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!

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 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.

Festivals and Competition

Part of the “Ask a Burlesque Entertainer” Series with Black Mariah

I have been applying to festivals and I am not having much luck getting into them. Any tips on raising my chances for getting my application accepted into festivals? “Cindy”, Texas

Festivals are becoming more and more competitive as the number of Burlesque performers and the popularity of burlesque itself reaches unheard of levels! If you are applying to festivals and not having much luck getting in, don’t fret, and certainly don’t get down on yourself as a performer! Rejection is hard, but you can use the experience to learn and reflect on yourself as a performer. This is how we grow!

First, when you find a festival or burlesque competition of which you would like to apply, go to the website and read through everything. Consider your expenses to participate beginning with the application fee if any. Currently, there aren’t any festivals which will offer to cover travel expenses for their applicants. If the travel is simply not something you could make right now, don’t apply. Acceptance to the festival without the finances to complete the journey is simply irresponsible. There are no burlesque fairy godmothers and although many festivals may offer an honorarium, the honorarium is generally about the amount of the local pay for a performance, and usually not enough to cover even your hotel expenses.

Next, read through the festival’s website entirely. Beginning with the festival’s “about” section and continue onto the showcase description to get an idea of what type of performances the producers are looking to book. Look for clue terms like “Classic” or “traditional”, even “vaudevillian”, “neo-burlesque”. Some festivals focus on particular styles of burlesque, while other welcome any style and even leave room for supporting acts a la true Vaudevillian showcase. When you find exactly what the festival is focused on, consider if you have a routine which fits into the festival’s focus.

Read through the application and make sure you have and send everything that is required to apply. Make a checklist! Core requirements for submission will always be a high res photo (300 dpi is high res), the application filled out entirely, and a bio of you or your group, as well as an MP3 of your music. I cannot stress the importance of filling out your application entirely and sending the files requested EXACTLY as the producers ask for them. Leaving information blank without a reason or ignoring required files gives the impression that you don’t care enough to give the information, or worse, that you or your intended routine isn’t ready. There will be tons of applications filled out completely with routines finished and ready to perform. Leaving questions blank or required items off of the application will only make other complete applications a better candidate.

Many festivals are requiring video of your intended performance now. Video is getting much easier to capture and upload with the invention of the oh-so-chic and portable “flash video camcorders” video camera with moderate memory and can place the video on a computer with just a USB cable. No software required. If you are having trouble getting video in a reasonable, upload capable format, then investing $200 or less in one of these cameras will make your life much easier. There is much debate over the success of applicants based on the environment the video is shot. As a recent producer of a show, I can say for certain that as long as the routine is complete, the costume and prop is present and working, and the sound is reasonable, a good producer can get a good idea if you are festival material. Live shows are thought to be preferred for submissions by many due to the crowd reaction and the energy a performer inevitably turns on when in front of an audience. In theory, this sounds correct, but so much can interfere with a live video that could hinder, rather than help your chances. Crowd cheers can interfere with the sound clarity, that guy, at any show, who’s head magically appears in front of the lens in the one good video you have of your routine, blackouts and club light that changes intensity can make the camera focus hit or miss, or even technical problems with a show, just to name a few. Unless you know some video software savvy individuals who are willing to help you shoot on pro equipment, edit video or dub sound on the cheap, just submit the best video you have of you performing your routine to the best of your ability. If you film the routine in a studio, perform the number as if it were a live show, with full hair and make-up, all props and costumes present and in use for the video.

Also, filming location should be at the most professional level you can afford. A dance studio is ideal if you cannot manage a live stage shoot with an audience. If you have an open space in your home, that is fine as well as long as there are no other distractions in the video which will not be in your routine. Pets, furniture, ringing telephones, noise from appliances (TVs), commentary from the videographer or any vocalization from off camera, and especially CHILDREN are undesirable inclusions to a submission video.

Look at applying for festivals as though you were applying for a high paying job. Dress your best, bring a portfolio of the most amazing routines, and give them everything they ask for. If you give the producers everything they need to consider you, you can wait for the answer with confidence. If you still aren’t accepted as a performer, re-evaluate your submission and your performance portfolio and work for the next year on making your submission routines better and more desirable to a producer.

