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Drag Kings: The Evolution of a Subversive Art Form


In the world of drag, much attention has been given to the flamboyant and charismatic drag queens who have taken center stage in popular culture. However, the art of male impersonation—embodied by Drag Kings—has also played a significant role in challenging and subverting traditional gender norms. While Drag Queens often receive the lion’s share of the spotlight, Drag Kings have been quietly but powerfully shaping the landscape of gender performance for decades. This article delves into the modern history of Drag Kings, featuring insights from prominent figures like Anderson Toone, Leigh Crow, and Robin Mack of Houston’s Gendermyn.

A New Era for Drag Kings

The contemporary Drag King scene began to take shape in the 1980s and 1990s, coinciding with a broader cultural interest in gender fluidity and queer identities. During this period, drag performances evolved from being niche acts in underground clubs to becoming more recognized as legitimate forms of art and political expression. Anderson Toone, a renowned Drag King, recalls how this period marked a turning point for Drag Kings. “We were reclaiming masculinity, but in our own terms. It wasn’t about mimicking men, but rather, it was about exploring and exposing the performative aspects of masculinity,” says Toone.

Leigh Crow, another iconic Drag King who performs as Elvis Herselvis, adds that this era allowed for the development of diverse characters within the Drag King community. “Drag Kings started to experiment with different personas—everything from rock stars to cowboys to gangsters. We were pushing the boundaries of what it meant to perform masculinity,” Crow notes. Her own character, Elvis Herselvis, is a playful yet pointed commentary on the idolization of rock and roll masculinity, blending humor with a critical lens on gender norms.

Local Heroes: The Houston Gendermyn

In Houston, Texas, the Gendermyn Drag Troupe has been instrumental in pushing the boundaries of drag performance. Founded in the early 2000s, the Gendermyn focus on gender fluidity, and their performances often blur the lines between Drag King and Drag Queen. Robin Mack, a leading member of the Gendermyn, discusses how the troupe has embraced a community-oriented approach. “Our goal is to create a space where all expressions of gender are celebrated,” Mack explains. “We’re not just performing for an audience; we’re building a community that understands the complexity of gender.”

Mack’s own journey as a Drag King has been deeply intertwined with the growth of the Gendermyn. “When I first started, there were limited spaces for Drag Kings in the mainstream drag scene. The Gendermyn offered an alternative—an inclusive platform where different forms of masculinity and femininity could be explored,” Mack says.

The Ongoing Evolution

The modern Drag King scene continues to evolve, embracing new forms of media and performance art. Social media platforms have given Drag Kings greater visibility, allowing performers to reach global audiences and connect with like-minded artists. The community remains tight-knit, with performers often collaborating on projects that tackle social and political issues, such as LGBTQ+ rights and gender equity.

However, challenges remain. Despite the progress made, Drag Kings often face less recognition and fewer opportunities than their Drag Queen counterparts. This disparity has fueled a movement within the Drag King community to assert their place in the broader drag culture. “We’re still fighting for visibility,” Toone admits. “But that’s also what makes the Drag King community so resilient—we’re used to carving out our own spaces.”

Part 2: Drag Kings, The Prequel

Before there were Drag Kings as we know them today, there were male impersonators—performers who laid the groundwork for this modern art form. These early pioneers of gender performance, often women, played with the boundaries of gender long before the term “Drag King” was even coined. This section honors those trailblazers who challenged societal norms and paved the way for future generations of Drag Kings.

The Foremothers of Male Impersonation

The tradition of male impersonation in performance dates back to the 19th and early 20th centuries. Women like Vesta Tilley, one of the most famous male impersonators of the Victorian era, donned men’s clothing and performed as male characters in music halls across Britain. Tilley’s performances were not merely acts of cross-dressing but were also commentaries on the rigid gender roles of the time. She often portrayed dashing young men, soldiers, and sailors, challenging the notion that masculinity was an inherently male trait.

In the United States, male impersonators such as Ella Wesner and Annie Hindle gained popularity in vaudeville shows. Hindle, who began her career in the late 19th century, was one of the first women to publicly marry another woman, further blurring the lines between her on-stage persona and off-stage life. These performers were among the first to demonstrate that gender could be performed, rather than simply being a biological imperative.

The Legacy Lives On

The legacy of these early male impersonators is evident in the performances of today’s Drag Kings. Leigh Crow, who has extensively researched the history of male impersonation, points out that many modern Drag Kings draw inspiration from these pioneering figures. “They were the original gender rebels,” Crow says. “Their work was revolutionary for its time, and it still resonates today because they were questioning the same societal norms that we’re still fighting against.”

Anderson Toone agrees, noting that the historical context adds depth to contemporary Drag King performances. “Understanding where we come from helps us appreciate the significance of what we’re doing now. We’re part of a long tradition of performers who have used drag to challenge and redefine gender,” Toone explains.

Conclusion

Drag Kings, both past and present, have played a crucial role in the ongoing conversation about gender and identity. From the male impersonators of the 19th century to the vibrant Drag King scene of today, these performers have consistently pushed the boundaries of what it means to perform gender. As we celebrate the contributions of modern Drag Kings like Anderson Toone, Leigh Crow, and Robin Mack, it’s essential to also honor the trailblazers who came before them. Together, they form a rich and often overlooked history that continues to shape the future of drag performance.

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part 2-vintage drag kings
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“Drag Kings @ the Diner” San Francisco, 1997
photo by Del LaGrace Volcano, from “The Drag King Book”
left to right, Leigh Crow, Harriet Dodge, Alix Izen, Anderson Toone

Houston Gendermyn
Below left, Robin Mack, aka Clint Torres
Below right, l to r, Riffle L Coxxx, Koomah, Pedro Asty, UVAndy, and Clint Torres, June 2011

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Gmyn-Riffle L Coxxx, Koomah, Pedro Asty, UVAndy, and me Clint Torres-june2011sm

Below, a telling full-page article from the Washington Post, 1924,
concluding that boys can “masquerade” as a girl better than the reverse.

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No, I’m sure they didn’t call themselves “Drag Kings” then, but I found a
fascinating 9-page articles on this, from a 1963 issue of “Female Mimics”

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