Known as “the gem you’d love to polish,” Texas Burlesque Performer of the Year 2011 Ruby Joule talks bed sheet corsets, shattered bones, cop dramas, biker bars, and reckless abandon.

Interview: Divertida Devotchka

Q: First of all, congratulations on being voted Texas Burlesque Performer of the Year at last month’s 3^rd Annual Hot Rods and Heels! As if that weren’t enough, the troupe you co-founded, The Jigglewatts, won Texas Troupe of the Year for the second year in a row! That’s quite an accomplishment! Care to comment on this achievement?

Thank you so much! We all work so hard at this art form, and it’s wonderful to be acknowledged.  It was quite an honor to be named among other performers who dazzle and inspire me on a regular basis.  I am extremely flattered to have won the award.  The Jigglewatts is an endeavor I’m especially proud of.  We’re celebrating our five-year anniversary this year and that in itself is huge to me! I’m so grateful that even with all of our solo projects, we’re also able to function together as a strong troupe.

Q: In your last interview with Pin Curl, you mentioned that you make and re-purpose all of your costumes and props. Now that you’ve become a national presence in the burlesque world, are you still creating everything yourself? If so, do you intend to continue doing it yourself, or do you think at some point you’ll have to commission assistance to get your ideal costumes and props as your visions grow bigger and bigger?

Yes, I’m still doing it the old-fashioned way, haha!  My costumes are all self-made collages in one way or another.  Practically speaking, I don’t think I could properly explain to another person exactly what I want in a costume.  Although, I did a fashion show this year where I was asked to do a burlesque striptease out of a specially designed wedding gown to Billy Idol’s “White Wedding” as the finale of the show.  The designer and I met several times for fittings, and I explained how I needed zippers and trouser hooks on each piece… I admit it was a luxury not having to do all that myself; I felt so pampered! I can also definitely see the benefit to having custom created corsetry– that is something I would never attempt… again.  When I was about 13, I tried to make a corset out of fabric from an old bedsheet and some boning I found in my grandmother’s sewing chest.  I wanted a corset so badly, I was determined to make one myself!  I would definitely commission a prop maker, as I have little to no experience there, especially with the big props!

Q: What is your advice for gals whose budgets are much smaller than their dream costumes and props?

I was once lamenting this very thing when a wise producer told me, “creativity goes a long way in making up for what you lack in budget.”  I would say don’t underestimate the treasure trove that a thrift store can be. You can find pieces to repurpose and amazing one-of-a-kind fabrics.  Also, think quality rather than quantity. Maybe your costume doesn’t need 20 layers; you can have just a few pieces that look really stunning.  Also, you might be able to collaborate with a designer who wants to get their name out there, and split the cost of materials.  It can be an expensive art form, that’s for sure.

Q: Also in your previous feature with us, you mentioned that a devastating foot injury when you were a teen led you to shift focus from ballet to theater and other “less punishing” dance styles. If you don’t mind me asking, what kind of injury did you sustain and how long did it take for you to recuperate? I ask because after watching you perform numerous times, I would have never guessed about any injury, let alone such a serious one.

I was in ballet rehearsal one day and just happened to land a jump wrong.  It sent three cracks through my heel bone, effectively shattering it.  We didn’t realize anything serious was wrong until after I had walked around on it for several days and the pain and swelling got really bad.  I had to drop out of the ballet performance and hobble around in a cast for several weeks.  I was young so I bounced back, but classical ballet is so hard on the body, the feet and knees in particular.  I guess maybe it happened at a crucial age, because my dancing was never the same.  Everything happens for a reason though, and I’m glad I’ve gotten to explore and love other types of performance.

Q: Not only are you an award-winning burlesque performer, but you’re also an accomplished actress on stage and screen as well as a model. Tell us about your acting pursuits as of late, as I’ve heard you’ve been quite busy!

Ah yes! There have been some exciting projects lately in television, film, and modeling.  I got to co-star as the girlfriend of an arms dealer on NBC’s cop drama, Chase, about U.S. Marshals working in Texas.  When we filmed, I had to wear a tiny microphone pinned to the inside of my shirt so they could get a clean capture of my lines, but the wire it was attached to had to be hidden in my wardrobe.  We ended up snaking the wire down the leg of my skinny jeans– quite an absurd and silly process, and hiding the rest in my boot!  The episode aired in early May.  I was also in a film called Natural Selection, a southern dramedy starring Rachael Harris (the mean fiancé from The Hangover), and Matt O’Leary (Sorority Row). I played a trashy girl who hustles the male lead in a biker bar, then makes off with all his money and his car. Charming, right?  My only complaint was that wardrobe had me wearing flip flops and a denim mini skirt.  You’d never wear that to a biker bar! Not if you planned on getting a ride, anyway. I’m very happy for this film, as it swept the awards at the SXSW film festival and has been selected for many other prestigious festivals. Variety predicts that it will land distribution soon, so fingers crossed.  In fashion, I’m thrilled to be working with couture designer Boudoir Queen.  I walked the runway for her “Secret Circus” event here in Austin in February, and am traveling with her to Aspen in August for another fashion event. Her designs are pure decadence with a burlesque twist.

Q: You’ve been traveling and performing all over in the last year or two. Other than your multiple performances in New Orleans with Bustout Burlesque and the New Orleans Burlesque Festival, where else have you been?

