Whether you know it or not, your first introduction into drag probably occurred in your childhood living room. You may have found yourself watching a segment of Some Like It Hot on TCM or the iconic Divine receiving a formal introduction to the ’60s as Edna Turnblad in the John Waters’ hit Hairspray.

But for Skyler Bell, that entry point to the world of drag came while watching the 1995 film To Wong Foo, Thanks for Everything! Julie Newmar, starring Wesley Snipes, Patrick Swayze, and John Leguizamo. That movie stoked their budding passion for drag, and years later, Bell would come to be known as Thee Native Supreme: India Taco, gracing the stages of The Bluff, Dru’s Bar, and Hi Tone.

Bell began doing drag when they were in college at Mississippi State University and has been performing for the past four years. Having grown up on a reservation in Choctaw, Mississippi, they even hold the honor of being the first drag queen from their tribe. And while Bell will always hold their humble beginnings and origins close to them, they realized they wanted more and moved to Memphis to pursue drag full-time.

The path Bell took is one that many aspiring Mid-South drag performers have walked. But what is it that draws people toward Memphis drag? There’s no doubt that the Bluff City is bursting with talent, and many of the performers who call Memphis home have worked hard to build up those talents.

“When I first started doing drag in this city, it was very old-school, pageant drag. It was all about female impersonation, and this certain level of polish. There was almost like this unspoken rule of how things had to be done,” says Slade Kyle. They are a full-time drag entertainer, also known as Bella DuBalle, and serve as the show director at Atomic Rose on Beale Street.

However, as drag navigated into the mainstream, more styles began to appear. According to Kyle, if you’re lucky enough to get a front row seat to see the fifth season of Atomic Rose’s “War of The Roses” competition, you’ll see a diverse showcase of drag ranging from horror and camp drag to drag kings and pageant drag. Kyle says this is so audience members can get an idea of “all the crayons in the coloring box of drag.”

Local activist, drag queen, newly crowned Miss Mid-South Pride, and Memphis Flyer 20 < 30 honoree Moth Moth Moth (Mothie for short) remembers when they started doing drag at Dru’s in 2016 in a “little orange dressing room,” with goth makeup and “really weird, obscure songs.” They recall performing with seasoned veterans like Beverly Hills, who began to appreciate this new, artistic way of drag.

“That type of perception was really early in Memphis,” says Mothie. “That eventually became much more of what everybody’s taste is now. Now people really appreciate, and identify, and love the gender fluidity of Memphis drag, and the way that so many different spaces are open.”

Keleigh Klarke (Photo: Gingersnap Photography)

Memphis drag is not only characterized by diversity and its ability to push the envelope, but it also holds true to the infamous grit-and-grind nature of the city. Kelly McDaniel, famously known as Keleigh Klarke on stage, has been doing drag in Memphis since 2001 and recalls a mantra that’s held true through it all. “If you can do drag in Memphis,” he says, “you can do drag anywhere.” McDaniel explains that it’s tough to do drag in Memphis, but you’ll find that masked under slayed lace fronts, Kryolan Paint Stick foundation, and MAC eyeshadow is a performer with thick skin.

“Our audiences here, they’re tough. This city by nature is a rough, hard city, and it takes a lot to impress people,” says McDaniel.

“It can be rough here, and it can be a rough industry for new entertainers to get into, but I think one of those things that sets us apart is that for the ones who do make it in the city, and do make a name for themselves and do make a legacy and a reputation and image, it makes you tough, it makes you grateful, and it makes you work a little bit harder because you want to keep that spot and keep proving yourself.”

Aubrey Ombre (Photo: Courtesy Aubrey Ombre)

Performers like Bell recognize this, and they also say the drag community in Memphis wouldn’t be what it is now without the legends that came before them and the legacy they cemented. Bell thanks not only veterans like McDaniel but also Kiera Mason, DuBalle, and Aubrey “Boom Boom” Ombre.

