JACK SCREW
(Jack) So, um That's a tough one because I feel like I have two sides of Jack that I enjoy. One would be the performance I did at the last Qamp show…. Like very statement-making… Dramatic… like I thought about doing ‘Wonder’ by Shawn Mendes to doing a t-shot for so long and that felt very quintessential.
(Jack) Yeah, but it's particular.
(Jack) Yeah, and I don't know another just like go-to song. I honestly need that. I need a go-to mix That's what I'm working on now because I need something that I can just whip out.
That's a good balance of fun. Yeah, well choreographed too. Mm-hmm… Easy to execute.
(Jack) I don't know. I don't know yet, but something kind of upbeat ironically sexy… so kind of like what you might do with the next one. Yes. Yeah but I'm also not putting that much finesse into this next one, but yeah, I like yeah vibe. But I'm also terrified of things not being choreographed. I want to be nonchalant so bad… Unfortunately, I'm so chalant …
(Jack) Easy, I feel like I'm gonna start with the frustration because it's easier and I don't End on complaining.
(Jack) Yeah, but what gets me is the fact that you have to do every single part. And you could, you know, take choreo inspiration—you could, yeah, just use a single song—but to do what I consider to be like a full-on drag performance with a mix? You need to learn how to mix it. You have to master it and send it to the right person in the right format. You have to choreograph it. And you need to do your makeup. And you need your costume. And it’s just like—it can feel insurmountable if there’s one part you’re not super comfortable on.
And I felt that for a little while, where I’m like, “I don’t know how to move. I don’t know how to dance. How am I supposed to do a whole thing?” So that’s frustrating—but that’s also one of the best parts about it. Yeah. There’s so much flexibility. You can just do it from scratch. And I love that there’s no way to do it incorrectly. That’s the most liberating thing for me. Yeah, I spent a lot of my youth doing competitive orchestra, and I was a competitive violinist. Bad times.
Yeah, and it’s like—that is so restrictive. It’s all about perfection, and perfect timing, and posture, and positioning. You have to breathe at the right time. Mm-hmm. Drag is the complete opposite of that. Mm-hmm. And some of my favorite drag is quote-unquote imperfect—where people just let it go, just freestyle, interact with the crowd. You can never predict how that goes.
Like—oh! The exchange. The energy exchange is unlike any other type of performance or art, where a lot of times there’s this conception of being respectable when you are in a separate place. To break that? Incredible energy. Oh, it’s so energizing. That’s my favorite thing.