Oh, travel is one of my headiest addictions! In the past year I’ve gotten to travel and perform in Chicago with Michelle L’Amour, Los Angeles, Las Vegas, and… Norman, Oklahoma!

Q: While doing my research, I was interested in a quote from another interview of yours, in which you said that your primary inspiration comes from the audience as opposed to anything else, and that it’s crucial for a performer to connect with his or her audience. What advice do you have for newer performers who are trying to learn the art of making that connection?

It takes practice, so keep trying! The first time I stepped out on a burlesque stage I didn’t expect to be frightened, but I was terrified! There’s something very raw and vulnerable about burlesque because in most cases, all the creative decisions are your own.  There’s no other writer or director responsible if it doesn’t work. It can be tempting to shut down emotionally and just give a pretty “presentation” rather than engaging the audience in your performance. In any type of theatre, burlesque included, the audience wants to be moved. They want to have an experience that makes them feel something! Delight, surprise, longing, ferocity, reckless abandon?  Whatever your goal is, you must take yourself there first! Make yourself feel it, and the audience will come along. It’s human nature.  You can learn to read an audience– sometimes they’re quiet and reserved, which does not mean they don’t like you, contrary to popular belief.  It may mean you have to play it coy, flirt with them in a different way. Maybe they’re just mesmerized!  Go see other burlesque shows and observe the audiences, how they react, what draws them in.

Q: What’s next for Ruby Joule?

Oh, so much my head is spinning! But I’m grateful to be so busy doing what I love.  There will be more travel; to New Orleans and Toronto for festivals, and Aspen for a fashion event.  I’m also working with a brilliant artist who is creating fine art pieces and a comic character based on my burlesque work.  I hope to incorporate more vocals into my acts as well.  Maybe it’s my theatrical roots, but I love talking to the audience a la Gypsy Rose Lee and Blaze Starr.

Meet the Pinup Angels

by: Shoshana

A group of girls gathering in a quaint living room, writing love letters, signing photographs, and sorting through piles of snacks would like the makings of a good old fashioned slumber party, but for The Pinup Angels this is business as usual.  Founded in 2007 by US Marine Miss Kitty Baby of Seattle, The Pinup Angels seek to “use [their] Pinup Superpowers to send morale care packages to our deployed troops”.   Their super powers have now grown to hundreds of care pages being sent out every other month corresponding with the national holidays, by Pinup Angels from all over the country.  Care packages include all kind of goodies from practical items like socks and snacks (jerky, nuts, and candy are popular items) to fun items like pin-up magazines, toys,  thank you cards, and of course- signed pin-up photographs.  Inspired by Kay O’Hara ‘s personal approach to supporting our troops, the gals take the time to make sure each package has a hand signed photograph and hand-written note or letter.

Unlike the first wave of war time pin-ups, which included famous names like Betty Grable and Rita Hayworth, our modern times mean that now it’s not just men serving in the armed forces.  Depending on which stats you read, between 15-20% of our military is made up of enlisted women; as a US marine herself, Miss Kitty Baby is acutely aware of this. When quoted the statistics regarding the incredibly high number of female soldiers with sexual harassment and rape reports against their male counterparts[1], and asked if she ever had concerns about the safety of sending pin-up care packages to male soldiers, Miss Kitty responded, “We send our pinups for the purposes of morale and a friendly face from home in a manner that mimics a wartime history.  With that intention, we don’t worry too much about it being taken the wrong way because we know in our hearts they are sent with love and respect”.

In fact, many female soldiers request care packages from The Pinup Angels, and they fill those requests with “gal packages” for female soldiers, which in addition to girly items, also include pin-ups.   “We get wonderful feedback from the females thanking us, telling us how we motivate and inspire them, and that a shipment of our pinups always raise morale”, says Miss Kitty Baby.  It seems a love for the All-American pin-up is common among all soldiers, regardless of gender.

All of the care package items are paid for with donations from Pin Up Angels fans via their website:  www.thepinupangels.com or at one of the seemly endless fundraising events the Pin Up Angels produce or attend to raise awareness and money for their mission.  Which begs the question, how can we help? “We really just need anything that can be added and sent that comes from our community.  Unique items like calendars, promotional images, and magazines from our subcultures are always nice because they are something that can’t be normally bought on the news stand. “, says Miss Kitty Baby. To send Items

One of the really neat & unique things about the Pinup Angels is that you don’t have to be a member to donate pin-up images to the troops!  Are you a pin-up model or photographer with images to give?  Send pin-ups.

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Meet some of the gals:

Miss Kitty Baby- Founder, Seattle

Q: Are you personally connected with a veteran, or anyone currently on
active duty?

As a veteran myself, I hold a personal connection to all those who are serving or have served in our military forces.
Q: Fondest memory as a volunteer with The Pinup Angels?
Our first veteran’s hospital visit.  It took the least effort and had the most instant impact on the veterans we visited.  Every single other thing we have done as a group follows closely behind though!
Q: Favorite cocktail?
Crushed Velvet
Q: Favorite vintage film?
Sands Of Iwo Jima.  John Wayne as a Marine…Dreamy!
Q: Who should be cast as you in a movie about your life?
A younger Susan Sarandon.

Christina Rini- Team Lead, California.

Q: What is your favorite Fourth of July tradition?