“If you go to a show, then you know Aubrey Boom Boom,” explains Bell. “Inside and outside of drag, that woman is everything. She’s helped me out, and the community, on and off the stage.” The legend Bell speaks of is Memphis native Aubrey Wallace, known not only by her stage name but also as the title-holder of Miss Gay Memphis 2019.

Miss Gay Memphis, formerly known as Miss Memphis Review, was one of the first crowns made in Memphis following the Stonewall riots. “Back then, it was illegal to do drag, so they had to wait until around Halloween to actually throw a party and dress up,” explains Wallace. “The Gay Memphis crown was created from that aspect of life. It has so much meaning to it and so much history that if someone competes for it, it’s a big honor to do so because you’re being a part of history and carrying on a legacy that has been passed on from generation to generation.”

As a queen with 12 years under her belt, Wallace possesses a wealth of knowledge that she’s always ready to share with newcomers. And her story starts at Backstreet Memphis, a place that many veterans say served not only as a launchpad for their career but also as a safe haven for their community. Performers like Wallace received their first glimpse into the gay club scene in 2010 at Backstreet, where their performance on the dance floor would capture the eyes of the club’s resident queens.

“They ended up putting me in my first drag show,” Wallace says.

McDaniel also remembers networking with the entertainers at Backstreet Memphis, who in turn taught him the basics of drag such as makeup. The club closed its doors in 2010, but its impact and legacy have been kept alive by those who experienced the magic firsthand. While many find it can be hard to pinpoint what exactly did it for Backstreet, McDaniel explains that it paid homage to the “hedonistic excess of those mid-to-late-’90s, early 2000s.”

“On a Saturday night, by 12, 12:30 at night, you could stand on the upper level and it would be a sea of people all in that space.” Clubs like Spectrum have tried to recreate this magic and succeeded in doing so for a new generation, but nothing has seemed to have the vibe that Backstreet possessed.

“Nothing recaptures the energy that was there, but that was a different time, too,” says McDaniel. “There was a lot less equality and inclusivity at that point for the gay community, so that was our place to go. It was also open to anyone else who wanted to be a part of that environment.”

A lot has changed since the glory days of Backstreet. Wallace has noticed a change in her confidence, which enables her to help prepare new performers take to the stage. “We’re open to taking people under our wing and getting them started and a stage to start on,” she says. “With me, when someone comes to me, I teach them the way of life first and teach them what you’ll go through and some of the obstacles you’ll have to overcome. Then I’ll teach them the aspect of drag.”

Those lucky enough to be one of Wallace’s “drag children” are privy to family dinners and family outings, where they’re taught the values of life, humbleness, and things they need to succeed in the drag world.

“You have to be respectful and mindful of who has helped you, and who came before you,” Wallace says. “As I grew up, I learned from so many legends. Some that are not here, some that are still here, like Alexis [Marie Grayer-von] Furstenburg, Beverly Hills, Kiera Mason. A whole bunch of them. They’ve groomed me into who I am today, and since then I’ve stayed humble, I’ve stayed respectful, and I’ve always fought for everyone’s fairness and rights.”

Wallace’s dream for the “next generation of drag” stems from a hope that they will be able to show their talents on stage and come in “shining bright as a star.” She sees the potential in them, yet there has been a number of obstacles recently that may change the way a newer and younger generation interacts with drag.

Still, it’s almost impossible to have a conversation about drag without mentioning the influence of RuPaul’s Drag Race. The show first aired on February 2, 2009, and is hosted by drag superstar RuPaul. The competition-style reality show follows a group of drag queens who compete for the title of America’s Drag Superstar.

Many credit the show as being a pivotal part of bringing more acceptance and awareness to the drag community. This, coupled with social media platforms such as YouTube and TikTok, has allowed the public to interact with the drag community without leaving their homes.

“By pushing it into the mainstream, more people are aware of drag,” Kyle explains. “They’re more aware that it is an art form. There’s a lot of easy misconceptions if you don’t know what drag is.”

