"What big teeth you have Grandma... the better to eat you with!"
Drag Performer in Dallas in lewd outfit sparks outrage from community
WOLF IN GRANDMA'S CLOTHING
There's an iconic scene in the story of Red Riding Hood when she comes into her grandmother's house and is expecting to see someone that she trusts, but is instead shocked to discover that the very person she believed was safe turns out to be the most dangerous person she could have imagined. This story has for a long time been a cautionary tale for children of all ages to beware of those who pretend to be safe but are actually out to destroy you.
The story of Red Riding Hood is a perfect analogy of what is occurring today with Drag Queen Story Hours. They are portrayed as safe, friendly and fun, but most people have no idea that this entire movement is a trap meant to attract young impressionable children and to get them close enough to be eaten by the metaphorical jaws of the wolf in disguise. While many view these events as harmless, they are wholly unaware of the underhanded design of these events, and how they are designed to lull children (and their parents) into a false sense of security in order to lure them into the trap.
What is this trap I speak of? Read on to get a glimpse into the dark history of Drag Queen Story Hour...
THE TROJAN HORSE THAT IS DQSH (DRAG QUEEN STORY HOUR)
You're a good person right?
That's why you're a perfect target for the new movement that is spreading across our nation and our world. This movement is dubbed Drag Queen Story Hour and it is primarily being marketed to children. The sales pitch is that this movement is about promoting inclusion, tolerance and equity to those who were marginalized by society.
Sounds pretty good right? I mean, who wouldn't be in favour of inclusivity, tolerance and all the positive sounding words they use?
But what if that's just a cover for something more sinister and less wholesome? What if that is just what the people who created this new movement want you to hear so you won't object to their true goals; their true agenda?
Don't take my word for it though. Hear it directly from the very people who created the entire premise and organization that plans and promotes Drag Queen Story Hour: Harris Kornstein and Harper Keenan in their article describing the entire idea called:
"Drag Pedagogy: The playful practice of Queer imagination in early childhood.
Harris and Harper are the architects of DQSH and so we can gain a very effective insight into what Drag for kids is really all about.
Now thankfully, Christopher Rufo has provided a very detailed and very helpful summary and analysis of the major points of their paper on DQSH and they can be found here:
Harris Kornstein was a “genderqueer” college professor and drag queen —stage name Lil Miss Hot Mess—who hosted some of the original readings in public libraries and wrote the children’s book The Hips on the Drag Queen Go Swish, Swish, Swish. Kornstein sits on the board of Drag Queen Story Hour, the nonprofit organization that was founded by Michelle Tea in 2015 to promote “family-friendly” drag performances and has since expanded to 40 local chapters that have organized hundreds of performances across the United States.
Harper Keenan is a female-to-male transgender queer theorist at the University of British Columbia. They together are responsible for the manifesto for the movement cited above (they're co-authors).
Rufo describes their essay as follows:
"The essay begins by applying queer theory’s basic premise of social constructivism and heteronormativity to the education system. “The professional vision of educators is often shaped to reproduce the state’s normative vision of its ideal citizenry. In effect, schooling functions as a way to straighten the child into a kind of captive alignment with the current parameters of that vision,” Kornstein and Keenan write. “To state it plainly, within the historical context of the USA and Western Europe, the institutional management of gender has been used as a way of maintaining racist and capitalist modes of (re)production.”
In other words, the goal of their project is to disrupt the existing order (which they consider to be oppressive) and bring a complex gender theory into the minds of impressionable young children. This is stated in this quote:
To disrupt this dynamic, the authors propose a new teaching method, “drag pedagogy,” as a way of stimulating the “queer imagination,” teaching kids “how to live queerly,” and “bringing queer ways of knowing and being into the education of young children.” 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.
