#queenofdrags

Queen of Drags, episode #6

Queen of Drags, episode #4

ZEITUNG ONLINE 11/11/19

Interview: Rabea Weihser

https://www.zeit.de/kultur/musik/2019-11/conchita-wurst-tom-neuwirth-queen-of-drags-heidi-klum

Conchita Wurst : "For me as a man, this is very difficult to discuss"

Is drag cultural appropriation? Tom Neuwirth alias Conchita Wurst sits on the jury of the new Heidi Klum show "Queen of Drags" and must hear many allegations.

Tom Neuwirth just turned 31 years old. At 17, he reached the second place in the Austrian talent show "Starmania" and was a member of the boy band Jetzt Anders for a short time ! In 2012 he took part in the Austrian preselection for the Eurovision Song Contest (ESC) for the first time in the guise of his art figure Conchita Wurst. The protest was big: Should a woman with a beard represent the country? Two years later he tried again and won the biggest singing competition in the world for Austria. Now Neuwirth has gotten rid of the long hair and released his third album "Truth over Magnitude". As of November 14, he will appear on the screen of the casting show "Queen of Drags" alongside Heidi Klum and Bill Kaulitz on ProSieben. Since the announcement, there has been strong criticism of this broadcast format - especially from the queer community. How does Neuwirth handle it? We meet him in October in a hotel in Berlin, he sits down and hums a happy fanfare.

ZEIT ONLINE: Mr. Neuwirth, you have short hair and now appear as Wurst, without Conchita. From the press release for your new album, we take that is now your "masculine-edged" contrast program. Does it always need an art figure that embodies a certain facet, or at some point you can sometimes say, "My name is Tom Neuwirth and that's all"?

Tom Neuwirth: I have the feeling that I am now as close to my private person as never before. Maybe last was when I was 17 and at Starmania. I constantly get the question: Is it him or her now? I then always entice myself to open a drawer to explain to people what is actually going on. In the end, it's just me, and sometimes with a wig, sometimes without, sometimes masculine, sometimes feminine.

ZEIT ONLINE: Without this glamorous costuming you are probably much more approachable, even for the fans.

Neuwirth: Of course, I notice that without the wig the situations in which people recognize me become more and more frequent. And I'm not sure how funny that is. Barbara Schöneberger once said that she would not be recognized on the street if she did not wear make-up. I'm trying that too. (laughs out loud)

TIME ONLINE: Not really, right?

Neuwirth: Of course it's a double-edged sword. I have understood in recent years: The lightness and the world in my head are not always compliant with a First Lady Conchita in a pencil skirt and well-shorn hair. What I'm doing now is part of my personality that I have not lived up to now in a female appearance. I've always danced to electro music privately and thought to myself: Why do not I make music that I like?

ZEIT ONLINE: Does Truth over Magnitude mean a musical cut or is it more in your production?

Neuwirth: I had created a President's wife and worked and lived according to this protocol. I lost myself after the song contest. Musically, of course, it's a different sound, although on my first studio album, I already had numbers that were relatively electronic. But they did not get that much attention. And so, yes: it was probably the larger cut optically. It was the bald spot. It freed me.

ZEIT ONLINE: With this bald head you were in February at the side of the Austrian Minister of Justice Josef Moser (ÖVP) at the Vienna Opera Ball. When you won the ESC as a bearded lady five years ago, especially conservative politicians made a derogatory remark. Heinz-Christian Strache, Vladimir Putin, Jarosław Kaczyński ...

Neuwirth: Everyone was there. Thanks for the attention. (Laughs)

ZEIT ONLINE: How do you assess the situation of trans people and homosexuals in Europe today? Could you do something with your presence?

Neuwirth: I think that something has changed in the media mainstream. Even when I talk to teenagers, I notice a sensibility that I did not know before - that's when I'm being reprimanded when I say something wrong. And that, I think, is a beautiful development. But I tend to forget that I live in a bubble too.