Singing the National Anthem before or during our fireworks show.

Q: Are you personally connected with a veteran, or anyone currently on active duty?

I come from a family of Marines. My brothers have served several tours of IRAQ, and I have several Marine friends who are serving now or whom have served. I am also involved in my local VFW, Post 6213.

Q: Fondest memory as a volunteer with The Pinup Angels?

I will never forget my first year with the Pinup Angels at Ink N Iron. We had a father and son come to our booth. The father had come across us at previous show and naturally we gave him our information and what we do as an organization. We sent a package out to his son. So that first show at Ink N Iron I had with the angels, both father and son came to our booth. It was very moving to see his son, alive and in one peace and grateful beyond all belief for us sending him a package. It was just great seeing how much they appreciate the little things, and that’s when I knew I was in the right place…helping out with an amazing organization!

Miss Lilly Day- Team Lead, East Coast

Q: What is your favorite Fourth of July tradition?
Fireworks at the Beach!
Q: Are you personally connected with a veteran, or anyone currently on
active duty?
My husband is active duty Coast Guard
Q: Fondest memory as a volunteer with The Pinup Angels?
My most favorite would have been at a show we did in Pongo, VA that was a 1940′s Valentine’s Day Hanger Dance.  I had the honor of meeting a WWII Veteran, who spent a wonderful hour telling me stories and how much myself and The Pinup Angels reminded him of the better days.  The smile alone on his face warmed my heart so much and at some moments brought tears to my eyes!

Q: What is your biggest indulgence?
Vintage Purses! Can never have too many!

Becky Lee- Volunteer, Las Vegas

Q: Are you personally connected with a veteran, or anyone currently on
active duty?

Yes, my grandfather is a veteran who served in WWII in the Pacific, my uncle is a Vietnam War veteran and in my boyfriend’s family are Marines.
Q: Fondest memory as a volunteer with The Pinup Angels?

Tough question because there are so many, but I would defiantly say meeting the men and women that received our care packages when they were deployed. It is such an awesome surprise to be working an event and have them come up to the booth and introduce themselves.

Q: Your perfect date scenario would be:

A night of sushi, dancing and snuggling would be awesome. Or going to the fair, ride the Ferris wheel, eat cotton candy and deep fried Twinkies.

Mighty Mo- Volunteer, New Mexico

Q: Are you personally connected with a veteran, or anyone currently on active duty?

My husband is a veteran and a recipient of a Purple Heart and many of his Army friends are still actively serving stateside as well as overseas.

Q: Fondest memory as a volunteer with The Pinup Angels?

My fondest memory was seeing faces of the wounded warriors light up when we smothered them with love and attention during the Wounded Warrior Project Auction we attended at the Playboy mansion as well as our visit to the Seattle and Lakewood VA hospitals on Veterans Day and spending time with the old vets in the dementia unit.

Q: Who should be cast as you in a movie about your life?

I think it would have to be Milla Jovovich. Being that I am not American I would love to be played by her. I think she would do me justice. Hahaha…

Q: What is your biggest indulgence?

Shopping for vintage things. Whether it is an old blender or a beautiful gown, if it is of the right era and in good condition I simply cannot turn it down.

Molly Crabapple, the founder of Dr. Sketchy’s Anti-Art School, took time out from her ridiculously busy schedule to talk divine mindlessness, Manet’s Olympia, maximalist aesthetics, hillbilly angels, guys with machine guns, and absinthe.

Interview: Divertida Devotchka

You’re the founder of Dr. Sketchy’s Anti-Art School, which now has more than 100 drawing salons throughout the world. Exactly how many Dr. Sketchy’s schools are there at current count? What first gave you the idea to mix cabaret/burlesque with art and drinking games, and did you ever imagine it would grow to the extent that it has?

Right now there are 130 Dr. Sketchy’s making trouble around the world.  When I thought up the idea as a broke art school dropout and former artists model, I wanted to fuse my passions for drawing and burlesque, but I had no idea that it would ever grow into this giant art octopus.  We’re on 5 continents, in cities from Akron to Zagreb, and have done everything from illegal flashmobs to parties at the Museum of Modern Art.

I’m very interested in one of your current projects, called “Molly Crabapple’s Week in Hell,” in which you plan to lock yourself inside a rented room for 5 days, completely cover the walls in paper and subsequently cover all the paper with your art. The entire process will be documented by photographer Steve Prue and the resulting materials will become a book of the same name. You’ve stated that your goal is to leave your studio and comfort zone and test your limits as an artist. What expectations do you have of this event?

I’m turning 28 in a few months, and wanted to kind of say goodbye to a period in my career.  I didn’t have a particularly easy start to my career, and I got a lot of blowback, both for being a young woman and for having worked in the naked girl industry.  It left me with sort of a chip on my shoulder.  I wanted to do something hard and definitive to say goodbye to that. I was talking with Warren Ellis, and had conceived of a very art wanky impossible to fund project, when he said “No.  Just rent a room.  Cover it in paper.  Fill it with art.”  So that’s what I’m doing.  I don’t know what will happen, except the sort of divine mindlessness you get when you draw way too much.

You recently spoke at a panel about women, muses and paintings at the Brooklyn Museum. You mentioned that your favorite work, Olympia by Manet, would likely be the focus of your discussion. I’d love to hear about your thoughts on the piece and why it’s your favorite.