So according to these authors, the goal of DQSH is to groom children into the Queer mindset. The goal is to deconstruct easily manipulated children's notions about traditional sexuality. They also state that this is NOT about inclusion or tolerance of the LGBT community:
“Building in part from queer theory and trans studies, queer and trans pedagogies seek to actively destabilize the normative function of schooling through transformative education,” they write. “This is a fundamentally different orientation than movements towards the inclusion or assimilation of LGBT people into the existing structures of school and society.”The ultimate goal of this movement is recruitment of children into the Queer community and away from their family which they see as oppressive:
For the drag pedagogists, the traditional life path—growing up, getting married, working 40 hours a week, and raising a family—is 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 “binary between womanhood and manhood,” seed the room with “gender-transgressive themes,” and break the “reproductive futurity” of the “nuclear family” and the “sexually monogamous marriage”—all of which are considered mechanisms of heterosexual, capitalist oppression. The books selected in many Drag Queen Story Hour performances—Cinderelliot, If You’re a Drag Queen and You Know It, The Gender Wheel, Bye Bye, Binary, and They, She, He, Easy as ABC—promote this basic narrative.
A key distinction that is made by these architects is that the idea that DQSH's are "family friendly" is a complete fabrication. What they mean by "family friendly" is referring to the Queer community, not the biological family unit. In other words, it's family friendly in the sense that it's goal is to recruit children into the Queer community, which is ultimately the goal of these events:
Though Drag Queen Story Hour events are often billed as “family-friendly,” Kornstein and Keenan explain that this is a form of code: “It may be that DQSH is ‘family friendly,’ 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 ‘family friendly’ in the sense of ‘family’ as an old-school queer code to identify and connect with other queers on the street.” That is, the goal is not to reinforce the biological family but to facilitate the child’s transition into the ideological family.
After the child has been acclimatized to the world of the Queer that drag performers are building, they are then indoctrinated with overt Queer Theory, which tries to change their view of sexuality entirely: After the norms of gender, sexuality, marriage, and family are called into question, the drag queen can begin replacing this system of values with “queer ways of knowing and being.” Kornstein and Keenan make no bones about it: the purpose of what they call drag pedagogy, or the “pedagogy of desire,” is about reformulating children’s relationship with sex, sexuality, and eroticism.They describe drag as a “site of queer pleasure” that promises to “turn rejection into desire” and “[transform] the labour of performance into the pleasure of participation,” and DQSH as offering a “queer relationality” between adult and child.
As Christopher Rufo points out, the foundational goal of this effort is to overturn the idea of "childhood innocence" in order to normalize the idea that anyone can engage in sexual liberation - including children:
They litter their paper with sexualized language and double entendres, blurring the lines between adult sexuality and childhood innocence. In fact, as the queer pedagogist Hannah Dyer has written, queer pedagogy and, by extension, drag pedagogy seek to expose the very concept of “childhood innocence” as an oppressive heteropatriarchal illusion. “Applying queer methods of analysis to studies of childhood can help to queer the rhetoric of innocence that constrains all children and help to refuse attempts to calculate the child’s future before it has the opportunity to explore desire,” Dyer writes.
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 Keenan’s language of the discipline—“pleasure,” “desire,” “bodies,” “girls,” “boys,” “glitter,” “sequins,” “wigs,” and “heels”—gives it away.
So it is incredibly obvious by the admission of the architects of DQSH themselves that the purpose of these events is to recruit children into the Queer ideological family and then to reorder their view of sexuality into one that favours and supports sexual liberty for children. Interestingly enough, the authors know full well that if the general public realized what they were really up to, they would reject this movement wholesale. They actually address it quite explictly as well, that they must maintain the ruse in order to dupe the general public into supporting these efforts to sexualize children.
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 Hour’s defenders claim that these programs are designed to foster LGBTQ “acceptance” and “inclusion,” Kornstein and Keenan explicitly dismiss those objectives as mere “marketing language” that provides cover for their real agenda.
“Though DQSH publicly positions its impact in ‘help[ing] children develop empathy, learn about gender diversity and difference, and tap into their own creativity,’ we argue that its contributions can run deeper than morals and role models,” they write. “As an organization, DQSH may be incentivized to recite lines about alignment with curricular standards and social-emotional learning in order to be legible within public education and philanthropic institutions. Drag itself ultimately does not take these utilitarian aims too seriously (but it is quite good at looking the part when necessary).”
