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Despite appearances, Tool singer Maynard James Keenan was not trying to stir the pot when he took the stage in a blonde wig, smeared lipstick and a body-hugging top that accentuated his prosthetic breasts during a headlining set at Daytona Beach’s Welcome to Rockville Festival on Sunday.
While the outfit appeared to be a reaction to the series of controversial bills signed by Gov. Ron DeSantis recently that ban minors from attending drag shows, Keenan told The Messenger his choice was personal, not political. “I’ve been cross-dressing since long before these clickbait-junkie dupes were out of diapers,” said the singer who has been wearing shock makeup and costumes for years, including falsies he first wore in the late 1990s; Keenan noted that he’s been shopping online recently for a new set of stage breasts.
“It’s pretty crazy the technology and the prosthetics nowadays, how they’ve come along, and I just was considering bringing the look back,” added the prog rock vocalist who has long favored outrageous looks, from fetish cop getups to Mexican wrestling masks, pilot uniforms, blue full body paint and superhero costumes. “And that’s really all there is to it. I’m not a political fella — had nothing to do with Florida.”
While Keenan swears he wasn’t trying to poke the eye of culture warrior DeSantis — who is slated to announce his long-expected White House run on Wednesday (May 24) on Twitter — because Welcome to Rockville was an all-ages fest, technically, the singer was in violation of the new law. If anything, Keenan said he was a bit annoyed by the false dots-connecting spurred by his stage attire.
“It’s amazing to me how every single thing you say or do is twisted and conformed into some fundamentalist far-right or far-left agenda,” said Keenan, who will be back on stage this weekend in Columbus, OH at the Sonic Temple Festival.
Now, that said, father of two Keenan, 59, told the outlet that he thinks legal restrictions on drag show attendance is kind of dumb. “I think limiting people’s access to anything is absurd,” he said. “Good parenting allows you to teach your kids how to be reasonable and reason and puzzle things out and decide for themselves what the f—k they wanna see or not wanna see.”
Keenan also noted that he does consider himself to be part of the drag community, saying, “I guess so, yeah… On occasion, I am a drag queen; I’ve been a drag queen. I’m casual, so the hardcore people are going to dismiss me as being a tourist.” He added that he feels some affinity for people who use drag as a form of self-expression. “Solidarity with people who are not afraid to express themselves? Absolutely. People that want to express themselves in whatever f—king way they want to express themselves, as long as they’re not physically directly hurting someone? Yeah, go for it. I’m all for ya.”
Despite what some lawmakers around the country are trying, the art of drag is not going anywhere. Case in point, RuPaul’s Drag Race continues its supreme reign as the pinnacle of modern reality television.
With its latest season, Drag Race managed to up the stakes not only financially (with a newly-boosted $200,000 cash prize) or in terms of network (the show made the jump from VH1 to MTV this year), but through its execution as well — with its largest-ever cast of 16 talented queens, each episode of the hit show’s 15th season saw every contestant working hard to earn their keep.
While the queens gave their all in each of the maxi challenges — including Drag Race staples like Snatch Game and the Rusical — it was season 15’s lip syncs where the queens really brought their A-game. Whether it was a Lip Sync For Your Life to survive another week on the show, or a Lip Sync Lalaparuza performance in the show’s battle royale format, every queen who appeared on season 15 had to rely on their lip sync abilities in order to impress throughout a season where everyone seemed impressive.
But which of this season’s many lip syncs stood out amongst the rest … and which ones failed to impress? Ahead of the finale airing this Friday (April 14), Billboard is taking a look back at all 20 of the lip syncs performed thus far on RuPaul’s Drag Race season 15, and ranking them from worst to best. Check out where your favorite landed below:
Malaysia Babydoll Foxx vs. Spice: Camila Cabello, “Don’t Go Yet”
Image Credit: Courtesy Photo
Rule number one of every lip sync, on or off RuPaul’s Drag Race: you must know the words to the song. Yet in this Lalaparuza lip sync, neither queen could manage to remember the song’s lyrics — with one even choosing the song as a means of sabotaging the other. Both Malaysia and Spice ended up bopping around the stage while trying to hide the fact that they simply had no idea what Camila Cabello was singing on the song’s chorus.
Watch the full lip sync here.
Malaysia Babydoll Foxx vs. Salina EsTitties: Beyoncé, “Single Ladies (Put A Ring On It)”
The moment that “Single Ladies” began playing in this mid-season Lip Sync For Your Life, members of the BeyHive everywhere got excited — at long last, one of Beyoncé’s most iconic hits would be making its Drag Race debut. But by the time it had ended, even lip sync winner Salina EsTitties was offering up an apology to Queen Bey. Neither queen managed to match the song’s hype or energy in this largely lackluster lip sync, though Salina’s commitment to recreating the video choreography beat-by-beat was at least admirable.
Watch the full lip sync here.
Loosey LaDuca vs. Spice: Joan Jett & the Blackhearts, “Do You Wanna Touch Me (Oh Yeah)”
For a song as gritty as “Do You Wanna Touch Me,” we expected these queens to get much more into it than they ultimately did. Both Loosey and Spice seemed to lack the raw, punk spirit of the song, instead aiming for safe performances that would remove them from the Lalaparuza tournament. In the end, Loosey did manage to put some funny moments into the song, earning her early exit from the contest. But, in the words of Marcia Marcia Marcia watching from a couch: “Pick it up girls, c’mon.”
