Jo Weldon by Allen Lee

Editor’s Note: When we at Pin Curl were brainstorming on what new additions to bring into the magazine for 2012, a question and answer etiquette column kept coming up.  You know- backstage etiquette, producer/performer etiquette, all sorts of burlesque related questions filled our heads. We couldn’t think of anyone’s advice we’d rather take than Miss Jo “Boobs” Weldon, Founder of the New York School of Burlesque and author of The Burlesque Handbook!  We are so thrilled that Miss Weldon is our newest monthly contributor!  Have a question you’d like Jo to answer?  Please title your email “Etiquette- _your issue___” and send to editor [at] PinCurlMag [dot] com and we will send them right over to her!

Photographs and Pasties

Since I published The Burlesque Handbook in June 2010, I’ve gotten a lot of response to it from both beginners and pros, and the most frequent comment I’ve had from experienced performers has been, “Thank you for the chapter on etiquette!” And most of them add, “Especially the part about taking pictures!”

In the guidelines for the chapter, I wrote:

1. Ask before you take pictures, and be genuinely willing to not take them. People who don’t mind being photographed doing all kinds of wild things onstage may not want to be photographed checking the crotch of their underwear for clitty litter. Or they may wish to be photographed only by professionals. This is not necessarily uptight of them. There are a lot of issues around photography and burlesque. And for god’s sake, if you post a photo online and someone asks you to take a picture down, do it!

In this era of cameras everywhere, most new performers think of their first backstage  experience as something they must document and post to as much social media as possible. I think this is a beautiful instinct, and a testament to the joyous experience most burlesque performers are having.

However, for many people, burlesque is something they treat as a job or career, and they do their best to have some input into what photos appear related to their stage names. They are thinking of burlesque as something fun, for sure. However, they are thinking of it as a job, not a party. They have to think about how every photo that turns up whenever there are googled by a show producer or event planner might affect their next chance to get a gig.

About ten years ago I had a website called G-Strings Forever, on which I had something like a photoblog featuring digital pictures I’d taken at Tease-O-Rama, Exotic World, and several weekly shows in NYC, including Starshine and Burlesque at the Beach. The photos were not only low-resolution but full of mood and motion, and if anyone had a zit on his or her butt, you wouldn’t have been able to tell from these photos. Still, I carefully considered the effect of every picture I posted.

These days, when just about any image clearly shows every hair out of place, it’s just common sense to distribute them with respect and care. Just because we love every body type in burlesque doesn’t mean we’re not vain; we all want to look our most fabulous, whether our fabulousity comes from rhinestones, slapstick, or shock value. Wanting to have some control over our image is just part of being a professional performer.

Here are a few tips to help you out, so that the person whose photo you tagged on Facebook last night doesn’t suddenly become just a few degrees cooler the next time you encounter them.

1)      Ask yourself: If you were a producer considering hiring this performer, what impression would you get from this photo?

2)      Ask yourself: If you were a performer, would you feel this photo gave away too much about your act?

3)      Ask the subject if he or she minds if you post the photo.

4)      If the subject requests that you take it down or use a different one, oblige them. If they untag themselves, don’t be offended.

5)      If they tell you they like the photo, offer them a high-resolution version to use (some photographers may have a professional interest that doesn’t allow them to offer this).

Performers’ etiquette toward photographers:

1)      It is very common to allow photographers at burlesque shows. Don’t be offended if they assume they can take pictures at your show; and don’t hesitate to let them know if you don’t want them to shoot.

2)      Although many photographers and burlesque performers work with each other without charging, if you ask a professional photographer to take pictures, they are within reason if they believe you’re intending to pay them. Make sure it’s clear.

3)      If they ask you to model for them, you are within reason if you believe they are intending to pay you. But don’t assume.

4)      Do your best to make sure they get full photo credit every time you use their photos in any capacity.

5)      Even if you’ve paid to have a photographer shoot your show, do your best to make sure the other people in the show are represented as they would hope to be in the photos.

These tips are just the beginning , but they should give you an idea of what there is to consider and why it’s never a good idea to take for granted that what seems like common behavior around photos is acceptable to everyone. When in doubt, ask!

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!

Have a question you would love to have a seasoned performer answer?  Are you a fabulous burly-q gal who’d like to answer reader questions?  Hit us up at editor@pincurlmag.com !