In turn, making drag more mainstream through this kind of exposure encourages more nuanced discussions. These discussions can lead to more education and understanding of the art form.

In an October 2022 interview, Mothie told the Flyer that the demographic for drag is changing, and it now includes 14- to 22-year-olds. Mothie also said that younger people “deserve a piece of this culture.”

However, there are opponents of drag, including many lawmakers in Tennessee, who have been working to make sure that younger audiences don’t have access to it.

On September 23, 2022, a family-friendly drag show at the Museum of Science & History (MoSH) was scheduled as the ending celebration of the museum’s Summer Pride programming. However, the event was canceled by event organizers after a group of armed Proud Boys arrived.

Jackson Sun writer Angele Latham reported in October 2022 that a Jackson Pride drag show, which was also initially advertised as “family-friendly” and slated to be held at a local park, was limited to participants 18 and older after weeks of meeting with lawmakers.

This began to amplify the conversation of whether drag shows were appropriate for kids, or “family-friendly.”

In November 2022, the Flyer also reported that legislation was filed by Tennessee Senate Majority Leader Jack Johnson that could potentially make public drag shows in Tennessee a crime.

Johnson proposed that new language be added to Section 7-51-1401 that defines “adult cabaret performance” as “a performance in a location other than an adult cabaret 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.”

This proposed new amendment would prohibit drag performances on public property and other public spaces. If passed, this law would apply to drag shows in the state of Tennessee.

The bill also goes on to make performing in “adult cabaret performance” on public property or “in a location where the adult cabaret performance could be viewed by a person who is not an adult” a Class A misdemeanor. Repeat offenders face a Class E felony.

Performers agree there are forms of drag that are family-friendly and some that are not. However, Kyle notes that this holds true for every medium. Wallace also explains that performers know that what they perform in front of children will be different than what they perform at a nightclub.

For many, the answer to whether kids should be exposed to drag performances is simple: If you don’t want your kids to see it, then don’t bring them to a drag show. But the truth is that they’ll have access to it in other ways, whether it’s through HBO Max’s Trixie Motel, Allison William’s performance of Peter Pan, or the childhood rite of passage of playing dress-up.

“We’re all born doing drag. Every kid knows what it’s like to put on a costume and pretend to be something else,” says Kyle. “I think it’s incredibly important for kids to have access to [drag.] Not just for the kids that will be queer. It’s important for every kid to understand that their differences make them special.”

Many performers agree that drag serves not only as an outlet to express emotions but also as way to find yourself. Drag is an art form, Mothie reiterates, and when you start to limit people’s ability to express themselves, the aftermath can be harmful.

“I know personally for me growing up, I was always in my parents’ shadow because everyone says I had the same talent as my mom and dad,” adds Wallace. “That was something I had to get away from because I wanted to be me and who I am, and find who I really am. Drag helped me do that. Kids in general will never know who they are or who they want to be if you can’t let them express it. Whether it’s dressing up in their mom’s clothes, watching a play or something like that, [drag] has saved a lot of people’s lives. It definitely saved my life.”

With the complexity of drag and its positive influences on culture and the economy, many are baffled that lawmakers are working to criminalize it. Activists like Mothie have been fighting tirelessly against proposed “pointless” legislation and believe there’s a lot more for lawmakers to worry about than drag performances.

“Tennesseans should take pride in how strong our drag is in Tennessee, how much Tennessee is an incubator for what’s next in drag for the rest of the country,” says Mothie. “Everybody knows, just don’t nobody tell the truth: Memphis is where it’s at. Memphis will always be where it’s at. Drag will only get stronger here, despite the BS legislation that’s coming down on everybody.”

A Senate hearing on Tennessee’s anti-drag bill (SB 003) was scheduled for Tuesday, January 31st, after our press deadline. Follow memphisflyer.com for updates.

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