Watch the full lip sync here.
Amethyst vs. Princess Poppy: Diana Ross, “Ain’t No Mountain High Enough”
Along with knowing your words, reading the room is the key to a good lip sync. That’s clearly what Amethyst did when giving her performance to Diana Ross’ rendition of “Ain’t No Mountain High Enough.” Matching the groove of the song with the vibe of her performance, Amethyst delivered a perfectly serviceable, if not somewhat boring, lip-sync to an iconic song. Princess Poppy, on the other hand, decided to show as much of her “between-me-down-there” (as RuPaul would call it) as possible, making for a very strange and one-sided lip sync.
Watch the full lip sync here.
Salina EsTitties vs. Spice: Lil Nas X, “That’s What I Want”
The real criminal in this lip sync was the choice of song. Both Salina and Spice did fine given the assignment, but we’re stuck wondering why “That’s What I Want” was the song picked out of all Lil Nas X’s discography for a Lip Sync For Your Life. “Call Me By Your Name (Montero),” “Industry Baby,” and even “Old Town Road” would have all been much better choices with clearer paths to success for either of these two queens, while “That’s What I Want” offered very little for our performers to act on.
Watch the full lip sync here.
Loosey LaDuca vs. Salina EsTitties: Kate Bush, “Running Up That Hill (A Deal With God)”
Image Credit: Courtesy Photo
Hear us out on this one. Yes, objectively speaking, this was a very bad lip sync — Loosey and Salina tried “Running Up That Hill” and instead came tumbling down it. But sometimes, a performance can be so bad that it transcends objectivity and becomes compelling again, and that’s what ended up happening here. A lip sync is meant to entertain, and watching a very sad sea monster and a hot-dog-fingered abstract painting try to convey the complicated emotions of Kate Bush’s classic single turned out to be very entertaining, indeed.
Watch the full lip sync here.
Sugar vs. Spice: Pat Benatar, “You Better Run”
Much like the “Running Up That Hill” lip sync, the inevitable showdown between Sugar and Spice entered into “so bad it’s good” territory pretty early on. Watching these twinning queens work together with matching choreography in a competitive lip sync, only to have one of them actually face-plant twice on national television is the kind of high-camp comedy we’ve come to expect from Drag Race. It’s giving pure chaos, which we simply love to see.
Watch the full lip sync here.
Anetra vs. Luxx Noir London vs. Jax: Vanessa Williams, “The Right Stuff”
There is no denying after watching season 15 that Anetra, Luxx and Jax are all incredibly gifted lip sync performers in their own right. But when tasked with performing at the same time to Vanessa Williams’ iconic “The Right Stuff,” it suddenly became very hard to follow who was doing what. Had this been a classic head to head showdown between two of these three, we imagine this lip sync could have been one for the books. But by introducing a third queen, the stage suddenly became too jumbled with kicks and splits and drops to fairly discern which queen was winning.
Watch the full lip sync here.
Anetra vs. Mistress Isabelle Brooks: David Guetta feat. Kelly Rowland, “When Love Takes Over”
The final showdown ahead of the season 15 finale was another bit of proof that dancing and stunts are not what makes a good lip sync performance. For the majority of this head-to-head, both Anetra and Mistress Isabelle Brooks remained in their respective spots on the stage, choosing to let their faces do the performing. Sure, we still got some duck-walking from Anetra and some speedbag punches from Mistress, but this lip-sync was sold by the passion in both queens’ faces throughout.
Watch the full lip sync here.
Amethyst vs. Irene Dubois: Ariana Grande, “7 Rings”
If you listen to the beat and tempo of Ariana Grande’s “7 Rings,” you’ll realize that the star’s casual-flex anthem is not that easy to dance to — and yet both Amethyst and Irene Dubois still managed to bop and shake their way into a memorable premiere lip sync. While Irene’s laid-back, sexed-up performance certainly managed to pull our attention, Amethyst’s spot-on embodiment of the track’s energy won her the day, with Ariana herself smiling in approval.
Watch the full lip sync here.
Jax vs. Robin Fierce: The Bangles, “In Your Room”
Image Credit: Courtesy Photo
The Bangles may not be an obvious pick for a RuPaul’s Drag Race lip sync smackdown, but you wouldn’t be able to tell by the way that Jax and Robin Fierce performed to their single “In My Room.” Offering up two completely different performances, Robin showed off her flowing dance chops, while Jax proved to be a lightning-fast, endlessly agile performer, each stunning the judges in their own ways. Even with her A-tier stunts and choreo, Jax still got a run for her money from Robin, making their face-off all the more entertaining to watch.
Watch the full lip sync here.
Luxx Noir London vs. Salina EsTitties: Celine Dion, “It’s All Coming Back To Me Now”
Lip-synch smarter, not harder. That may as well have been Salina EsTitties’ motto when she faced off with Luxx Noir London to Celine Dion’s iconic “It’s All Coming Back To Me Now” for the Lalaparuza. Picking and choosing when in the song she would serve emotion, camp or sexuality, Salina proved to be a master of timing with this performance. For every beat of the song, she kept viewers on their toes, wondering where she would take them next — which helps, since it left few eyeballs on Luxx’s lip sync.
