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Tennessee recently  that bans drag from being performed in public spaces, as well as in the view of children. Although Tennessee is the first state to enact such a ban, it is unlikely to be the last, as others with conservative legislatures are . Some states proposing bans have , which involves drag performers reading books to children in public spaces, such as libraries.

So why does the American public suddenly need to be protected from drag?

The answer to this question has deep roots in modern U.S. history.

Tennessee鈥檚 ban on drag is not an isolated event. Rather, it is only the latest volley in the broader culture war between American conservatives and progressives to define the values of the country.

A Century-Long War

In 1991, sociologist  alerted Americans that the nation was in the midst of a perpetual culture war that would 鈥渃ontinue to have reverberations not only within public policy but within the lives of ordinary Americans everywhere.鈥�

Examples of early culture war battles include the 1925 , in which a Tennessee high school science teacher was prosecuted for violating anti-evolution laws, and the 1962  that deemed school-sponsored prayer unconstitutional.

Culture war conflict came to a head in the 1980s and 1990s, with Senate hearings over the perceived dangers of  and obscenity in .

Social scientists largely thought the culture wars had receded at the turn of the 21st century. Then, former President Donald Trump鈥檚 battle cry to 鈥淢ake America Great Again鈥� rallied troops back into action.

As Hunter noted in his monumental tome, culture war disputes usually intensify during times of upheaval, such as changes in the country鈥檚 demographics and shifts in the distribution of political power. These shifts lead people to wonder exactly whose values, languages, religions, and opportunities are respected or promoted by the government, law, and popular culture.

Not surprisingly, cultural conflict tends to emerge within institutions that have practical implications for Americans鈥� lives: family, public schools, popular media, public art, and law.

Ripe Conditions for a New Battle

The first Drag Story Hour . It was organized by author and queer activist Michelle Tea and the San Francisco-based literacy nonprofit RADAR Productions. The  of Drag Story Hour is to celebrate 鈥渞eading through the glamorous art of drag鈥� and create 鈥渄iverse, accessible, and culturally-inclusive family programming where kids can express their authentic selves.鈥�

Because these performances take place in public spaces and in front of children, they hit upon a couple of important culture war triggers.

First, public performances can spark cultural conflict because they can signify exactly whose values are prioritized over others. Second, art and performances that reach audiences of children are often perceived as a threat to the family as an institution.

For example, in the 1980s, some activists and politicians viewed profane music as a threat to the family. This led to the introduction of  to identify music deemed inappropriate for children.

鈥淲hen Librarians Were Nice Christian Ladies鈥�

As social scientists who study gender and culture, we recently  that were posted on social media forums.

In our analysis, we found that many grievances centered on institutions and values crucial to the culture wars.

We found that conservatives reminisced about a time when their values were dominant in American society and rehashed old culture war narratives about 鈥�.鈥�

They specifically expressed nostalgia for a time when American culture was anchored by conservative values, and progressive views existed on the periphery of public life. As one forum member lamented, 鈥淲hen I was a kid, the librarians were nice Christian ladies and there was an American flag outside. My current public library [has] scary levels of liberal posters and talks.鈥�

Some conservatives also used rhetoric reminiscent of the 鈥溾�� of the 1980s and 1990s by claiming that drag performers were satanic pedophiles who sought to recruit, groom, and sexually abuse children. Others argued that parents who take their children to Drag Story Hour should be jailed or lose their parental rights.

The Safety of Children as Political Fodder

In our view, it鈥檚 no accident that Tennessee鈥檚 ban on drag specifically targets drag performed in front of children.

Emphasizing threats to children is a well-established strategy for conveying the decline of American culture and values. As sociologists Joel Best and Kathleen Bogle have noted, adults often  concerning a perceived disintegration of traditional norms onto younger generations, whom they believe need to be shielded.

In the 1970s, anti-gay activist Anita Bryant launched her 鈥淪ave Our Children鈥� campaign. Claiming that gays and lesbians were 鈥渞ecruiting children鈥� to their cause,  anti-discrimination statutes.

And in the 1980s, , such as rising divorce rates and an influx of working mothers, fueled a moral panic that .

Almost half a century later, fears regarding advancements in LGBTQ+ rights have  in schools and stoked claims that drag performers are satanists who terrorize children.

The deployment of these well-worn narratives is unlikely to end with legislation like Tennessee鈥檚 drag ban. Rather, it will continue as long as conservatives and progressives battle to define American values.

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