Olympia is fuck-you confrontation in a pearly pink package.  The painting is of a famous courtesan, lying there, surrounded by her servant and all the luxury her business has earned her, staring at the viewer with these cold, impermeable eyes.  ”I dare you to judge me.”  It was rejected from the Salon, and the reason why was that the guys visiting it would have slept with her, and there she’d be, looking at them hard from the canvas.

You learned to draw in a bookstore in Paris. I’d like to know more about that experience and how you ended up there.

When I was 17, I was lucky enough to take off for Europe, and stumbled across Shakespeare and Company bookstore.  The legendary owner, George Whitman, saw me sketching outside and invited me to live there, along with the Tumbleweeds, a ragged, international group of poets and musicians that slept on the velvet covered couches.  It was one of the finest times of my life.  Seeing a grandly generous art endeavor like that last 50+ years (in fact, it’s still around, under the leadership of his daughter Sylvia), is deeply fucking inspiring.

You appear to be fascinated by Victorian and Rococo fashions, and you mention that artifice is your favorite subject. Tell us about your feelings on those topics and the notion of beauty as a mask.

I love both of those time periods of their maximalist aesthetics that hid an almost insane cruelty.  Sores under velvet patches, all of that. I came of age amongst underground performers- strippers, drag queens, burlesque girls, whose self-willed, and self -created beauty, was more interesting to me than that of any fashion model.

How and when did you start performing burlesque and for how long did you perform?

I started performing burlesque when I was 20, and kept at it till I was 24. While I did quite enjoy it, I was never very good.

You illustrate “Puppet Makers,” a DC Digital graphic novel described as a steampunk saga, which is currently in its third issue. You also have the graphic novel “Straw House” coming out in 2013, and if I read correctly, it’s about immortal carnies in the fifties. Please explain a little more about that project, as it sounds fascinating!

Straw House is the story of an immortal carnival that descends upon a small Appalachian town.  When ringmaster Al Kelly decides he’s looking for an heir, the resulting struggle will tear the carnival, and the town, apart.  It’s about love, family, rock and roll, and a gang of hillbilly angels.  I’m doing it with my constant collaborator John Leavitt.  We really hope we do a good job.

I saw a brief mention on your website of a stint in Turkish jail. Seriously? Do tell!

It was 3 hours because I was drawing in the South East and probably looking dopey.  The Jandarma were nice, but a group of guys with machine guns not letting you leave is scary.

You describe your art as “if Dr. Seuss backtracked through the time-space continuum and commissioned Toulouse-Lautrec to reimagine his storybooks.” From where else do you draw your inspiration?

Drunk bullshit sessions with friends, the London student riots, depraved nightclubs, underground performers, the scratch an ink pen makes going across cold press paper.

You’re notoriously mad about absinthe, so I’d like to know, what are the best and worst absinthe-drinking experiences that you’ve had?

Best? Probably my party on Tuesday, swigging it from the bottle, while pink haired rockstar Kim Boekbinder stood atop by flat files and played me “Absinthe makes my heart grow greener.”

Worst?  Night train from Budapest to Paris.  It was still illegal in most of the EU, and I shared the car with a Japanese kid who was smuggling it in.  As soon as the Austrian border police left we drank it all like monkeys.  Ended up in English garden in Munich with him, and have no idea how…

Anything you’d like to add?
Work hard, make friends, and don’t give up.

LA based make-up artist, model, and burlesque performer Kira Von Sutra talks her love for Danny DeVito, blood and gore, and shares her Zombie Apocalypse plan with us, which of course- involves whisky.

By: Vivienne Vermuth

Q: You describe yourself as a “makeup slingin’, gore-lovin’, burlesquing model” from Tulsa, Oklahoma.  How long were you involved with burlesque in Tulsa before moving to Los Angeles?  I imagine the two scenes are dramatically different; what are the biggest differences you’ve noticed?

The Tulsa scene is obviously smaller!  I was in the 1st revival troupe in Oklahoma; we started in 2003, so I was performing Burlesque for 6 years before I moved to Los Angeles. We didn’t have the option of taking Burlesque classes; we had to figure everything out ourselves. The resources there for costuming are also pretty crappy. You have to order everything online so it tends to be more expensive. Now that I live in LA I have the fashion district at my finger tips. It makes it 100% easier to achieve the costumes and characters I have in my head.

Q:  Currently you are in school studying makeup artistry.   What have been some of your favorite experiences doing makeup? Any celebrities?

I actually finished school over a year ago. I have worked on my share of celebs: I did the makeup for the It’s Always Sunny in Philadelphia live show, the comedy short for The Golden Gods Awards on VH1, and makeup for www.funnyordie.com and www.thebloodfactory.com

Doing makeup for and on and for Danny DeVito is always a treat. Not only is he hilarious but he is hospitable and genuine. He fed the workers on set better then I feed myself! Dan Aykroyd was also amazing to work with, but when I did makeup for the Golden God awards I was silently freaking out. I am a HUGE fan of metal. I got to work with and be around some of the most famous and talented musicians in the metal world.

Q:  How would you describe your burlesque style? Do you try to interject your love of horror into it and your modeling?