Vivienne Vermuth. Photo: High Art

Tips for stretching your costume budget: Making every rhinestone count!

by: Vivienne Vermuth

Sitting in the audience at a burlesque show is thrilling, especially seeing the moment when the dancer struts out on stage, displaying a glittering, gleaming costume full of feathers, sequins, rhinestones and glam. You immediately decide to go home and try to create something similar… Wow, who knew that those teensy rhinestones were worth their weight (literally) in gold! And how much are ostrich feathers? GEEZ!
Yes, burly girls develop quite the expensive habit… But there are ways to cut down costs and not lose the glitz! I will also clear the air on types of bling so you are more educated on where your dough goes!

The most important item that every ecdysiast needs: rhinestones to adorn their pasties, g-strings, gowns and gloves. It can be confusing searching for these, especially when buying in bulk and in high quantity! Here’s what years of searching and buying have lead me to -

1) Not every rhinestone is equal! There a three major types – plastic (acrylic), glass (also can be preciosa) machine cut, and the highly coveted Swavroski. These can be broken down by two main categories that separate them, cut and clarity. Hold up an acrylic rhinestone, and they appear a bit cloudy, not easily seen through, but still some shine, and there is just a little reflection off its surface. Hold up a machine cut glass stone, and it’s much clearer, with more glint. Machine cut stones have more facets, or inner/outer surfaces for the light to bounce off (like a diamond). Swarovskis have a specific cutting process that gives them the most facets, which gives them what’s commonly called the “inner fire”. While a lot of machine cut glass comes close, there isn’t anything like a “Swav”. Good news is you can find balance of sparkle and checkbook by mixing your stones!

2.) Be careful of how MANY you buy! I’ve seen too many companies sell stones for much higher mark
Up, simply by changing the numbers. Look for words like “by the gross” which is industry term for 144 pieces, or stones in a pack, or a “ten”, meaning a ten gross pack, 1440 pieces or stones. Generally the more you buy, the cheaper they become. Don’t be fooled by half gross! You could pay way more!! Best places I have found for great prices on Swavroski without a wholesale ID – rhinestone guy.com, rhinestoneshop.com (free shipping!) and my newest find, rhinestonebiz.com. I have used them all, found great prices, excellent service and fast shipping. For excellent acrylic and glass stones, I highly recommend Decadent Dame Designs on etsy.com, she sells an amazing selection of high quality acrylic and glass machine cut stones, and I have a coupon for you to use when purchasing through this store – use “VIVIENNEVERMUTH” in your checkout for 10% percent off your purchase! Please do not buy crystals at the local craft stores unless you are in desperate need – you won’t get nearly as much bang for your buck!

3.) When combining rhinestones, it’s always smart to use them strategically! If you have a large area to fill, use acrylic or machine cut stones, and use Swavroski to highlight where light will hit your costu e most! the great performer and costumer Penny Starr Jr teaches this in her famous workshops all over the country. You can also use sequins, especially faceted ones (not flat) because they are foiled and will bounce light off easily! You can also use sparkly material and use good rhinestones to accentuate.

4.) Don’t forget a food glue! When possible, don’t use hot glue! It’s not a bad glue for in a pinch, but generally speaking it’s not a long term adhesive. Look to more industrial glues, such as E6000. Do material tests first to make sure these glues don’t stain fabric, and be VERY cautious of fumes and work in well ventilated areas! When used properly, these glues will ensure you don’t lose stones while taking it off! They also work well for trim, feathers and other pieces.

Now get out your crafty stuff and make something sparkly! Happy bedazzling!

Kellyn Willey, owner of Pin-Up Girl Cosmetics, talks poorly blended foundation, places to visit in Atlanta, grapeseed oil, human disco balls, and owning a business before she owned a car.

By: Shoshana

Q: Pin-Up Girl Cosmetics is a full concept unlike any we’ve seen in the country. You have a storefront location, with regular business hours, and on site photographers, make-up artists, and stylists, in addition to a retro clothing boutique. How was the idea born in 2006, and was there a “model concept” or “model store” to look to for inspiration?

There was no model for the shop. The original owner was an extremely gifted makeup artist and hair dresser. She wanted to have her own shop where she could express her talents. Eventually she met up with an equally gifted female photographer and opened the shop together in June 2006. It was just 2 talented young women expressing their creativity and passion of vintage culture and fashion.

Q: Your site mentions that the pin-up shoots were almost an afterthought, to document the fabulous makeovers, and now you have three full time photographers on premises!  Tell us about the evolution of that aspect of the business.