Watch the full lip sync here.
Loosey LaDuca vs. Luxx Noir London: Hayley Kiyoko, “For the Girls”
There is nothing better in a Lip Sync For Your Life than seeing a queen who will do whatever she has to in order to stay, which is exactly what we got with Luxx and Loosey’s Hayley Kiyoko showdown. Where Loosey tried to show some restraint, Luxx let herself go wild in this performance. Utilizing dips, drops and more hair flips than we can could, Luxx proved that sometimes, the key to winning is being nothing but utterly confident.
Watch the full lip sync here.
Anetra vs. Jax: CeCe Peniston, “Finally”
At the end of a lip-sync marathon and performing their third number in a matter of minutes, Anetra and Jax were both understandably tired by the time they arrived at CeCe Peniston’s “Finally.” But even when they were both worn down, this pair of lip sync superstars managed to turn out one of the highest-energy lip syncs of the season. Pulling out every dance move in their repertoire to this certified bop, the queens gave viewers whiplash with how quickly we felt ourselves bouncing back and forth between their gag-worthy moves, resulting in a photo-finish decision from the judges’ panel.
Watch the full lip sync here.
Malaysia Babydoll Foxx vs. Marcia Marcia Marcia: Anitta, “Boys Don’t Cry”
Everyone loves an underdog. When Marcia Marcia Marcia was seemingly singled-out for this Lalaparuza lip-sync as a queen who could be beat, she had a tall task when it came to proving herself. Yet prove herself she did, showing everyone that she wasn’t joking when she said she was a classically-trained dancer. Every move in this performance was purposeful and clean, as Marcia whipped around the stage like a hurricane made of pure drag, leaving Malaysia deep in her wake.
Watch the full lip sync here.
Amethyst vs. Salina EsTitties: Janelle Monáe, “Q.U.E.E.N.”
Image Credit: Courtesy Photo
Guest judge Janelle Monáe said all that needed to be said when she started screaming mid-lip sync. When the original artist cannot help but yelp at your performance, you know you’ve done something right. Amethyst and Salina both knew their assignment from the song’s first note —the lyrics literally instruct you to be “a freak for getting down.” But it was Salina who embodied every ounce of swagger found in “Q.U.E.E.N,” while also adding her perfectly-executed bits (like losing her skirt for the “skirt on the ground” lyric) to make this lip sync one for the history books.
Watch the full lip sync here.
Mistress Isabelle Brooks vs. Jax: Taylor Dayne, “Tell It To My Heart”
Going up against a noted lip-sync assassin like Jax would be nerve-wracking for any queen … unless, of course, you’re Mistress Isabelle Brooks. The self-proclaimed “heavyweight champ” earned her title with this stunning lip sync to “Tell it to My Heart”. Instead of falling into the trap of attempting to outdance a trained dancer, Mistress instead focused on the drama of the song, utilizing her already-commanding stage presence for a phenomenal embodiment of this late ’80s dance-pop classic.
Watch the full lip sync here.
Aura Mayari vs. Jax: Megan Thee Stallion & Dua Lipa, “Sweetest Pie”
There was no “Pie” leftover after this lip sync ended, because Jax ate and left no crumbs. While Aura struggled to remember all the words to Megan Thee Stallion’s rapid-fire rap, Jax remained cool, calm and collected while hitting every word and every movement of this song with perfect precision. Every flip and roll she did throughout the number landed with grace, fluidly transitioning each time into her next “oh my god how did she do that” trick. We’d say that Aura did a good job, too, but if we’re being honest, we kind of forgot that she was there about halfway through this incredible routine.
Watch the full lip sync here.
Anetra vs. Sasha Colby: Fifth Harmony, “I’m In Love With A Monster”
There is a reason that this lip sync was the showdown fans had been waiting for until it finally happened in episode 8. Anetra and Sasha are two of the best lip sync artists in the show’s history, and having them battle it out to Fifth Harmony halfway through the season felt like a gift for fans who’d been dedicated to keeping up with the season. Both queens had their words, their stunts, their acting and their presence down to a science throughout this high-octane number, never letting up on the gas. How the judges decided which of these two won or lost is simply beyond us.
Watch the full lip sync here.
Anetra vs. Marcia Marcia Marcia: Doja Cat, “Boss Bitch”
Image Credit: Courtesy Photo
By every possible metric you can judge a lip sync from RuPaul’s Drag Race, Anetra and Marcia Marcia Marcia’s “Boss Bitch” performance gets a perfect score. Words? Dance moves? Face-serving? Storyline? Moments that make you say out loud “wait did she actually just leap over her body?” 10’s, 10’s, 10’s across the board.
Anetra and Marcia definitively showed what makes the Lip Sync For Your Life format — and for that matter, the art of lip-synching itself — so compelling; from the moment Doja Cat groaned “Mmm, I ain’t tryna,” both queens kept their audience rapt while they masterfully executed perfectly plotted-out presentations. While there were plenty of excellent lip-syncs throughout season 15, none of them came close to the masterclass displayed here.