As much as I love traditional burlesque, rock and roll and horror burlesque is where my heart is. Combining the two is heaven. Performing burlesque to Shout at the Devil dressed as a glam ram-horned Satan while spitting blood at people pretty much sums me up as a person and a performer. As far as modeling goes it’s the same. I love the idea of looking like a traditional pinup, wearing latex, being covered in blood, and wielding an axe. I find that there is SO much traditional pinup and burlesque that I like to spice things up my way. Horror has played such a huge roll in my life since I can remember;  I completely surround myself with it. It’s in my house, tattooed on my body, and in my blood. I grew up with Freddy as a hero. My Grandmother and Mother are big fans too so as a family we used to watch movies and old TV shows together.

Q: Speaking of gore, you recently talked about your contingency plan in case of zombie apocalypse. Care to share with us? Sure! My boyfriend and I are HUGE zombie fans. We know where the closest gun store is to us. We’ll head there first, grab supplies, then haul ass to Texas for my boyfriend’s father’s ranch to hold up. He has lots of firearms and whiskey! Q: What’s currently on your plate? What can we look forward to seeing from you in the near future? Currently I have been working hard on sewing, millinery, making hair accessories, and costuming for burlesque performers. I’ve also been heavily considering getting into designing latex lingerie and clothing. I’ve been in cahoots with the Fishnet Follies to start burlesque classes in LA to teach a few different makeup classes:  Makeup for Stage and Makeup for Everyday.  I want anyone to be able to attend, not just performers. As far as my own burlesquing goes- I started to hone in my sewing skills to work on making bigger and better costumes for myself. I am ready to take things to the next level.

Your favorite Pin Curl contributors, Divertida Divotchka and Femme Vivre LaRouge, joined forces with local emcee Violet O’ Hara to accept the Legends Challenge put forth by Burlesque Hall of Fame, and decided to sponsor Dallas’ own Tammi True.  The group’s diligent fundraising efforts put them in the top three and guests of the Legends Brunch, which they gladly recapped for us.

Burlesque Hall of Fame Legends Challenge

By: Femme Vivre LaRouge

This year the Burlesque Hall of Fame issued a challenge to the burlesque community to put our pasties to work for a good cause.  The first-ever Legends Challenge was a great success, raising over $13,000 to help pay the way for the living legends of burlesque to attend the 2011 Burlesque Hall of Fame Reunion in Las Vegas.  Since its beginning in 1957, the annual reunion has grown into the wondrous and star-studded affair that it is today.  It is a great treasure to have the chance to mingle with the beautiful, passionate, and talented women who have passed their trade on to us.  Over twenty legends were in attendance, most of them sponsored by troupes and performers around the country.

We were delighted to sponsor Dallas’ very own Tammi True, former dancer at Jack Ruby’s Carousel Club.  The DFW/Austin burlesque community really came together with the goal of sending Miss True to the event, and we were able to make more than we even dreamed.  Numerous local performers and dedicated fans contributed to this worthy cause, with a generosity that was truly touching.  With the support of Hot Rods and Heels and events hosted by Viva Dallas Burlesque, The Jigglewatts Burlesque Revue, Violet O’Hara of the Ruby Revue, four raffle baskets, an auction, a Burly-Q Bake Sale, and one event dedicated solely to the fundraiser we were able to raise over $2,000!

In fact, the Texas team did so well that we made it to the top three highest grossing benefactors of the Challenge!  Boy howdy, were we gals happy to have our team listed alongside the noteworthy names of Michelle L’Amour and Cora Vette & Burly Cute!  The greatest reward, aside from the honor of lending a hand to these venerable women, was a special luncheon for the Legends and patrons, which Divertida Devotchka, Violet O’Hara, and I had the privilege of attending just before the Legends Q & A.

Highlights from the BHOF Legends Q & A

By: Divertida Devotchka

What memorabilia or sentimental objects did you keep from your burlesque career?

Holiday O’Hara, the Lady Who Loves to Love You, started performing in 1968, retired in 1983 and came out of retirement in 2007. “I kept some costumes and all of my jewelry and all of my boas. What still fit was my jewelry, my boas and my duster.” Holiday also kept pictures of other burlesque performers who inspired her, particularly Gina Bon Bon.

Joan Arline, the Sexquire Girl, performed from 1953 to 1958. Joan still has her burlesque trunk and her costume from when she was 22, which still fits. She last wore the costume one week prior to the Q & A!

Share a favorite backstage memory.

Shannon Doah started performing in 1967. She shared a memory of performing at a club with a very small dressing room with a clothing rack at the back of the room. One night while everyone was getting ready for a show, they looked down and noticed a pair of men’s shoes. They kept looking and discovered a man lying under the rack hiding under the clothes!

Ellion Ness, began performing at the age of 15. During her second week performing in the chorus line at Minsky’s, she was sent on a wild goose chase to find “the key to open the curtain.” She frantically looked everywhere for this mysterious (nonexistent) key thinking that she would ruin the show if the curtain wouldn’t open, and after much searching Minsky told her not to worry and to go get ready for the show.

What do you want your legacy to be?

Camille 2000, the Cosmic Queen of Burlesque, began performing in 1968. She wants her legacy to be her tribute to Marquis de Sade.

Judith Stein began performing in 1974, and said she was “last legend standing” at the after-parties at BHOF weekend (and trust us, she was!)

Toni Elling began performing in 1960 and retired in 1974. Toni wants to be remembered as “a good entertainer. I consider myself that, not a stripper.”