ZEIT ONLINE: We have to talk about the great mustard yellow lacquer stilettos you are wearing right now.

Neuwirth: You can tell that I'm from Los Angeles. I looked at myself today and thought: Ah, there is a bit left over!

ZEIT ONLINE: You were in California to shoot with Heidi Klum and Bill Kaulitz the new ProSieben show Queen of Drags. This is a format inspired by Ru Paul's Drag Race, a talent show for drag queens that is very successful in the USA.

Neuwirth: Let's say what it's like: Ru Paul's Drag Race has shown a growing generation that individualism is great. This has been consumed in my community for ten years. And that has also made us a bit stronger. But when I see a couple of two women or two men in Vienna, I think it's nice, but I still notice how special that is. And I believe, as long as that is still the case, we can not say that there is equality.

ZEIT ONLINE: The German audience knows Dragqueens rather in the form of Olivia Jones, Lilo Wanders or Mary from the jam advertising. They called them Tunten and always liked to bring them as birds of paradise in front of the camera, if it should be colorful or even slippery. So, if you've only seen this before, you may be wondering, what is Drag?

Neuwirth: We all make drag. We go out in the morning with our worklook, our working face, and that is already a form of metamorphosis. In this culture of stage performance, drag is a total work of art by a person who must have an incredible number of talents. In the most understandable sense, it is the illusion of a female figure.

ZEIT ONLINE: ... portrayed by someone born in the body of a man?

Neuwirth: Not mandatory. There are also women who make drag. There are also heterosexuals who make drag. There are no limits, and that's great. At Queen of Drags, we have guys who portray their version of a female illusion. This is sometimes very close to reality, with beard, others have rather created an alienesque being. I said to all my friends, they have to try dragging once.

ZEIT ONLINE: Why is that important?

Neuwirth: This mask you put on makes you uncompromisingly yourself.

ZEIT ONLINE: If you put them back then ...

Neuwirth: No. Quite simply said: You disguise yourself and this shield is a bit unrestrained. You have other conversations, you are safer in your skin. One alienates and then comes to himself. The next day, when the make-up is down, you may not be as sassy as last night. But you have learned something emotionally, and you take that with you. To see how far your own character is, how much fun you can have with you: this is one of the most beautiful experiences you can do.

ZEIT ONLINE: Cologne Carnivalists would probably say so synonymous. Is it important for this borderline experience to change into the opposite sex?

Neuwirth: No. But the illusion of the opposite sex is a bit stronger than, for example, a toadstool costume. Because, in this case, you get in touch with your female side, which is what many boys do not do, gay or heterosexual.

ZEIT ONLINE: Drag is really a pretty committed subculture. Were you traveling in this scene before you thought up Conchita Wurst?

Neuwirth: I think I was in Drag for the first time when I was 15. I went out and never felt better and more comfortable. The Drag scene in Austria is not really big, but I was looking for my stages somehow. I moderated or sang shows, danced wherever I was allowed to. When I took part in the preliminary round of the Song Contest for the first time in 2012, suddenly there were so many opportunities for me. And I was allowed to travel. Here in Berlin, I met and understood Barbie Breakout, Melli Magic and Gloria Viagra: Ah, that's the sisterhood that everyone is talking about. I love this drag community so much because we can all be a little bit more than we want. With all our emotions and sensitivities and our ego sense of being. But when the going gets tough, we stand up for each other.

ZEIT ONLINE: Every year at carnival time is discussed whether in view of the colonial history, children are still allowed to disguise as Native Americans. Miley Cyrus was scolded in 2013 because she was twerking, and actually only black women with round butts do. Canada's Prime Minister Justin Trudeau is in for trouble because he went to the carnival 20 years ago with a dark face as Aladdin. If one wishes to continue this thought, one could also call drag a kind of cultural appropriation: men, who are generally in a stronger social position than women, play womanhood for entertainment. How do you see that?