Watch the full lip sync here.
A federal judge on Friday (March 31) temporarily blocked Tennessee’s first-in-the-nation law placing strict limits on drag shows just hours before it was set to go into effect, siding with a group that filed a lawsuit claiming the statute violates the First Amendment.
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The decision comes after Memphis-based Friends of George’s, an LGBTQ+ theater company, filed the federal lawsuit Monday against Shelby County District Attorney Steve Mulroy and the state.
U.S. District Judge Thomas Parker issued the temporary injunction after hearing arguments on both sides Thursday.
Parker wrote that the state has failed to make a compelling argument as to why Tennessee needed the new law, adding that the court also agrees the statute is likely vague and overly broad.
The word “drag” doesn’t appear in the new law, which instead changed the definition of adult cabaret in Tennessee to mean “adult-oriented performances that are harmful to minors.” Furthermore, “male or female impersonators” are now classified as a form of adult cabaret, akin to strippers and topless, go-go and exotic dancers.
The law banned adult cabaret performances from public property or anywhere minors might be present. Performers who break the law risk being charged with a misdemeanor or a felony for a repeat offense.
“The law prohibits a drag performer wearing a crop top and mini skirt from dancing where minors might see it, but does not prohibit a Tennessee Titans cheerleader wearing an identical outfit from performing the exact same dance in front of children,” the initial complaint contends.
Parker also listed concerns aligning with the group’s argument that the law was overly broad, questioning the location specifications of a cabaret entertainment venue that might be viewed by a minor.
“Does a citizen’s private residence count? How about a camping ground at a national park?” Parker wrote. “Ultimately, the Statute’s broad language clashes with the First Amendment’s tight constraints.”
The complaint also details the efforts last year to block a drag show at a park in Jackson, west of Nashville, as part of a Pride festival. A legal complaint spearheaded by Republican state Rep. Chris Todd and Republican state Sen. Ed Jackson sought to prevent the show, forcing organizers to reach a settlement to hold the event indoors with an age restriction.
“After abusing the state courts to violate the First Amendment rights of Jackson Pride, Rep. Todd ‘was asked to come up with legislation that would make this much more clear’ — that drag performances in front of children are a violation of Tennessee law,” the complaint argues.
Parker referenced Todd’s actions in his Friday decision, saying the state attorney general’s office failed to give a clear answer on the purpose of the new law given Tennessee’s current obscenity laws.
During Thursday’s hearing, Mulroy told the judge that he didn’t object to a temporary restraining order.
“There has been much concern and confusion about the law from the community,” Mulroy said in a statement to The Associated Press. “This will allow the court to clarify the scope, application, and constitutionality of the statute. It’s important to understand the scope of this law so that it doesn’t have a harmful effect on constitutionally protected expression.”
A spokesperson for the attorney general’s office did not immediately reply to a request for comment on Friday.
The Tennessee drag law marks the second major proposal targeting LGBTQ+ people passed by state lawmakers this year. Republican Gov. Bill Lee signed into law GOP-backed legislation banning most gender-affirming care.
Lee has faced criticism for approving the anti-drag show law, particularly since a photo surfaced of him as a high school senior dressed in women’s clothing in 1977.
Lee called comparing the two issues “ridiculous.” When asked for specific examples of inappropriate drag shows taking place in front of children, Lee did not cite any, but said he was concerned about protecting children.
After 13 episodes and the introduction of 16 queens, RuPaul’s Drag Race season 15 has finally revealed our top four queens.
On last week’s episode (aired Friday, March 24), the top five contestants took part in the now-iconic makeover challenge, transforming teachers from around the country into fabulous drag queens bearing a strong family resemblance to their respective queens.
Transforming her teacher into a sickening drag daughter named Alektra, Anetra immediately wowed the judges not only for her phenomenal makeup skills, but for constructing two iconic outfits that conveyed the family resemblance they were looking for in this challenge. The star took home her third maxi challenge win, tying her for the most wins of the season with frontrunner Sasha Colby.
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Meanwhile, after a hair-splitting critique, Luxx Noir London and Loosey LaDuca found themselves in the bottom for their makeovers of Asia Azul and Lala LaDuca, respectively. Lip-syncing to guest judge Hayley Kiyoko’s “For the Girls,” Luxx pulled out all the stops, earning a spot in the top four, leaving Loosey as the eliminee.
Billboard caught up with Loosey following her elimination to talk about her song “Let Loose” going ultra-viral following her talent show performance in episode one, whether or not she was “delusional” during her Drag Race run, and which queen she felt should have been lip syncing against Luxx instead of her.
Congrats on making it to the top five! How are you feeling about your Drag Race journey?
I feel really great — I’m so incredibly proud of the job that I did. Of course, I would love to be top four … but other than that, I really look back and am just so proud of myself for everything that I did.
Before we get into anything else, we have to talk about the sensation that is sweeping the nation — “Let Loose” is inescapable on social media at this point. What has it been like to watch this song absolutely blow up?
