At nearly every drag and burlesque show, performers frequently encounter a common question: "How long have you been doing this?" For many, including Vicious Mockery, the drag persona of Charli Renken, the answer is complicated and layered with years of personal history and artistic evolution. Renken's debut in this vibrant art form occurred just this past January at the performance variety show Glamorama, but her journey into drag began long before that moment on stage.

Reflecting on her past, Renken recalls that her first experiences with drag-like expression were embedded in her childhood. Growing up, she immersed herself in various creative outlets, including cosplay and high school talent shows, often dressing up as male characters. These early ventures into performance not only served as a means of expression but also as a therapeutic outlet amidst challenging family circumstances, such as the trauma of a house fire and navigating her father's struggles with alcohol. Renken emphasises that drag, for her, has always been more than just performance: it has been a vital tool for processing her emotions and understanding her identity.

This perspective speaks to a broader narrative within the drag and burlesque communities, particularly as these art forms face increasing scrutiny and censorship under the guise of protecting children. Renken asserts that drag should be accessible to young audiences, not relegated to adult-only spaces. This sentiment resonates with initiatives like Drag Queen Story Hour, a programme started in 2015 by author and activist Michelle Tea, aimed at fostering early engagement with literature while promoting diversity through queer role models. Critics argue that such events risk inappropriate sexualisation, while supporters highlight their role in encouraging creativity and inclusivity among children.

The historical context of drag and burlesque reveals the cyclical nature of their acceptance and rejection within society. Once thriving in underground venues during Prohibition, these forms of performance offered safe havens for marginalised communities. Local institutions like the Baton Show Lounge, which gained fame for hosting prestigious events such as the Miss Continental pageant, have also weathered the storms of societal change—from police raids in their early days to a more mainstream acceptance today. Nevertheless, as Renken points out, the struggle persists against modern-day legislative attacks on drag performances, often framed as necessary measures to protect youth.

In her inaugural column for the Rhinestone Digest, Renken aims to highlight not only her experiences but also the vibrant local drag and burlesque scene in Chicago. She aspires to shine a light on diverse performers and the original productions that bring unique artistry to the stage. Additionally, each month, she plans to provide audiences with a curated list of noteworthy shows and events, inviting engagement with the local culture. This month, as Pride celebrations take centre stage, Renken encourages readers to support and participate in an array of festivities, signalling the importance of community and visibility during this celebratory time.

As the drag and burlesque communities navigate contemporary challenges, the resilience of artists like Renken serves as an inspiring reminder of the enduring power of performance as a tool for personal and collective expression. Whether it is in the comfort of their own homes or under the bright lights of a stage, the message remains clear: drag is for everyone, and its ability to save lives and foster connections is as vital today as it has ever been.

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Source: Noah Wire Services