Yes, in the beginning the first owner just wanted to have a cosmetic boutique but then she met, who would be her co-owner, a local female photographer and they decided to join forces and make a store front together. Now, in our new location, photo shoots compete with the cosmetic services, but the shots win with a few steps ahead.

Q: How did you go from “working at the shop in 2007” to “proud owner in 2009”?

Well I was hired in November 2007 as a makeup artist but predominately a shop girl: just very simple tasks with little to no real responsibility. Then the owner decided to go in a different direction when she realized that I was also a budding photographer and graphic designer. She cut the staff back 3 months after hiring me and made me store manager. Then by the end of the summer, we moved the shop out of Little 5 Points to Grant Park due to issues with our original landlord. It was the best thing we could have done. Eventually after a few months of being in our new shop home, the owner told me she was feeling overwhelmed by running the shop and taking care of her new baby, not to mention to the global recession being upon us all. She asked me if I wanted to be the owner…I said no way! I’m only 23 years old and I don’t even own my car!

Eventually I realized that if I wanted to keep the ONLY job I’ve ever loved and ever been good at, I was going to have to own it. So, in late July 09, she signed the entire company over to me. It was so terrifying and I had no idea what I was doing in the beginning…except pay the bills on time and advertise online. But with the support of my staff, family and friends and a lot of praying and midnight panic attacks, it all panned out over time.

Q: Your shop has recently tripled in size from its original location, and is now located in the hipster paradise that is Grant Park (Atlanta’s largest historic neighborhood), and become the “talk of the town”.  What are passerby’s reactions to the entire pin-up thing?  Have you noticed an increase in folks familiar with, and inspired by, the look recently?  Do you ever get walk-ins?

Oh yeah the neighbors really were shocked when they first saw us…they still are. Oversized paintings of nude women hang in our pink and red store front with corsets and stockings lining the walls. We’ve heard it all before, “What is this place? What kind of pictures do you take? What the hell is a Pin-up girl?”

We have many walk-ins every month, typically clients getting their brows done or shopping and then we have the Frequent Flyers! These are our clients who get multiple services a year…over several years. We have about 4 die-hard ones who are moving into their 8th and 10th shoots since 2007. It’s pretty incredible to have support like that in a business that’s not considered a necessity but a luxury. Not to mention having our newest addition to the Pin Up Girl family, “Lucky Starr” a fantastic vintage clothing and accessory boutique. Christine Starr Cookus is the brilliant owner and she was one of my clients years ago when we first moved into the Grant Park space. Christine is a breath of fresh air to our business, bringing with her tons of new clients and a positive attitude. She has only been with us a month and I can’t imagine the shop without her. Groupon has also brought us boat loads of new clients…219 new faces in 24 hours to be exact! We’re very blessed and more than thankful.

Q: In fact, you’ve been getting so much attention that you we’re named “Critics Pick- The Best Reason to Dolled Up” in the Best of Atlanta 2009 Issue of Creative Loafing.  What was your reaction?

To be honest, I cried. I had only owned the shop for 3 months and was stressed all the time due to low revenue from the recession. I remember that day so well. My best friend, Shellie called me up about 7am screaming, “You made the Best of 09!!!” I didn’t even know what she was talking about. I remember people voting for it online, but everything those early months was a blur. Then she emailed me the link…and I almost died. I felt like we won an Oscar, and in a way we had. It’s such an honor. I was and am still so proud of that. My staff deserved it for all the long hours they put in every week. They’re so patient and passionate.

Q:  On your list of services you also include theatrical and special effects make-up.  That’s unusual!  Were you or Kiah [Kiah Clark is the other make-up artist at PG!] formally trained in make-up, or are you all self taught?

Kiah and I both studied makeup under our perspective high schools. Theatrical makeup is something we do in our freetime…when we have it. Kiah does make-up for the local Rocky Horror Picture Show at the Plaza Theatre here in town when she has the chance. While I’ve done dozens of local, independent films and photo shoots with special effects makeup like zombies, severe bruising and gashes. Yes, we are self-taught and we have learned a lot of techniques from other makeup artists from around the region.

I would never call myself a special effect makeup artist, but I do believe a true makeup artist can pick up any cosmetic tool or product and figure out how to apply to any skin type in a matter of moments. I’ve done so many crazy makeup applications from making someone into a human disco ball, pageant and drag queen makeup to making myself appear as a zombie with buckets of blood pouring out of my mouth. I love it all!