Dusty Summers by RJ Johnson of LightReclaimed.com

Dusty Summers, Las Vegas’ Only Nude Magician, began performing in 1965. She posed a question to the rest of her peers on the panel- what was your career after burlesque?

Gina Bon Bon’s performance career lasted from 1962 until 1991. She’s now an artist and brought with her an incredible painting she did of Camille 2000. She is currently working on a collection about burlesque stars.

Joan Arline had 2 children and a successful dance school specializing in Russian ballet and ballroom dancing, and she also became a commodities trader. At age 60, she began performing in the Golden Girl Follies.

Kitten Natividad started performing in 1969. She was also known for her appearance in Russ Meyer films and Kitten had a long relationship with Meyer. Kitten now works in real estate.

Judith Stein learned to surf, started skiing again, started her own business, and now works with the dying “so at least they can die laughing.”

Camille 2000 owns Cosmic Hog Pen, which specializes in “motorcycle leather and switchblades” among other things.

Holiday O’Hara was a professional dominatrix from 1983 until 2005 and is now a hypnotherapist. “I applied the ‘you’re mine’ aspect of working a room to just one person and now I do the same with hypnotherapy.”

Shannon Doah volunteered at an animal shelter for 10 years and said she felt insecure about getting a “normal” job. She now works with a program for victims of domestic violence, particularly helping get the animals out of abusive environments. “With many abused women, the abusers also abuse the animals and they threaten to harm the animal to keep the woman from leaving.”

Tips from the Living Legends of Burlesque:

Tammi True (known as Miss Excitement, she began performing “by accident” in 1959 and retired in 1968): “I never had an ‘act.’ You don’t have to have a ‘character.’ Be true to yourself and just be you.”

Holiday O’Hara: “I’m always Holiday. I’m me. I don’t turn it off and on. Just make love to the audience. The audience makes love to you back.”

Dusty Summers: “Don’t be afraid to learn something new; try something new.”

Haji (best known for her roles in Russ Meyer films, most notably “Faster, Pussycat! Kill! Kill!” with Tura Satana): “Fantasize. Be a flower, a snake, whatever you can think of. Be fun, be free, but don’t be vulgar.”

Tai Ping (performed from 1960 to 1970 until a car crash ended her dance career): “Use the whole stage; work it all. Everyone paid and they all deserve the same show.”

Toni Elling: “Have fun.”

Bombshell: Pin-Up and Nose Art of WWII

by: Femme Vivre LaRouge

While art has always adored the feminine form, the pin-up made her true debut in the 1900s both in the U.S. and Europe.  Ushered in by exoticism, flappers, the French postcard, Ziegfeld, and the Gibson girl (America’s first centerfold), the pin-up really came into her own mid-century.  The embodiment of life, love, joy, and vitality, the all-American pin-up girl is both alluring and comforting.  By WWII, pin-up art had become mainstream, and came to adorn numerous magazines, dime novel covers, advertisements, promotional products, and, of course, calendars.  But her most important post was bolstering morale in the war effort, when flesh-and-blood pin-ups joined the ranks of the painted.  The advent of ‘nose art’ also made pin-ups larger than life, reminding soldiers of what they were fighting for.

Combat troops, composed mostly of single young men, leaving the strictures of their home society for the first time, and faced with death on a near-daily basis, deserved whatever support a well-turned leg or well-endowed bust could give them.  Although most nose art was never really sanctioned by any commanding officer, social restrictions concerning a girl’s state of undress were considerably relaxed during wartime.  After all, if a fella is risking his life for his country, doesn’t he deserve a good view of that country’s bounty?  Naturally, the further from the states a gent was stationed, the more risqué his plane’s mascot could be.  Censorship was generally only an issue when an aircraft was paraded on the home front, and some rebellious crews still chose to paint ‘Censored’ on their ladies rather than clothes.

Although not all nose art depicted pin-ups, it all gave its crew a much-needed icon and identity.  As Phil Cohan wrote in his article, “Risque Business,” on the subject of nose art, “At its best, the art is the crew’s expression of self-pride, a release from the anonymity and uniformity of military life, and an antidote to the dehumanization of war.”  The great importance of this very impermanent artform is not only that it gave servicemen something more personal to be a part of, but also that it is a marker with which to identify the past and both the missions that made it, and those that didn’t.

The artists creating these works had to make do with very limited resources and, for the most part, were not professionals.  They were very creative with their available materials and, if they were paid at all, it was usually in goods or alcohol.  Regardless of the work’s quality, though, the most important thing was that it gave the vessel a personality, much in the same way of a captain naming his ship.

Many men were also able to find security in linking the personage of someone well-known in the public eye to their machines, such as Rita Hayworth.  Hayworth’s famous pin-up photo from Life magazine’s August 1941 spread earned her the title of U.S. Navy’s “Red-Head we would Most Like to be Ship-Wrecked with.”  According to legend, photographer Bob Landry had a happy accident when a flashbulb failed to go off, creating a sensous shadow around Rita’s phenomenal figure.

The image of ‘The Love Goddess,’ which was reproduced more times than any other star’s photo in Life magazine, was even pasted on the first test atomic bomb dropped on Bikini Atoll.  Although this knowledge, understandably, weighed heavily on Rita, she said, “I’m proud of that photo.  Not just because the servicemen told me I looked good, but because of what the photo meant to so many of them: a link with home.”