Neuwirth: That's very interesting. And in certain parts that's probably true. I also found myself in situations when I worked with colleagues and the press afterwards wrote: I was great and she was vulgar. Then I realized: Oh, I'm still a white man. This imbalance prevails and it is absolutely right to think about it. It is true in part, it is an appropriation. But I think skin color is not a costume.

ZEIT ONLINE: What fascinates you about this appropriation of femininity?

Neuwirth: I was raised by strong women, I love women. The first almost 20 years of my life I listened almost exclusively to female singers, everything else I found boring. Empress Elisabeth or Maria Theresia were also such inspiring personalities, and that cultures inspire me is just as legitimate. But it is incredibly sensitive and difficult to handle properly.

ZEIT ONLINE: A flow of feminism criticized the Drag especially the representation of exaggerated female characteristics, while fighting for equal rights and reduce gender stereotypes. In modern societies, men become slightly more feminine and women more masculine. Why does the drag scene love the conservative female look?

Neuwirth: I breathe individualism. And I would find it terrible if suddenly we were all unified. I'm not concerned about gender roles. My point is that everyone recognizes his own color and paints himself with it. But why should not an overly feminine woman like Pamela Anderson be a feminist?

TIME ONLINE: This feminist current would now answer: she can not be a feminist because her looks are based on the satisfaction of the male sex drive. If she keeps dressing like that, she betrays women fighting toxic manhood.

Neuwirth: But why ... For me as a man, this is very difficult to discuss because I will never understand it authentically.

ZEIT ONLINE: This is the core of the discussion about cultural appropriation. The social or psychological pressure on marginalized people can not be understood from the outside. Do you have the right to disguise yourself as her?

Neuwirth: How could one find an answer to that? I put on clothes, because I find it stunningly beautiful. And not because I think about stepping on someone's neck ...

ZEIT ONLINE: ... or, if you agree with the image of those who may find it beautiful?

Neuwirth: Yes! I'm sorry, in my world it's all about me. I have only one life and I would like to have it as nice as it gets.

ZEIT ONLINE: The criticism of your participation in Queen of Drags must have met you. Especially drag queens have publicly lamented the sell-out of their subculture. Is not it also a kind of cultural appropriation by Heidi Klum, who is not a drag queen, to profitably use this subculture as an entertainment program?

Neuwirth: Maybe. I take this opportunity to bring the drag theme into mainstream and find that Heidi, even if she is not from that scene, has an absolute right to judge a performance. She comes from entertainment and is probably one of the most famous German-speaking people. Would this format have been achieved without her? Maybe not now, or maybe never. Or maybe on a slot, where nobody would have been interested. She is of course a multiplier and a very sensitive one. The criticism was incredibly loud, and I was a little bit confused, because our community always strives to be inclusive, inclusive and without prejudice towards people.

ZEIT ONLINE: I read a quote from the drag queen Dita Whip regarding the jury constellation: "Finally Conchita Wurst will sit next to the extrovert over the top Heidi and watch, powerless how Klum and ProSieben clog their pockets at the expense of queer culture."

Neuwirth: (laughs softly) I would not let that "powerless" stand. (laughs louder) I talked to my friends because I too needed to be sensitized, especially with regard to this cultural appropriation. I am relatively naive and draw my inspiration from everything I see and experience. I was told that financial enrichment was the main problem. And I can understand that for a while. I hope, but also that our Queens have careers according to this format and can do what they like most every day. I focus on that. Not that this statement is now total nonsense, but I think the truth is in the middle.

ZEIT ONLINE: Can I accuse you of opportunism?

Neuwirth: opportunism? I need a translator now, please.

ZEIT ONLINE: Once you said in an analogous sense: Maybe my career will last another 20 years, I just take everything with me. Let ProSieben pull you out of the car to bring credibility to the show?

Neuwirth: Oh, opportunism!

ZEIT ONLINE: There is money, attention, airtime. Is it justified to offend parts of the sisterhood? Or say, "Yo, run with me, that's the business"?