Lastly, should you be accepted into a festival, make sure you submit everything asked by the required deadlines. If for some reason, you are unable to meet your deadline, call or email the producer to let them know the hold up and the next opportunity you will be able to send your file. Communication with your producer is crucial for repeat booking.

With: Black Mariah

Recently, I discovered that many of you ladies are having difficulty applying your false eyelashes, or worse, won’t wear any at all, because you are not confident in applying your lashes. Consider this article your “falsies for newbies” guide to applying eyelashes properly and safely.

1. To apply eyelashes on your own, first begin by washing your face with a PH balanced, oil free cleanser of your choice. Pat your face dry with a towel and do not moisturize your face just yet. Your lashes should be the first item you apply in your make-up ritual.

2. Take your lashes out of the package and remove them both from their seats on the insert. Lay each eyelash on the insert you just pulled it from (this helps keep the lashes from being placed on the wrong eyelid). If you need to make your lashes smaller, this is the time to do so. Lashes are made larger as you can make them smaller, but never larger. To reduce the size of the lash, use small detailing scissors and snip in 1/8” increments from the inside of the lash that sits closest to the nose.

3. Pick up your lash and pinch the lash tips between your fingers in your non-dominant hand, exposing the lash band towards your face. With your lash glue tube in your dominant hand, place the tip of the glue at one end of the lash band and squeeze gently until the glue comes out of the tip. Run a thin line of glue along the band of the lash to the opposite end. Lay the lash down with the glued lash band facing up, and repeat with the other lash. When both lashes have glue applied, pick up the first lash on which you applied glue. The glue needs 15-30 seconds to cure which is why you place glue on both lashes before applying so work diligently.

4. Grab the lash by the lash tips and close the eye you are will apply the lash onto. Remember, that the lash band is going to be placed just above the eyelash line! Do not place your lash on your lash hairs! Removing eyelash glue from hair is next to impossible and very painful. Center the lash where you want it to stay and press the center of the band into the center of the eyelid, then press the edges down out towards the ends of the lash around the curve of your lid to the edges. Hold the ends for about 10 -15 seconds. When you let go, the lash should stay against your lid. If not continue to hold another 5 seconds. Repeat with the other eye.

5. When you are finished, feel free to then moisturize and continue with your regular make-up regiment. Try not to be distracted by your new divine peepers while you work. You have a show to get ready for!

Next month, individual lashes with visual help!

Send your burning burlesque questions Black Mariah c/o editor@pincurlmag.com

Shake a tail feather with Black Mariah

No need to post an emailed question this month because I have had DOZENS of emails from burlesque dancer wanting to purchase ostrich feather fans. I thought these emails came at a great time as I just purchased my third pair of ostrich feather fans, and let me tell you, I thought I knew everything about fans, and I did not. With that, let me educate all of you potential feather flaunters in how to purchase your first pair of fans wisely.

When I bought my first set of ostrich feather fans, there were only a few websites selling “Sally Rand” fans. I must have searched over a month before I settled on a fan vendor and sent my payment for my fans. When I received my fans from the company that shall not be names, I was incredibly disappointed. They weren’t nearly as full as they appeared in the picture, and they didn’t open up to even 45 degrees the fan staves were wooden but not painted to match the black feathers, just wood. I made the best with the purchase and went on to make a great number with them. I just chalked it up to a life lesson of “You get what you pay for”. The fans I purchased were really only about $120 less than the fans I COULD HAVE gotten from a competing company which I would have been extremely happy to have. I purchased a pair later from ostrich.com, but had bought the cheapest fans which were the full sized single layer fans. When I received them, I was not satisfied as they too were not as full as I thought they were, which was no fault of ostrich.com, as the pictures on the website accurately depicted the product. I just didn’t know any better. Here are the important details I wished I had known before I made both of those purchases.

1. Buy at least double layer fans — Ostrich feathers are thin and dainty quills. If you hold a large sized feather (the size used in feather fans) up, you can see through them. If you hold two together, one in front of the other, the objects behind the two feathers are hidden; hence your naughty bits will not be exposed. Triple layer is best, if you purchase fans with clear staves. The third layer is a short set of feathers set low on the staves, starting just about the connecting screw. The third layer actually covers the clear part of the bottom of the fan staves that would be a point of exposure. Some vendors also sell fans with colored staves, in which case the third layer would only be a preference and not a need.

