuPaul's Drag Race: Towards a Speech Code of
American Drag Queens." Sexuality & Culture 18.3 (2014): 630-48. Print.
Strings, Sabrina, and Long T. Bui. "She is Not Acting, She is." Feminist Media Studies 14.5
(2014): 822-36. Print.