intended to reduce the rallies to a farcical shambles. The Festival of Light was the most notable of these. One of those who embraced this style of activism was Bette Bourne, the message of gay liberation being couched in comedy, song, tap routines and make-up. "We were finding a new way of doing drag that wasn't offensive to women, that wasn't about false tits and distasteful jokes. We saw ourselves as a new type of man. We could wear frocks and make-up and be silly and funny, but we had a serious message, too." This began a tradition of drag continued through the work of performers like David Hoyle down, a style of drag, separate from the aggressive form of "female impersonation". Another figure who was involved in the disruption was Martin Corbett, who walked into the basement of Westminster Central Hall, ordered the staff to leave with an assumed authority, and plunged the Festival into darkness by disconnecting the electrical and broadcasting cables. Peter Tatchell described the Festival of Light as being against the "moral darkness" of "pornography, homosexuality and abortion." The GLF counter-protest was code-named "Operation Rupert' after the subversive 'Rupert Bear' cartoon in OZ magazine. He attended the Festival action as part of the GLF Youth Group. "When Malcolm Muggeridge, speaking out about homosexuals, declared: 'I don't like them.' The feeling was mutual," the group he was part of staged a "kiss-in" in the upper balcony of the hall. "Mice were released into the audience; lesbian couples stood up and passionately embraced. A dozen GLF nuns in immaculate blue and white habits charged the platform shouting gay liberation slogans, and a GLF bishop began preaching an impromptu sermon which urged people to 'keep on sinning. Radical Drag The theme known as "radical drag" was a central element to the Festival of Light and subsequent GLF actions. In response to ideas about the 'wrong-sex', gay people distanced themselves from stereotypes of effeminate gay men and butch lesbians, in a way in which gay people were supposed to appear like anybody else. Within the Gay Liberation Movement there was also a deeper questioning of the validity of gender roles. The philosophy underlying radical drag rejected the concepts of masculinity and femininity, which correlated to ideas of dominance and submission. The idea of men who are really women, or of 'real men' dissolves in this deconstruction. In dissociating from the