2. Purchase pre assembled fans I am incredibly crafty and know my way around all of the tools in our garage. I would even go as far as to describe myself as the very definition of DIY. However adding a second layer of feathers to a set of white feather single layer fans was a very humbling experience. It took me three days of wrestling with wire, wire pliers, clamps and ostrich feathers which I might explain, do not like to lay flat- EVER. They rolled and moved, and caught the wind easily and slid out of there places. It was very difficult. The Ostrich.com website suggests that the approximate assembly time is 75 minutes per fan. I am pretty sure it took me much longer when dealing with two feathers per stave. The lesson here is that it is not NEARLY as easy as it sounds. The last purchase I made from ostrich.com, I purchased pre assembled. It was worth the extra charge to let a professional do it and make it look nice.

3. Wide open spaces Know the dimensions of your stage before you commit to using your fans in a show. A stage that is 10 ft wide is too small. Full sized fans should measure 30” from the anchor screw to the tip of the feather. My arm measure 25” from shoulder to thumb. In a full arm extension with one fan out to the side of your body, you would need 55” of clearance just to perform a basic extension swirl. That is 4.5 ft. So double that for the other fan on the opposite side of your body and that is 9 feet of space just to complete two arm extension swirls, leave one tiny foot of space for your body to move about. Constrained movement does not make for a beautiful fan dance.

4. Quality feather fans are made from male ostrich wings. Not until this fact was pointed out to me did I realize the stark difference between male and female feathers. Male feathers are the feathers used in the most beautiful fans. In the bird kingdom males have the ornate and brightly colored plumage, solely for courting and mating with females. Oh the irony that we humans are quite opposite. Male feathers will also bleach completely and thoroughly to a bright white. While female feather will bleach to white, they are likely to retain dark brown or black spots of color. I am not clear as to why, but the male feathers will bleach all the way to white. I looked at many websites offering “quality” feather fans at much more desirable prices. It was only now that I noticed phrases like “femina wing feathers” in the sales description. Be very diligent when you read the descriptions about a potential fan you would like to purchase. Remember that “you get what you pay for” and this phrase is incredibly true with fans. If it seems too good to be true, it probably is. Second hand fans are the exception to this rule.

5. Unique, like everyone else Ostrich feather fans are a beautiful, unique addition to your repertoire, however there is at least one fan dancer in every major city. In a festival, or competition setting, you can guarantee that most dancers will want to enter their fan dances, as it is no doubt their strongest, and the most glamorous of their routines. Imagine, one show getting auditions from 20 dancers, and 18 of them want to enter the show or competition with a fan dance! Understand that although you may have a unique routine, or feel your fan dance is worthy of a national level of performance, almost every dancer or troupe has a fan dancer, and they all feel the same way. You will be more likely to get a slot in a competition or festival showcase by submitting anything but a fan dance. In fact, as a rule across the board of performances, I would stray from entering ANYTHING that might be a commonly used song, or theme. (i.e. fans, cabaret chairs, top hat and cane, Sarah Palin, Little Red Riding hood)

6. Lessons and Practice A fan class from a professional or even a fan dance instructional video will do wonders for your technique, and give you a good set of basic fan dance skills to which you will have the tools to create unique moves and choreography on your own. You should work to develop your own style and personality with fans. After all, while you are concealing yourself with beautiful plumage, your feet and face have to make up for all of the body that you are not showing.

7. Choreography The internet has opened the doors for information to just appear right at our fingertips. It helps to watch as many fan videos as you possibly can. Some of the performances available for your viewing are simply amazing. You may be tempted yourself to utilize some of the moves or tricks you see in these videos. I have been asked if that was OK to do, and I warn all of you to tread this line carefully. “Moves” can be named but not copyrighted. Sets and combinations of moves in the order they were performed CAN be copyrighted and is definitely stealing choreography. If you are unsure, email the dancer and explain the move that you would like to use in your routine, and ask permission before busting a fan move out as your own. Many dancers are flattered for a newbie to love their creations, and don’t mind a bit if they are borrowed.

I personally use ostrich.com for my entire feather and fan needs. Cindy is the best and is the most personable customer service rep I have ever experienced. This company cares so much for their clients and it’s no surprise that much of their business is repeat customers. I have only received the best product from the company and have always been satisfied with my purchases. Ostrich.com has an incredibly diverse selection of fans in a huge budget range.

I know that many of the top performers and teachers also use featherstore.com in which you can find fans with colored staves.