Q: What are your biggest make-up or pet peeves, or common make-up mistakes?

Poorly matched and blended foundation….Yuck! A bad quality foundation whether it’s a powder, cream or liquid, is even worse when not blended into the face a neck well. If it doesn’t match your skin it can make you look old and dry to say the least. My favorite trick to well-blended foundation is to apply the makeup to your whole face with a brush our sponge then use your hands to blend the makeup into your neck and edges along your hairline and ears.

Too much undereye liner gets annoying to me too. Unless you have HUGE eyes, it can make you look decades older and tired. Try applying a small amount of liner to the inner bottom lid by your bottom lashes on the outside corner. Add a bit heavier of a stroke on the farthest outside point of that line wear your eye ends for added drama. You can even do the same technique on the top lid. It’s very Sofia Loren!

Q: What are your five favorite specific beauty products?

1) A great moisturizer! At our shop we love blending aloe vera gel and grapeseed oil as our face moisturizer. Grapeseed oil is packed with antioxidants, has natural SPF 15 protection, is closest to the oils your face produces and is a very neutral/mild emollient great for all skin types PLUS extremely affordable. If you have the drier or more mature skin, add more grapeseed oil. If you have oilier skin, use more aloe vera. Always moisturize when you have freshly washed skin that is still damp. You only need a nickel size amount of this moisturizing blend.

2) All-natural lip balm! It’s a secret to the perfect lipstick/gloss application. My favorite is Burt’s Bees original formula. Dry lips make you look dull, dehydrate and yes, old; all things we fear as women. Many lip products are made with mineral oils, parabens, alcohols and other petro-based ingredients and they only moisturize temporarily. I apply lip balm 3-5 minutes before I apply my lipstick and I make sure to bloat of any extra balm I have before I apply the lip color to ensure a lasting application.

3) A truly dramatic mascara! I don’t leave the house without it! There are so many great brands out there I can’t name them all, but I’m wearing Rimmel’s Glam’ Eyes Flirt lately and I love it. My old tried and true favorite is Physician’s Formula Plump Potion mascara. Try a heated lash curler AFTER you apply your mascara for even more drama. They really work and your lashes stay curler ALL DAY! Mine has a silicon strip instead of a metallic, bristly wand, and I can sanitize it after ever use. It was less than $10 from Ardell at Ulta.

4) A fantastic red lipstick! I fought red lipstick for years until I found PinUpGirl! I didn’t believe that it would look good against my dark skin. But I soon realized that it looks incredible on all skin types and ages, you just have to find the shade last works best on you. Cooler tones, like a more blue-based red, look better on fairer tones: think of red like a deep candy apple red. If you have darker skin tones, try a warmer red with more yellow tones like Coca-Cola red with a darker red or even a plum/ violet lipliner. ALWAYS line your lips first when applying a red lip. If not, it can bleed, feather and make your lips appear smaller than they truly are. For that true retro pout, heavily line the 3-dimentional line of your lip (slightly outside) and feather in the liner then apply the red and blend with a lip brush. Our favorite red are the ones we sell in the shop through our private label but MAC has some incredible shades especially in the Pro Longwear LipCreme shades!

5) A great teeth whitening system! It’s more affordable than you think. So many of us love lipsticks, especially those luscious reds and a bright, white smile will make all the difference in that sexy kisser of yours. I recommend a pre-brush whitening rinse, then a whitening tooth paste with fluoride using a good electric tooth brush (Oral-B makes the one I use and it’s less than $30..I’ve had mine for 4 years), a post-rinse with great restorative properties like enamel strengtheners to keep your teeth in shape and they even have whitening floss to brighten up in between your teeth. I guess I’m obsessed with pearly whites…but it’s a great way to always look your best without wearing a stitch of makeup!

Q: In just a matter of weeks, Atlanta will be filled with tourists checking out the Southern Fried Burlesque Festival.  If you could only recommend five places to visit while there, what are your picks for vintage minded visitors?

1) The Starlight Drive-In on Moreland Ave. It’s worth the drive to enjoy a great movie under the stars with your honey. Sometimes you can even catch a retro flick if you review their schedule.