It’s so weird! I wasn’t sure about what the fanbase’s take would be on me, and then I was sick on the couch with COVID, when my phone just started blowing up. And it has not stopped since — every day I think, “Alright, I’m sure it’s passed.” Nope. It’s truly insane. People are now congratulating me, not for Drag Race, but saying, “Congratulations on ‘Let Loose,’ I mean, my god.”
I mean, I get it — the song just passed 100,000 streams on Spotify, so it’s worth congratulating you on!
Yeah, it’s wild. I’m getting videos of people all over the world performing it, it’s actually crazy. All credit to my very good friend Andrew Barret Cox, he wrote and produced the track; he also did “Jantasy” for Jan. He is absolutely incredible and a certified bop-maker.
Along with “Let Loose” going viral, another Drag Race moment caught the attention of none other than Kevin Bacon, who applauded your performance in the Rusical challenge! How gagged were you?
That was absolutely incredible, 100 percent the best moment of my mom’s life. I had COVID all last week, I was firmly planted on my couch with my dog, and sure enough, Kevin Bacon came up in my notifications. I was like, “Oh, I’m sure this is a Kevin bacon fan account or something.” And sure enough, it was actually him, which is absolutely insane. So now I’m one degree away from Kevin Bacon.
It helps that the Rusical was genuinely so good — from the performances to the music, it was top-to-bottom excellent.
Oh, I am so proud of the Rusical. I look back and I’m like, “God, we did so good.” The music was so good, and such earworms! They were bops, Leland and the entire team and all of the vocalists on those tracks were so talented and wonderful. I’m very honored to have been a part of, I think, one of the best Rusicals.
Now, another thing that’s being flying around the internet are accusations of “drag delusion” in your direction. After being on set and after watching the show, do you think that you were experiencing said delusion?
I think … hmm, how to put this? I think what was shown looks like delusion. That’s all! [laughs] I trust that folks can read between the lines.
In the latest episode, getting to do the makeover challenge with teachers is such a lovely idea, especially with all of the anti-LGBTQ classroom laws being passed around the country. What do you feel like you got to learn from working with teachers who are having to deal with all of this legislation?
Yeah, completely. My teacher who I got to work with — Miss Lala LaDuca, thank you very much — was just so wonderful and so sweet. You could tell that she was the type of woman who was just born to be a teacher. I think what I really gained from that was that, a lot of times, teachers are the people who teach all of their students about the world. If kids are only getting the scope of what’s at home, that’s a very small, narrow point of view. School and teachers, it is sort of their job to open kids up to the rest of the world — if they’re not being legally allowed to teach about sexuality or identity, then these laws are stifling teachers’ jobs, which is to help cultivate who these kids are! No laws should be getting in the way of that.
I do hope people understand how difficult the makeover challenge is — can you explain what it is about this challenge that makes it so tough?
Completely! I think, first of all, you’re putting drag makeup that has been designed to be perfect for your face on another human being. So now, it might not look the same — luckily, I thought my teacher looked sickening. She looked fully like a LaDuca. But the thing that’s especially hard about it is that you need to have a family resemblance, but it can’t be exact, but it can’t be too subtle. There’s so many factors in there that the judges can really pick apart, and that means there’s not usually a very clear winner or loser in these challenges, because there’s such a grey area.
Before you go, I want to talk about the placements in this episode. You mentioned in your confessional that you were shocked to be in the bottom this challenge — full tea, who did you think should have been in your spot in the bottom two?
Ooh. I think, for lack of originality, probably Mistress — she wore that gown several times on the show, so if I had to say someone, I would say her.
With states such as Tennessee and Florida taking aim at drag queens through controversial legislation, Trixie Mattel, Bob the Drag Queen and a troupe of other queens and performers are ready to fight back.
This week, Producer Entertainment Group (PEG) announced “Drag Isn’t Dangerous,” a new campaign in partnership with other LGBTQ media organizations (including GLAAD, Q.Digital, Trixie Cosmetics and more) to combat anti-LGBTQ legislation around the country through awareness and fundraising.
Kicking off as an online information campaign, “Drag Isn’t Dangerous” is set to lead up to a livestreamed, one-night-only telethon featuring dozens of artists in a series of live and pre-taped performances. The initiative has confirmed Trixie Mattel, Bob the Drag Queen, Jinkx Monsoon, Katya, Eureka O’Hara, Ginger Minj, Monét X Change, Peppermint and more as performers, with “many more names to be announced,” according to a press release.
Mattel, who recently completed her world tour with Katya, made her feelings about the state of anti-LGBTQ legislation very clear in a statement released with the news. “The only place where men in dresses sexualize children is church,” she wrote.
Bob the Drag Queen, who’s currently preparing to join Madonna on her world tour, added, “The most traumatizing thing about drag isn’t harming kids, it’s getting sent home first on Drag Race … but I can’t relate.”
Jacob Slane, a partner and talent manager with PEG, said in a statement that the organization was “sick” of the continued attacks on the LGBTQ community from state legislatures. “These bans are not just about trans people or drag performers. It is a systematic subjugation of LGBTQ people,” he wrote. “Through the ‘Drag Isn’t Dangerous’ campaign, we want to show that drag performers are not dangerous groomers, sexual deviants, criminals or whatever is the latest evangelical slur du jour. We want to raise awareness and funds to make a difference in the lives of LGBTQ people who are under attack.”