A new feather fan designer here in Dallas by the name of Meleea’s bazaar shop creates custom fans for her customers and as I know a few dancers who have utilized her very talented fan making skills, they were very happy with their purchase from her. Meleea appears to serve much of the belly dance community so you may find other very unique items for your dances in her store!

Thanks so much for reading and if this article helped you in selecting your own fans, send us a picture!

I heard this song in a burlesque show a long time ago and I have been dying to use it in a number. However I feel a little weird about it…Do you think it might be OK for me to use the same song since the other performer did it a long time ago?
Thanks,
Maddie, NYC

Dear Maddie,
This is a good question! No one performer can claim the rights to any song legally. Songs belong to the artist that originally performed the song or even the record company who produced it. From a legal standpoint, using songs used by other performers is not illegal and you won’t get sued. From a social standpoint, however, its a good idea to avoid song crossovers with other performers.

This is incredibly difficult however, since most performers don’t publish their song lists, and it’s nearly impossible to show up at every burlesque show know a performer’s entire repertoire. Try, if at all possible, to avoid songs used by other performers, at least within a 50 mile radius or within the same performing circles. If you know the song is used by another burlesque performer and you feel using the song may cause an awkward situation, simply ask the dancer if he/she would mind if you used the song as well. Many times, the performer will not mind at all , so long as you are not using their concept as well. Don’t be offended if the performer does mind you using the particular song. You have avoided an impending conflict by asking, and there could be circumstances you are unaware of giving rise to the performer turning down your request. The song may be part of a performer’s signature act, or they have won prestige and recognition with the use of that song, which would be a very valid reason to turn down another performers request to use the same song.

Performing a song that another performer uses knowingly is insulting to the other peformer, insinuating that you could take their inspiration and do it better. None of us want to insult eachother, do we? Some crossovers are just unavoidable. The problem lies when two performers, who want to use the same song, end up on the same stage together in one evening. It happens a lot more than performers imagine it possibly could, especially in a festival situation.

The best advice I can give is this: if you are just set on performing the song, look into other versions performed by other artists. Sometimes you can find very interesting covers of songs that are even better than the original recording! Another sure fire way to have an original piece of music to perform to is to either have a musician compose an original piece for you or to remix the music you want to use. The finest music are pieces that sample other songs or combine two songs into a longer number. This route ensures that no one can possibly end up performing the same number as you without blatantly stealing your music mix! Originality is the key to a unique performance.

Love and Tassels,
Black Mariah

I need a burlesque name. I have researched and found these ridiculous formulas or generators for creating your burlesque name but I end up with names like Freckles McDermand Blvd, or Lil’ Comfort Bandersnatch (I did not make that up) . How can I find something original and, well, not like the names I just listed? Daisy, Michigan

Dear Daisy,

I think coming up with a burlesque performer name just might be the hardest part about beginning your burlesque career. It’s important, because it’s your verbal calling card, as well as a way to thwart stalkers from finding your address and stealing your underwear. How do you manage to come up with the perfect name that is catchy and describes your personality and style for the rest of your career? No pressure, huh? My first suggestion would be to get a yahoo account and join the “Burlesque Stage Names” group. This group has a database of burlesque performer names registered by the performers themselves. This list compiles the troupe names, the performer names, and the years the names have been in use. This list is by no means a complete list of the names used by performers to date, as the database relies on the performer to register his/her name. It is also one of the places you should check your burlesque name against once you have decided on your stage name. You may peruse the name registry to get an idea of other names used and the trends. I would come up with name that describes you as a performer and lends a nod to the type of burlesque that you intend to perform. Classic performers often use sexy words, other languages, cultural references, or add a predicate to their last name like De or Von. Many dancers choose names that reflect their “biography” they invent for their stage personas which could be loosely based on your own past and genealogy! Some performers even hold onto a part of their real name and substitute a stage name for half of their own.

Your performer name is not something to be taken lightly. Your performance is your business, so your name is your brand. Definitely research names, think about your personality and style, check out some sexy foreign or English words, and make a list of possible names. It will come to you. You will know it when you see it.

Lastly, once you have settled on a name, check it against the Burlesque Names database, as well as use search engines to check for other dancers using the same name. Adding the word “burlesque” into the search after your new name will help narrow down the search to only burlesque dancers.

-Black Mariah