2) The Clermont Lounge on Ponce  It’s where strippers go to die and party before they hit the ground. Yes, I just said that    This is a must-see experience that EVERYONE (over 21) has to partake of. Not for the faint of heart. Seriously, it’s a blast, especially on Karaoke night!!!

3) Holy Taco on Glenwood Ave  Some of the absolute best flash mural designing in the city, incredible cocktails and the food is truly amazing! I LOVE GREAT Mexican food and this place has INCREDIBLE Mexican food!!! I have had many a mid-day margarita there and I’m looking forward to my next!

4) Liberty Tattoo on Ponce or Grant Park  If you need to bleed, you’ve come to the right place! Just ask for Shay or Kaki or anyone holding a tattoo needle for that matter. Tell ‘em Kellyn sent you!

5) Anything in Little 5 Points I can’t list everything I love in Little 5 because there is so much but stop in Libertine for awesome accessories plus cosmetics, the Porter for their Belgian fries and a Lemon Gingerade (my favorite combo), Stefan’s for some hard-to-find vintage apparel, and Rag-O-Rama for great second-hand trends and finds!

I have always wanted to do 1940’s style modeling as I am a passionate fan of the era of 1912-1945. Do you know how I could get into this sort of modeling as I really don’t know how other than signing up to agencies? Thank you for your help!

Ella, UK

My name is Liz. I have been fascinated with the 50’s, pin-ups, and just the whole era for a long time. I do my hair pin-up style and love to wear red lipstick. I get comments all the time from people saying I look like a pin-up model, or that I should do car shows. I feel like this is something I want to be involved with for a long time but I feel like I’m outside of this secret club and don’t know how to get in. Should I just start taking photos and build up a portfolio? How do the pin-curl magazine cover models get started with you guys? Any help would be appreciated. Thank you for your time!

Liz , Houston

Hi Ella and Liz,

Since you both have similar questions about a very popular topic that I am asked about frequently; “How do I become a pin-up model?”. I’m going to address this response to both of you.  Although it may seem like the world of pin-up modeling is a secret club it’s really quite open to anyone.  You hear lots of people talk about determination and passion getting you a long way towards your goals and as cliché as it sounds, it really is true.  Also, now is the time to become involved in pin-up culture.  We are currently seeing a huge resurgence in the pin-up lifestyle, thus making it more accessible to you.  More than likely, there are multiple pin-up photographers in your area.  Here are a few basic steps you can take towards becoming a pin-up model.

I recommend you learn how to do classic 40’s and 50’s hair and makeup.  Hair and makeup stylists may not always be available or affordable and knowing how to do this yourself is a huge feather in your cap, especially when you are just starting out.  Also study some of your favorite models or pin-up artists for poses and facial expressions.  Practice these in the mirror!  Good photographers will be able to coach you into the poses but if you already know what you’re doing you’ll seem much more professional and your shoot will have more of a natural and fun flow.  Purchase a few staple pin-up clothing items.  You can get great stuff from Pin-up Girl Clothing and Girdlebound and even Ebay.  A good pin-up swimsuit, dress, underbust corset, and lingerie set with stockings can last you a long time.

Alright, so you’ve painted on your red pin-up pout, coifed you hair into victory rolls, and cinched up your corset over your Capri skinny jeans.  If you know any friends who are photographers or are aware of any local photographers contact them about doing some shoots to build your portfolio.  It’s not a bad thing to pay photographers for quality shots that you can use for your portfolio.  Professional quality photos will also help grease the way to working with lots of other photographers.  The absolute best way to book shoots with photographers is to show up on time and not flake or cancel.  A lot of really successful models got to where they are by showing up for their shoots.  There are lots of different modeling portfolio sites that can put you in touch with photographers, designers, and hair and makeup artists in your area such as Model Mayhem and One Model Place.  PinUpLifestyles.com is also a great site for meeting people specifically in the pin-up culture and finding shows and events.  You can set up a free account with these sites and begin finding people to connect with.  Getting publications is all about who you shoot with.  Check out the photographers who shoot for your favorite pin-up magazines and book shoots with them.  While you’re at it… it may not hurt to think of a cute pin-up name to start marketing yourself as.  Just make sure when picking out a name that you’re not inadvertently using someone else’s name.  If you’re blessed with an awesome sounding legal name you may want to keep that.  Believe me, a whole book could be written on picking an alias alone.