The “Drag Isn’t Dangerous” telethon will take place on Sunday, May 7. For tickets and more information, click here.
On a Tuesday evening opening for Betty Who at Nashville’s Brooklyn Bowl, drag superstar Shea Couleé decided not to mince words when introducing herself. “Some of you may know me from a little show called RuPaul’s Drag Race,” she cheekily began her comments towards the cheering audience. “Have you ever heard of it?”
She steeled herself for what she knew was coming next. “Well, I’m not going to claim that anymore, because I guess technically it’s not really cool to do drag in Tennessee — according to the Governor Bill Lee,” she said, as the audience loudly booed the mere mention of their governor. “Yeah, what the f–k?”
Coulee was just one voice among a chorus of dissent regarding Tennessee’s newly passed law that prevents drag artists from performing in public spaces. While the scope of the latest in a series of laws targeting the LGBTQ community remains to be seen, queer performers, venue owners and tour promoters are already being forced to make difficult decisions about their future.
Senate Bill 3 was signed into law on March 2, 2023 by Gov. Lee and will officially take effect on April 1, 2023. The law prohibits “adult cabaret” performances from taking place “on public property or in a location where the adult cabaret performance could be viewed by a person who is not an adult.” The legislation defines these displays as any performance that “features topless dancers, go-go dancers, exotic dancers, strippers, male or female impersonators who provide entertainment that appeals to a prurient interest, or similar entertainers, regardless of whether or not performed for consideration.”
First offenses under this law are Class A misdemeanors, resulting in up to $2,500 in fines or jail time of up to 11 months and 29 days. Any subsequent violations are Class E felonies, carrying fines of up to $3,000 or 1-6 years of jail time.
Todd Roman, the co-owner of Nashville’s premiere drag venue Play Dance Bar, says that under the wording of the state’s new statute, his acclaimed bar is now technically categorized in the same way as a strip club. “We are not now, nor have we ever been an adult entertainment business,” an audibly exasperated Roman tells Billboard over the phone. “It’s extremely offensive to have our girls categorized in the same way that you would a stripper.”
Kate Ruane, the Sy Syms director of U.S. free expression at legal advocacy group PEN America, tells Billboard that on its face, the bill shouldn’t change much about existing obscenity laws in the state. “‘Prurient interest’ is a term often used by courts, including the Supreme Court, to describe obscene material,” she explains. “That should be an incredibly narrow category of sexually explicit performance. That should mean that most drag shows, which are not remotely sexually explicit, should arguably fall outside this statue’s scope.”
If that’s the case, then why are so many people in the LGBTQ community concerned regarding the new law’s ramifications? As Ruane explains, it comes down to interpretation. “There is a risk, given some of the recent rhetoric around drag shows that we’ve heard from these lawmakers, that these laws will be enforced more broadly than would be constitutionally permissible,” Ruane explains. “That’s the Tennessee bill in a nutshell: What does it ban? Theoretically, not much. What’s it going to impact? So very, very much.”
ACLU of Tennessee agrees with Ruane’s assessment of what’s at stake here. In an official statement released alongside the news of the law passing, legal director Stella Yarbrough said that while “the law bans obscene performances, and drag performances are not inherently obscene,” there remained significant concern “that government officials could easily abuse this law to censor people based on their own subjective viewpoints of what they deem appropriate, chilling protected free speech and sending a message to LGBTQ Tennesseans that they are not welcome in our state.”
The impact of this bill is already being felt not just in Tennessee, but across the U.S. Voss Events, the creative agency behind some of the largest drag shows in the world (like RuPaul’s Drag Race Live!), already had to make a major change to one of their most successful touring shows, Werq the World.
“It’s something that we’ve always considered to be family-friendly, and we’ve encouraged teenagers and kids who are fans of Drag Race to come to the show,” Brandon Voss, the founder of Voss Events, tells Billboard. “We’ve had to make all of our U.S. shows 18+, because we don’t want our audience to have to deal with protesters. That’s the biggest effect all of this has had on us.”
As more anti-LGBTQ laws continue to pass in Tennessee than in any other state, according to the Human Rights Campaign, queer artists and fans alike are left wondering where they are and are not allowed to perform or simply be themselves. Roman explains that even the Play Mates — Play’s rotating cast of drag performers — find themselves at a loss when it comes to what is permitted under this new law.
“At first, it was a great deal of confusion. Then it went to actual fear of not knowing whether they were going to have a job,” Roman says. “We spent a lot of time keeping them abreast of the direction everything was going to try to give them some comfort. But even now with the way this law was done, they are still in a constant state of being unsure what their future holds.” Roman adds that for the near future, “Play will continue to operate as Play has always operated,” but says that the “general sense of fear” isn’t going away any time soon.
Part of what’s driving that general sense of fear is the potential chilling effect that a law like this could have not only on queer performances, but public gender expression writ large. Ruane explains that, even if the law is not enforced as broadly as many fear it will be, it could very easily still scare touring companies, promoters, buyers and theater owners out of featuring performances that would potentially violate the law.