In other words, as a movement, 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 “site[s] of queer pleasure” with their children.
So as you can see, the creators of DQSH are ideological college professors who are trying to use Drag as a cover for their real goal which is to sexualize children by recruiting them into the Queer ideological community using Drag Pedagogy as their chosen instrument. All the talk about inclusivity and tolerance is just a cover for the true aims of the movement.
So in order to bring to completion the title of this section, Keenan and Kornstein are acting like Dr. Frankenstein and Dr. Jekyl in that they are fully engaging in a full scale social experiment on children which will have monstrous consequences on them for years to come. Dr. Frankenstein thought he could create life by chopping together body parts, just like trans activists are trying to create a new life in children by chopping off and tacking on new body parts. Dr. Jekyl thought he could transform human nature using experiments just like these ideologues believe they can change human nature by playing God with social experimentation, the results of which will ultimately pave the way for full scale acceptance of pedophilia if left unchecked.
I encourage you to read the entire rest of the Christopher Rufo article to get the full context of the statements of these dangerous and radical gender ideologues.
Just remember though that they - being the creators and architects of DQSH - have stated that the goal is to sexualize children, not to foster inclusion and/or tolerance for Trans people. Like the Mad Doctors of fiction, these modern mad scientists want to experiment on young children, no matter the cost or the risks.
Doctor Frankenstein doing his experiments on his hapless victims
BAD FRUIT - THE SCANDALOUS CONDUCT OF Drag Queens & Trans Influencers
HERE ARE SOME VERY SAD BUT ALSO VERY NECESSARY EXAMPLES OF DRAG QUEEN CONDUCT AT MAJOR EVENTS.
These lewd and often sexually explicit performances don't make sense if you think these are just innocent "family friendly" events, but if you take into account what we've just explored from the two creators, we can see that it is fully in line with their goals of normalizing sexually lewd behaviour so that children can be groomed into the new Queer pedagogy they want them to join.
Remember, the goal is to normalize fetish behaviour through exposure.
Elephant in the Room - The very serious problem within the LGBT & Drag Community
There is a very sad but very concerning problem with child predators within the LGBT community that seldom if ever gets addressed. From the litany of major figures suspected of serious problems with children (Harvey Milk, Alfred Kinsey & John Money, Volkmar Sigusch, or even Michel Foucault), there remains a very serious concerning problem of pedophilia that everyone should be aware of:
So we see after this long list that there is a very concerning trend within the drag (and LGBT) community of child predators within. This is by no means a blanket assumption of the people doing drag, but it is a very strong warning that we have to be extra careful about who is allowed to be around children, especially when drawing people from a performance art that is primarily for adult entertainment. Parent's should be extra vigilant about who is allowed access to their children, and these examples should serve as a warning.
For the love of Scooby-Doo
There is a very typical revelation at the end of every Scooby-Doo episode that is often the fun payoff. Once the gang captures the culprit, they unmask them, and it is always a shock for everyone to discover that the person they all thought was innocent turns out to be the villain.
That is what is happening right now with the Drag Queen Story Hour movement. These Drag Queens are portrayed as innocent, fun loving and harmless entertainers for children (and some of them may be) but they are part of a major movement that it's creators have explicitly said is designed to groom and recruit children and to sexualize them in the Queer ideological world. It's predatory by nature.
This is why we see so many examples of extremely sexually inappropriate performances happening. This movement is primarily designed to sexualize children, which is why we see so many examples of this behaviour.
This is also why we have a troubling trend of Drag Queens or DQSH allies being busted with child predator charges.
Just like in Scooby Doo, the people we think are trustworthy are the very ones we need to be wary of. Unless more people become aware of the very intentional and purposeful plot happening to Queer the kids, we will not capture the culprit, stop their spree, and save the day. Let us hope that one day, those responsible will say
"And I would've gotten away with it too, if it weren't for these meddling kids."