Once you’ve started building a portfolio and networking with other pin-up enthusiasts you can start making yourself seen around the scene.  Find out when burlesque performances and car shows are happening in your town and go!  Introduce yourself to people, pose for pictures, and have fun.  If you take yourself seriously others will follow suit.  Contact promoters and ask how you can get involved.  You may get some “no’s” in the beginning but if you are tenacious, enthusiastic, and professional those will quickly turn into “yes”.

Have a question for our Ask a Model or Ask a Performer Section?  Send them to editor@pincurlmag.com and you may be featured next!

Your Burlesque Questions Answered by Black Mariah

Q: What are some ways I can become a better performer? I want to get into more shows, and I’m not sure how to be more appealing to show producers. – Laina

I try not to make strict rules when it comes to burlesque. Burlesque is an art form I do not want to put in a box, as its growth and development is the very heart and soul of the creative process. The freedom to grow is exactly how great ideas become great performances. One key to performers who seem to get lots of bookings is well developed performances that are well executed. Here are some tips for giving your performances marketing potential.

Limit your props- Stage space and backstage area will vary drastically from venue to venue. The more props you include in your act, the more complex of a performer you will become. Weight and set up of your props should also be a consideration. When developing props, always remember that at the bare minimum, a stage kitten may be the only person available to set up your props. Your props need to be light and quick to set up. A kitten may have only a few moments to set your stage for you, so your props need to be light and easily moveable. If your props are in pieces and have to be put together, be responsible and do that before the show begins. Leaving prop building to your stage manager or stage diverts the production staff’s attention away from the overall execution of the entire show. Test the item for quality as well.  You and your props need to be as low maintenance as possible.

People as props-  In my experience, this is a recipe for disaster. Using random people, backstage crew, audience members, your cousin Fred, performers who have finished their number already, or anyone else who was not booked as a paid performer for your number or has rehearsed this number with you, should not be onstage in your number.

Let me explain how it looks from the audience. Everyone will see the performer who was introduced, and then another person, smiling, but has a definite look of “I have no idea what will happen next” look on their faces.  We see people who are wearing clothing or costumes that have nothing to do with your act, and as a result, it creates an uncomfortable energy in your audience feeling concern for what is actually happening. Your audience will focus on anything that clearly doesn’t appear to fit with your costume, theme or overall look.

People props will in the end, take attention, focus and the spotlight away from you and the continuity of your performance.  Keep your stage entourage to performers who have rehearsed with you extensively in your routine. Thrown together casts will only appear thrown together.

Costumes- Costumes and theatrics are what makes the show in burlesque, and separates the art form from the traditional strip club. Jo Weldon even teaches a class called “Your costume is your choreography”! Burly-q-ers should take care in selecting items for a costume, and making the item unique to the stage and to the number. Costumes should reflect the performance, and remove elegantly (there are exceptions to that statement if the idea is deliberate) and effortlessly.

The biggest mistake I see dancers make onstage is costume pieces that are underwhelming, either by being undecorated, unmatched, or worse poorly sewn (even hot glued in some cases). Your lingerie should not look like you wear it anywhere else but stage. Unique, in every aspect of a burlesque performance makes the audience feel special! Never assume your audience doesn’t care, or won’t notice haphazard costuming. They notice.

Your costume pieces are a direct reflection of the amount of time, effort, and care a dancer outs into the routine, but executing their removal is directly reflective to the amount of time a dancer spends rehearsing her routine. Grosses of rhinestones, fine satins, and excellent costume designers do not make great burlesque dancers, but practice and flawless execution do.

Editing your ideas and concepts – We all have a laundry list of ideas some born out of inspiration, special interest, or even our own personal comedic taste. I encourage every dancer to keep a small notebook handy to write down those ideas. Much like brainstorming   term paper ideas in English class, dancers should brainstorm their ideas for validity, relativity, and marketability.  Write every idea down, but go back later and edit your thoughts.

Some ideas seem brilliant at the time, but later come across as trendy, overworked, irrelevant, or only amusing in certain company. With the ideas you think may develop, consider your audience and how they will react to your performance.  Ask yourself if the concept is current or mainstream enough that your audience will understand what you are conveying. A dancer simply cannot alienate his/her audience as the connection between the dancer and the audience watching is the only reason your audience will come back.

Lastly, consider where you can perform this new concept. Concepts that are specific to holidays, seasons or audiences (sci- fi) are going to be more limited than general concepts that can be relative to any audience. I also encourage dancers to develop performances in all styles of burlesque that they can. Classical, Neo, and comedic routines in a dancers repertoire make any dancer more marketable to a producer. Offering a variety of styles for your clients or producers is much like being multilingual!