Rita did a great deal more than just pose for the war effort; she was regularly seen helping out in the Hollywood Canteen after a long day’s filming, and worked with the Naval Aid Auxiliary.  Hayworth performed on radio shows and USO shows, signed autographs for soldiers until ‘Hollywood’s most beautiful hands’ must have been tired to the bone, and was even known to give out locks of her hair to some lucky soldiers who had the gumption to ask.  American GIs called their war bond-selling darling the “Number One Glamour Back Home Girl.”

In fact, the only pin-up more popular than Rita Hayworth was fellow actress, Betty Grable.  After releasing a 1942 promotional photo of Miss Grable for Twentieth Century Fox’s upcoming film Pin-Up Girl, the studio began receiving over 20,000 letters a week from servicemen, all requesting her photo.  By the end of the war, 1 in 5 military men owned the iconic photograph, taken by Frank Powolny.  Betty Grable was considered to be the ‘Pin-Up Queen of WWII,’ and the infamous photo was included in Life magazine’s ‘100 Photos that Changed the War.’  Life magazine noted that, “It was more than the sexy picture that enamored them of her; there was a magical wholesomeness and substance they saw beyond the curves of her figure. It was her very essence that was loved.”

Like Evelyn ’$50,000 Treasure Chest’ West and Tempest Storm, Betty Grable had what she considered her best assets insured with Lloyd’s of London, but for her this translated to ‘Million Dollar Legs.’  With measurements of 18.5” thigh, 12”calf, and 7.5” ankle, hosiery specialists and Hollywood alike touted her legs as the most beautiful and ideal.  Rumor has it that a young serviceman by the name of Hugh Hefner even considered her iconic pin-up pose to be his primary inspiration for founding Playboy.

To all the men and women who have served, and those who have done their best to serve those serving, Thank You.

To prop or not to prop… That is the question… by: Vivienne Vermuth Kitten Deville by Derek Jackson Photography There’s nothing like watching stagehands bring out a huge oversized prop or set piece before an act is performed… It sets the mood for the performance and gets the crowd buzzing about what to anticipate! On the other end of that scale however, it’s just as big a letdown to see that huge prop dismissed or not utilized to its scintillating potential. Or is it? Burlesque is all about the tease, the show, and the glam; whether it be in sparkling costumes, glittery makeup, or over the top sets and props. More and more performers are seen with big stage production pieces, with performers like Dita Von Teese leading the way in large-scale glittering props, such as her signature martini glass and her makeup compact. However… the question that is commonly asked… are big props necessary? In order to answer this, one must first make a checklist. First up- venue restrictions.  Each time I choreograph a number, first thing I check is venue restrictions. Where is the most likely of places I am to perform this piece? If you live in a city setting like New York City, Jonny Porkpie had this to say -”I don’t have any numbers that require a large prop, but that’s probably partially because I live in New York, where the backstage can be small, the taxis very expensive, and the subways have a lot of stars.” Lugging around props is a major make or break point… If you own a big truck and don’t mind the extra show load, fabulous! If not, you may be finding yourself borrowing or scrounging to find suitable transport. Next on the list- Why are you using said prop? “I always warn newer performers against rushing to use great big props in some effort to ‘raise the bar’ for themselves. I have seen many performers upstaged by their props.”, warns Tigger! of New York. I agree; large props are best suited to performers with a great deal of stage experience. Ostrich feather fans, sparkly umbrellas; even trash can lids can serve as great smaller stage props to add spice without overwhelming yourself and the audience. Also consider the costume/song, does it absolutely just call out for props? Additionally, do you have a lot of prop heavy performances in your repertoire? “I feel too many props in one show kills the effect of having a prop,” says Kitten DeVille of California. “I also have seen too many girls relying on their prop to do all the work while they just pose.” Kitten brings an excellent point… Props are great, but if they cannot be fully used to their potential and worked thoroughly, they can be a hindrance. Lastly- Do you interact with your prop, is it well thought out, and does the prop serve as an essential part of the performance? Props are tools, and they are only as good as the performer using them.  As Penny Starr Jr. of California puts it, “I may remember the prop, but I rarely remember the act surrounding it. The prop should serve the act; the prop should not out-shine the performance.” Midnite Martini by Derek Jackson If you are going to use a prop, make sure it is sturdy (so that it will not fall apart on stage), is stage worthy (please don’t bring me you crudely hand-drawn sign), and it big enough to be seen by the back row (How am I supposed to read the title of that paperback from 100 feet away?). Some of my favorite big props – Midnite Martini of Colorado uses an aerial hoop to perform beautiful striptease, Viva la Muerte of Chicago uses a coffin in her tribute to Creepshow, and Lexa Lusty of Dallas uses multiple boxes and suitcases to contort in and out of before being stuffed into a suitcase and wheeled offstage. I highly suggest searching these folks and others (Angi B Lovely, Lula Hoop Garou, Roxi D’Lite, Catherine D’Lish, Lola Van Ella, etc.) and check out how they make use of their props.  Jonny Porkpie teaches a great class called the Arc of the Tease, in which he talks about the best use of props being using them at least twice- the first to introduce it, then coming back to it at the end as part of the reveal so that the audience can understand its function as it’s related to you. One of our burlesque legends Big Fannie Annie says it best, “Props have always been done, and I think it adds [to the performance] if it is done well and with good taste!” If you choose to use props, large or small, keep it simple, use them to best advantage, and enlist the help of fellow performers to ensure you don’t go prop-overboard! Also, use YouTube, vimeo, and other resources such as burlesque hall.com, burlesque411.com, 21stcenturyburlesque.com and other sites to keep current and get inspired by other performers with amazing props!