“Drag performers are now concerned that if they continue to do what they have the constitutional right to do and conduct drag performances, they are now exposing themselves to potential liability, even criminal charges,” Ruane explains. “So they may stop doing that. The bars and libraries and venues that host them are may also feel concern that they will experience legal liability as well. And so they will stop hosting these performances.”
It’s a question Voss has already struggled with in recent years — as threats of protests continue to rise against drag shows around the U.S., he wonders whether major players like AEG and Live Nation will still be willing to take the “risk” of putting on their shows. “Are they so inclined to buy our show when they have the Proud Boys or whoever the hell showing up to protest?” he asks. “We’ve definitely had theaters tell us, ‘Hey, this show has to be 18+’ — when it never has been before.”
AEG told Billboard in a statement that they were “disappointed” by Tennessee passing their public drag ban, adding that “our company remains committed to hosting live performances celebrating diversity and inclusion at all of our venues, and this misguided law does not change that commitment.” Live Nation did not respond to a request for comment from Billboard.
That chilling effect could also manifest in peoples’ daily lives — with no clear definition of what constitutes a “male or female impersonator,” opponents of the new law point out that trans and gender non-conforming individuals have a right to be scared about their public gender expression being at risk, regardless of whether they’re performers. “I worry about that,” Ruane says. “I worry about people feeling afraid that they cannot live their lives or get dressed and express themselves like we all do. Can this bill apply to that? It shouldn’t on its specific terms, but people are reasonably afraid.”
The question remains: Where do we go from here? Roman says he approaches this kind of discriminatory legislation with the same philosophy he urges managers at Play to use: “Don’t try to rationalize with an irrational person,” he says. “That’s where we find ourselves today; there is not a rational argument here. They’re absolutely trying to frame this as being about children, but from a logical, realistic perspective, this is nothing other than a direct attack on the LGBTQ community.”
For her part, Couleé made sure to call out the hypocrisy coming from Republican lawmakers during her Nashville performance. “I think that it’s funny that people try to use us as a scapegoat for their own agendas, when really your elected officials should be out there actually protecting you,” she said. “Statistically, the number one cause of death in adolescents is guns. Not drag queens. We are not a threat to your children.”
On the legal side, ACLU of Tennessee has already committed to “challenge enforcement of this law if it is used to punish a drag performer or shut down a family-friendly LGBTQ event,” encouraging event organizers and business owners to report undue enforcements of the new law.
Ruane says that should that challenge take place, the courts will have a responsibility to strike down Tennessee’s law. “From a free expression standpoint, we have long ago decided that you cannot do this — you cannot prohibit this sort of expression, because the First Amendment says that you can’t,” she says, taking a breath. “It is just un-American on so many different levels, I lose track of them.”
Yo La Tengo made a statement during the second half of their show at The Basement East in Nashville, Tennessee on Monday night (March 14). In a rebuke of Gov. Bill Lee’s recent signing of a bill that puts restrictions on drag performances in public, the New Jersey trio’s male members, singer/ guitarist Ira Kaplan and bassist James McNew, came out after a short intermission dressed in women’s clothing.
According to the Tennessean, Kaplan wore makeup, a red dress and along black wig, while McNew donned a shawl and a sun hat, while drummer Georgia Hubley kept her same outfit. The paper said the band did not mention Lee or the controversial new law, which prohibits, “adult-oriented” entertainment, including “male and female impersonators” on public property, as well as limiting such entertainment to age-restricted venues.
And while they didn’t specifically explain their action, in a statement (via Pitchfork), said, “What we did last night coldn’t have been clearer, and requires no further comment.”
The law, which takes effect on April 1, is among a flurry of new laws being passed by conservative politicians across the country taking aim at the LGBTQ community, including a number that seek to deny gender-affirming health care to transgender children; Lee also signed a total ban on such care the same day as the drag bill. According to the Human Rights Campaign, Tennessee has passed more anti-LGBTQ laws than any other state in the U.S.
Cyndi Lauper and The B-52s also recently joined the rising chorus of voices speaking out against new laws being passed by Republicans targeting the trans community and seeking to ban drag artists.
“Equality for everybody, or nobody’s really equal,” longtime LGBTQ alley Lauper told ITK according to The Hill. “This is how Hitler started. just weeding everybody out.” Hitler’s Nazi Germany tagged gay people as “enemies of the state” and many were jailed or killed in concentration camps and Lauper said it’s imperative that we keep “fighting for civil rights.”
In a sharply worded statement issued on Wednesday (March 8), the B-52’s — also longtime advocates for LBGTQ causes — wrote, “We, The B-52’s, are deeply concerned about the numerous new bills that promote transphobia and discrimination against transgender individuals and drag artists, which have been introduced in the United States. We strongly denounce these bills and stand in solidarity with out LGBTQ+ community.”
Paramore singer Hayley Williams, a native of Tennessee, criticized her state’s governor in an Instagram story this week, writing, “Once again our state has passed two regressive and unfathomably harmful bills. We stand in solidarity with our LGBTQIA+ family and local LGBTQIA+ orgs in this fight, not only for inclusion for our friends and family in the queer community, but for radical acceptance and empowerment for each of them. Drag is not a crime. Gender-affirming healthcare for all, including our youth, is a necessity.”
