Two and a half years ago, I spoke in Vancouver at Q2Q: A Symposium on Queer Theatre and Performance. After I delivered my paper, I became a focal point for criticism—though not because of my the content of my presentation. The controversy emerged in the Q&A, when I mentioned the fact that I was not only a gay man, but also a drag queen. Members of the audience stood up and opined about the apparently problematic practice of a white drag queen (like me) lip-synching to “appropriated music”—by which they meant music originally written and performed by non-white artists. It is undeniably true that drag queens (of all races) have a special affection for the work of divas of colour—and pay homage to these idols by lip-synching. It’s also true that gay and drag entertainment culture is centered in large part around pop music more generally. This is an industry that owes much to musicians of colour, who often have had their work used or co-opted without adequate compensation. But while this was a fair …