Vegan Crispie Treats

Since it’s July I wanted to come up with some traditionally American recipes that you could create for your 4^th of July celebrations.  I also haven’t done a vegan recipe in a while, so here’s a vegan friendly recipe that doesn’t require you to track down vegan marshmallows.  And depending on how you celebrate Independence Day, you may just end up with more of these to yourself if your friends and family go blowing themselves up with rockets.  Just grab a sparkler and crispie treat and enjoy the show.

Ingredients

• 1 cup light corn syrup
• 1 tablespoon vegan margarine like Earth Balance
• 6 cups puffed rice cereal or your favorite cereal
• 1/2 teaspoon vanilla extract
• 3/4 cup sugar

Directions

• In a small pot, heat the syrup over medium heat.  Add the sugar, stirring continuously until it begins bubbling at the bottom.  If it starts to turn frothy just lower the temperature.  Once the mixture looks as if it’s boiling add the margarine and stir until well combined.  While still stirring add the vanilla.  Put 6 cups of your favorite puffed rice cereal (might I suggest Rice Krispies, Fruity Pebbles, or even Crunchy Nut cereal) in a large bowl.  Pour the syrup-butter-vanilla mixture over the cereal and mix with a spatula until evenly coated.  Scoop the mixture into a 9×13 inch glass baking dish coated with non-stick oil, spread evenly, and cool.  Or don’t cool, it’s perfectly good all warm and gooey as well!

St. Germain Tom Collins

Some of you may know about my affinity for St. Germain. While I could do article after article on St. Germain drink recipes alone, I’ve tried to switch it up for you in the past.  Well this month I couldn’t resist any longer. I’m giving you my favorite twist on a truly American cocktail. Try this drink and then tell me this isn’t the most refreshing beverage ever created on a steamy summer day, I dare you.

Ingredients

• • 2 oz. dry gin
  • 2 oz. fresh lemon juice
  • 1 oz. St. Germain
  • Soda water
  • Slice of lemon

Directions

• Place the gin, lemon juice and St. Germain in an ice filled cocktail shaker and shake vigorously to combine. Pour into a chilled Collins glass over ice and top with soda water to add some fizz.  Garnish with a slice of lemon and enjoy!

Pin Curl Magazine Wants You!
Check out the following opportunities to be published in Pin Curl Magazine:

Contest: The Best in DIY
Burlesque and DIY are almost synonymous. We are looking for fabulously insightful and original DIY articles that are well written, easy to follow, step by step, include lots of photographs, and are of course, geared to the burlesque and pin-up minded gal.
DIY Categories:
Beauty
Costuming/Props
Craft
Fashion
Promotion/ Business
Examples: Hover over DIY at PinCurlMag.com and choose a category!
Prizes:
Grand prize: $500 in cash and prizes!
$100 cash, prize basket worth over $400, and publication in both our online and print edition!
First Place: $100 prize basket full of pin-up goodies and publication in future online and print issues!
Second Place: $50 prize basket of pin-up goodies and publication in future online issues!
Third Place: $25 prize basket of pin-up goodies and publication in future online issues!
Rules:
Deadline for submissions: Sept 1st, 2011
Article must be original! It must be your writing and photographs. It must be your own brainchild or a significant improvement or twist on an existing project.
By submitting your DIY article you agree to be published without restriction in Pin Curl Magazine.
Submit:
Send article to editor [at] pincurlmag [dot] com with the subject “DIY Contest – _____________(name of project) Submissions must include LINKS to low res images shot to illustrate project. High res images, if needed will be requested.
Winners notified by October 1st, 2011

Submit your City- Glamma Guide
When festivals & conventions call, our readers travel in mass! What’s a vintage minded gal to do in your town? That’s why we have a regular feature called the Glamma Guide! Example
We are looking to eventually cover every major burlesque town in the United States! To submit: please send article with LINK to one low res image to editor [at] pincurlmag [dot] com Please title email “Glamma Guide: ___________(city)” We will contact you if we would like to publish your piece, and arrangements for images will be made at that time.
Cities of Particular Interest:
Chicago, New York, DC, St Louis, Las Vegas, Los Angeles, San Diego, Seattle, Key West, Minneapolis, Boston, & Denver.
Cities Already Covered:
Austin, Atlanta, New Orleans

Submit Your City- Layman’s Guide:
Wanna be the burlesque tour guide to visitors of your town? We’d love to have ya! There’s a lot of burlesque around, and how do I find the right show for me? Well, from Gals like you of course!
Example Article: New Orleans
To submit: please send article with LINK to one low res image to editor [at] pincurlmag [dot] com Please title email “Layman’s Guide: ___________(city)” We will contact you if we would like to publish your piece, and arrangements for images will be made at that time.
Cities of Particular Interest:
Chicago, Las Vegas, Los Angeles, San Diego, Seattle, Key West, Minneapolis, Boston, & Denver.
Cities Already Covered:
Dallas, New Orleans