Be on time and communicate with your staff. Even I struggle with this. Make sure you arrive on time to your venue at the requested call time. Life in the big city is crazy so if you are trapped in traffic, your plane is late, you forgot your stockings and have to stop somewhere……..make sure you communicate with the appropriate staff members of your show where you are in regards to arriving to the show.

It’s not only important to the staff and the fluidity of the show, but other dancers notice tardiness as well.  You don’t want to be known as the “Hottest Mess in Burlesque”. Never leave for your show without the phone numbers for your producers or stage manager on hand. Anything can happen and being prepared to communicate in case of an unforeseen emergency is the best policy.

Make sure you communicate all of your needs, props needs, lighting cues, and send your music to the producers BEFORE the day of your show. No one likes surprises, and leaving those very important details until the day of the show is nearly a guarantee that your needs will be over looked, or miscommunicated.

The Importance of Good Make-Up Brushes

By: Ladonna Hearne

“I know that one of the most important steps in make-up application is blending.  I want to invest in a good set of make-up brushes without spending a fortune.  Have any suggestions?”  Amanda, Dallas

Dear Amanda,

You are correct!  The first step in achieving a flawless makeup application is using a good set of brushes. This is especially important for blending eye shadow. A good brush will end up doing most of the work for you!

You can find good brushes in many places- I recommend MAC, Sephora, or Coastal Scents. I have even seen some good ones from Wal-Mart and Target, but you do have to know what to look for to get a decent cheap brush. A good brush should be very soft.  You’ll want to avoid synthetic fibers as they are coarser and stiffen with use.

It is important to keep your brushes clean.  Do this by using a brush cleaner, which can be purchased pretty much anywhere makeup is sold, or use a mild shampoo and water.  Rinse well. When immersing your brushes in water, always keep the bristles pointed down and lay them flat to dry. This prevents water from getting into the ferrel- the metal part of the brush holding the bristles.

On a limited budget, you can get away with just five brushes.

My top five essential brushes are:

Foundation –

MAC 116 brush – use this firm but fluffy brush in a circular buffing motion to blend   foundation seamlessly into skin.  For areas that need more coverage, use a pressing motion then blend with the tip.

Eye shadow –

MAC 224 brush – This is the best brush for blending eye shadow as you apply it!  Use a tight buffing motion combined with a back and forth windshield wiper motion. You can get a lot of detail with this brush by controlling the amount of bristles that touch the skin.

MAC 239 brush – this brush is great for controlled and dramatic application of shadow on the lid and blending the lower lash line.

Eyebrows and Liner-

MAC 266 brush – Helps create precise perfect eyebrows or use to define the lower lash line by “stamping” shadow between the lower lashes. You can also use this brush with liquid and crème liners.

Lip Brush! – Any lip brush makes a huge difference with control and precision of lipstick, especially with bright and dark colors

The Tape Dilemma

By: Black Mariah

How do you apply pasties?

I think the only real point that will never have one answer between burlesque dancers is “how do you keep your pasties on?” The answers will range from Flash tape, eyelash glue, spirit gum, toupee tape, and the list grows every year I spend in the world of burlesque.

I have attended many shows, many conversations in the dressing rooms, many “pastie rescue efforts”, and one thing I do know, is as many answers as exist to the pastie dilemma question, whatever choice a dancer uses, they stick to it. (no pun intended. Ok it was intended)

I have only decided that the reason for the variety in adhesive usage is A) availability of products and B) skin types and their reaction to adhesives.

Liquid adhesives like Liquid Latex (which is also known as eyelash glue) and spirit gum, and medical glue are favored by many dancers. The disadvantage to these is the drying time. In the need of quick pastie changes, drying time cannot be an issue for a dancer’s changing regiment. Another point to consider is skin allergies. Although people can be allergic to virtually anything these days, a latex allergy is a very common allergy, and must be considered when choosing an adhesive.

The other types of adhesives are the tape style adhesives. These are adhesives that come in a solid double sided sheet type form, and are applied to the pastie, then a wax backing is removed to expose a sticky side which adheres to the skin. The tape style adhesives vary greatly in their adherence and composition. Flash tape, toupee tape, carpet tape, medical adhesive (the tape form), and many others are all adhesives used to apply a pastie. Testing products to see what works best with your particular skin type is essential to becoming a happy pastie wearer.

Make sure that whatever adhesive you choose does not take skin off when you remove the pastie, (think cheap bandaids! OUCH!) look for swelling, itching, hives or sever redness while wearing the adhesive, as all of these are signs of skin allergies or sensitivity to the adhesive.

When you apply your adhesive, apply the adhesive to the outer ring of the inside of the pastie that makes contact with your skin. Make sure your skin is clean and dry when applying the pastie, free from lotions or body oils as the adhesive will not stick when oil is present. The nipple area is sensitive and thin skinned so avoid placing adhesive where it may make contact with the nipple itself (center of the pastie). Those of you with nipple piercings will also want to avoid adhesive that will make contact with your jewelry. Pulling off the pastie when it is adhered to jewelry could cause trauma to the pierced skin.  If you have exhausted every possibility of adhesives and your pastie is still coming off, then resort to putting tape adhesive all over the pastie. Do not try this method with liquid adhesive as the center of the pastie will not dry while the outside will dry. Also avoid liquid adhesives if you have piercings as wet adhesive can seep into the piercing and cause lots of issues and even infection. When removing the pastie take care and gently pull the pastie off starting on one side and pulling towards the opposite side. If the adhesive requires a remover (spirit gum) be sure to use that to remove your pastie. If you should receive battle scars or irritation from pastie removal (this will happen with repeated pastie changes in a short time) apply Neosporin or some type of triple antibiotic cream to the area that is irritated until healed. And certainly don’t cover it with a band aid!

Here are some brands you can look for to try their adhesives.

Braza bra “Flash Tape’ comes in a 30’ roll of double sided tape.Can be found at local dancer shops as well as online.

Top Stick Men’s grooming tape- toupee tape this can be found at beauty supply stores and wig shops. Top stick comes in 1×3 strips. Top Sol which is made by the same company comes in a roll, and is virtually the same product.

Double sided tape from TheBreastFormstore.com This tape is pressure sensitive and heat sensitive, becoming more secure the harder it is pressed into the skin and the longer it is worn.

Duo lash glue- get clear, the dark tone will dry black.  Can be found at beauty supply stores and drugstores in the beauty supply section.

Liquid Latex- can be found online as well as local sex shops in various sized containers.

Spirit Gum/ Spirit Gum remover- sold by Ben Nye or any theatrical supply company. This product can be found online or at local costume or theatrical suppliers.

Medical adhesive/removers- can be found online through medical suppliers. Searching locally could prove to be a hard sought adventure.

Want to get the dramatic smokey eye look in just 5 minutes? This video starts with explaining that the holidays are coming, but burlesque starlets and glamour gals don’t need to wait for the holidays for dramatic make-up!

Cyan Banister, founder of Zivity.com talks safety nets for models.

Too often, female models don’t understand their rights nor do they feel confident to say “no” to a photographer when asked to do a compromising pose.  

One of the most pervasive misconceptions about a photo shoot is that the model is in control. The reality is, too often the model releases creative control when she signs the contract. Any questions or input asked of the model during the shoot are merely perfunctory.

Furthermore, any photo taking during the shoot can be published – even if the photographer says “it’s just for fun,” or will “never be used.” More This is why models need to understand how they can regain control of photo sets. I’ve worked in the business for years, as a model, photographer and businesses owner. As a result, I have a strong understanding of each professional’s viewpoint. Here are my five recommendations for models:

1)    Ask questions about the contract. Most photographers don’t want you signing something you don’t understand. Therefore, you should ask questions about any part of the contract you don’t understand. If the photographer can’t provide a satisfactory answer, it should be removed from the contract.

2)    Sign in advance.  Don’t sign the contract on the day of the shoot, there is too much pressure and too many activities competing for your attention. You should review and sign the contract in advance of the shoot.

3)    Ask about nudity. If you don’t want to be in a nude shoot, explain this up front and discuss the details of your limitations with your photographer prior to the shoot. This should be a written addendum or corrections to the contract you are signing.

4)    Know your limits. Before the shoot, spend time thinking about what poses you will say yes to and what you won’t. Then, be prepared to walk out.

5)    Bring a friend. You should always have a business partner, friend or anyone you trust at the shoot. It is hard to know in the moment if you are being put in a difficult situation, but a friend can be a second set of eyes and can pull you aside if something doesn’t seem right.