Williams will perform at the March 20 Love Rising benefit show supporting Tennessee-based LGBTQ organizations that will also feature Maren Morris, Sheryl Crow, Jason Isbell, Brittany Howard, Julien Baker and many more.
Check out photos of the Yo La Tengo show below.
Ira and James playing in drag yesterday in Tennessee, in response to the anti-drag bill that passed just some weeks ago.Yo La Tengo for president, someone said at Yellowjackets, and I agree.[Photo by Chris Conrad, via FB] pic.twitter.com/Za6LTr2Jie— Ethel Baraona Pohl (@ethel_baraona) March 14, 2023
As Waymond Wang famously says in Everything Everywhere All At Once, “Please, be kind. Especially when we don’t know what’s going on.”
Daniel Kwan and Daniel Scheinert (aka “The Daniels”) certainly took that advice from their character when they accepted the award for best directing at the 2023 Oscars on Sunday (March 12). Dedicating the award to “all the mommies of the world,” Scheinert especially thanked his parents for supporting his passion throughout his life. “Thank you for not squashing my creativity when I was making really disturbing horror films, or really perverted comedy films, or dressing in drag as a kid, which is a threat to nobody.”
That final comment seemed to come as a shot at Tennessee lawmakers, who earlier this month passed a law banning drag performances from taking place on public property, claiming drag posed a threat to children. While Tennessee became the first state to enact such a ban, a number of other states — including North Dakota, Texas, West Virigina, Nebraska and South Carolina — are currently advancing similar legislation.
The Daniels were the big winners at Sunday night’s telecast, as Everything Everywhere All At Once took home a whopping seven awards out of the 11 it was nominated for, including best picture, best direction, best original screenplay, best film editing, and three of the four major acting awards (best actress for Michele Yeoh, best supporting actor for Ke Huy Quan and best supporting actress for Jamie Lee Curtis).
Check out the Daniels’ full speech following their best directing win at the 2023 Oscars above.
There’s a reason drag performers call RuPaul “mother” — if you mess with her kids, she’s going to come right back at you.
In a video posted to his Instagram on Wednesday (March 8), RuPaul called Tennessee’s new law banning drag artists from performing in public a “distraction technique” being employed by Republican lawmakers. “[It’s] distracting us away from the real issues that they were voted into office to focus on — jobs, healthcare, keeping our children safe from harm at their own school,” he said.
The new law, signed by Gov. Bill Lee on March 3, prohibits “adult cabaret” performances from taking place “on public property or in a location where the adult cabaret performance could be viewed by a person who is not an adult.” The legislation defines these displays as any performance that “features topless dancers, go-go dancers, exotic dancers, strippers, male or female impersonators who provide entertainment that appeals to a prurient interest, or similar entertainers, regardless of whether or not performed for consideration.”
Critics of the legislation have called this statue a violation of the performers’ First Amendment rights, claiming the law is an unwarranted attack on LGBTQ performers who pose no threat to children. The Tennessee chapter of the ACLU added that government officials could “easily abuse this law to censor people based on their own subjective viewpoints of what they deem appropriate.”
In his video, RuPaul called out the governor and legislators responsible for pushing this bill through. “Bullies are incompetent at solving real issues,” he said. They look for easy targets so they can give the impression of being effective. They think our love, our light, our laughter and our joy are signs of weakness. But they’re wrong — because that is our strength.”
Calling drag queens “the Marines of the queer movement,” Ru urged viewers to take action rather than watching what happens next. “Register to vote so we can get these stunt queens out of office and put some smart people with real solutions into government,” he said. “And by the way — a social media post has never been as powerful as a registered vote.”
Check out RuPaul’s full video statement below:
Tennessee lawmakers may have passed their ban on drag performances in public, but Bonnaroo is ready to stand firm with its LGBTQ fans.
In a statement released on Friday (March 3), Bonnaroo indirectly responded to Tennessee’s new law, stating that it will not let the new legislation impact the annual festival, which takes place in Manchester, Tenn. “Bonnaroo has and always will be a place for inclusivity, a safe haven for people of all walks of life and a champion of self-expression,” the statement reads. “Rest assured The Farm will remain a sanctuary for those freedoms and Bonnaroovians will see no changes in programming or celebration of self-expression at the festival.”
The news comes after Gov. Bill Lee signed Senate Bill No. 3
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into law on Thursday (March 2). It bans “adult cabaret performances” from taking place on public property or in locations where they could be viewed by minors. The bill defines such displays as any performance “that features topless dancers, go-go dancers, exotic dancers, strippers, male or female impersonators, or similar entertainers.”
The music festival is far from the only one in the industry to react to Tennessee’s drag ban. In an interview with GLAAD last week, Shania Twain said that she thought “drag shows are so fun,” adding, “I think we need this inspiration; we need drag queens to share their talent with us.”
Bonnaroo, which takes place each year at Great Stage Park (lovingly known by attendees as “The Farm”), is set to feature headliners Kendrick Lamar, Odezsa and Foo Fighters, along with a number of LGBTQ performers, including Lil Nas X, 070 Shake, Rina Sawayama and Girl in Red. Tickets for the this year’s festival, taking place from June 15 to 18, are available here.
Check out Bonnaroo’s full statement below: