Beauty is Pain  ~ Or ~ Here’s Arsenic in Your Eye!

by: Femme Vivre LaRouge

Just kidding, no one put arsenic in their eyes.  They drank it.  For that beautiful glowing skin, almost translucent (like a ghost!), and sparkling eyes!  Never mind the vomiting and hair loss, just take your beauty medicine daily and don’t forget to take a little break in your regime to allow for a ‘toxic balance’ and the repletion of red blood cells.  No prescription needed, simply order your arsenic complexion wafers today through the Sears Roebuck Catalogue (today being circa turn of the last century, but as late as the 1920s).  At $6 per dozen, it’s recommended that you go ahead and purchase one dozen large boxes to ensure the following claims by leading wafer manufacturer, Dr. MacKenzie: “Even the coarsest and most repulsive skin and complexion, marred by freckles and other disfigurements, slowly changes into an unrivaled purity of texture, free from any spot or blemish whatever; the pinched features become agreeable, the form angular gradually transforms itself into the perfection of womanly grace and beauty.  Used by men the favorable results are the same.”

What some women did actually put in their eyes was the extract of a lovely little flower called Belladonna, or Deadly Nightshade.  Italian Renaissance women were known to dilute the substance and use it to dilate their pupils for a lusty ‘bedroom eyes’ look.  While Belladonna is still in use today as a sleep aid and muscle relaxant, I don’t think you’ll find anyone dropping it in their eyes.  Side effects include blindness and excruciating death.

Ancient Egyptians used a slew of toxic beauty products on their eyes, including eye makeup composed of appealing things like copper, lead, and soot.  Dr. Joel Schlessinger reported to MSNBC that, “The ocular skin is most likely to absorb materials due to its thin, nearly transparent qualities…The exposure would eventually lead to irritability, insomnia, and mental decrease.”  Egyptian women were also known to use bromide to enhance their lips, although the risk was skin eruptions and madness.

Ancient Grecians, Romans, and later the British, thought lead paint such a good beauty product that they covered their entire faces in it, for a fashionable pallor.  Using paints and peels made of lead and mercury, the fashion conscious would attempt to not only cover up, but remove skin blemishes and freckles, and hopefully nothing more important with them.  Other dangers included infertility, insanity, and predictably, death.  For centuries quack doctors have been selling lotions, potions, and paints to lighten the complexion, often leading to the customer’s demise.  The moral of this story: we’re meant to have a variety of skin tones!  Lead poisoning and skin cancer are not awesome, and like my mom told me, freckles are just angel kisses (and let me tell you, I must have been popular with the angels as a child).

For a thoroughly amusing account of Georgian era Make-Up atrocities, see  one of my favorite Horrible Histories videos, the Georgian Make-Up Song.

Luckily, the Food, Drug, and Cosmetic Act was passed in 1938 and limited the peddling of a multitude of toxic substances.  Not to say there aren’t still harmful cosmetics out there, and plenty that are harmful to Mother Earth.  A report in 2007 brought red lipsticks from multiple manufacturers under scrutiny for lead content, and Stacy Malkan, author of  Not Just a Pretty Face: The Ugly Side of the Beauty Industry and co-founder of Campaign for Safe Cosmetics told MSNBC that some mascaras still use mercury as a preservative.  Furthermore, Malkan stated, “We’re also being exposed to chemicals like phthalates many times a day through personal care products like shampoos, face creams, fragrances…”  An excellent resource for information about face friendly, and earth friendly cosmetics (and more) is Sophie Uliano’s Gorgeously Green: 8 Simple Steps to an Earth-Friendly Life.  The accompanying website, www.gorgeouslygreen.com, also offers a wealth of knowledge about safe, and unsafe, beauty products.

So, the good news is we’re no longer breaking all the bones in our feet as children to re-form them into 3 inch stumps and we’re not corset training so intensely that we remove our lower ribs (cosmetic surgery in Victorian times – what were they thinking!?) and squeezing our guts out of our lady bits, nor are we force feeding ourselves Turkish Delight like a foie gras duck to keep us curvy and waxy-skinned like harem girls.  Unfortunately, though, the ideal body image pendulum has swung the other way and some super model types have been known to purposefully ingest tapeworms (you don’t want to know how those have to come out) to stay thin.  And ladies, although our g-strings look great onstage, I shudder to even think of the health risks caused by daily wear, and don’t think it proper to report them here.

Some beauty tidbits about the legendary ladies we love:

Marilyn Monroe was known to cut down one of her high heels a half inch to put an extra wiggle in her walk.

Movie executives pushed Rita Hayworth to have her hairline moved back a full inch with electrolysis because they didn’t think she was pretty enough.

Supposedly, Marlene Dietrich and Lucille Ball would twist their hair up tightly and bobby pin it under their wig to get a natural, although uncomfortable, facelift (known as the Croydon facelift).  Supposedly, Dietrich also wore a small gold chain under her chin, pulled back into her hair to sharpen her jaw line as she aged.

Jean Harlow’s mother (a very overbearing type) demanded that Harlow ice her nipples before shooting scenes in satin gowns with no undergarments.

Carol Doda, a topless dancer who popularized bottoms-only bikinis in the sixties, was one of the first well-known performers to surgically enhance her bosom – by 10 full inches, through silicone injections.

Editor’s Note: New Year’s is a time for resolutions and goal setting.  Why not make better communication and improving backstage demeanor one of them?  When we heard about Lori Madison’s “That’s My Boa Betch!” presentation at Burly Con 2011, we thought she would be the perfect gal to teach us how to reach that goal.

That’s My Boa Betch!: Your Inner Diva Strikes Back

by Lori Madison

Show day. In a whirlwind of sequins and eye lashes you rush out the door. To cool your heels, you mark your choreography on the ride over to the club. Call time. You are informed that the venue doesn’t allow glitter dumps. Panic makes its home in your chest as you realize the punch line to your act is all but ruined. 20 minutes to curtain. You and five of your colleagues are crammed into a space no bigger than a walk in closet with one mirror and a single halogen work lamp to share. The mix of nervous energies sucks the air from the room like carbon dioxide seeping from a rusted tail pipe. One of your cast mates decides to calm herself by singing loudly and slightly out of tune while painting her pout. Her seemingly joyous squeals seem more like nails on a chalk board to your ear. 10 minutes to curtain. A breath of fresh air and a potty break are in order. Upon your return you are stunned as you round the corner to find the lovely songbird indulging herself in a dance with your custom made ostrich boa. A heat builds in your stomach and rises to your throat. With all of your might you try to squelch it but it’s too late. The flames come roaring from your mouth charring the unsuspecting ego of your cast mate and singeing innocent bystanders in your wake. “That’s my boa betch!” An awkward silence fills the room. Your inner diva has reared her ugly head, stunning those around you into an uncomfortable submission to your will. But the show must go on. Making a special appearance tonight, a big, fat, pink elephant!

All too often, so many of us have been on the receiving end or the instigator of a similar scenario. Many performers push hard on their own personal boundaries each day while striving for growth and progress in their craft. We delicately balance emotions and rational while walking a very fine edge. Back stage antics and troupe dynamics can create unexpected challenges. A slip to the wrong side of the edge can easily cause a girl to flip her wig. Let’s face it, being a showgirl is less than glamorous. It’s really hard work. But we all can agree that blowing your top like a volcano is no solution to a difficult situation. Explosive communication creates distance between you and your colleagues . It ultimately leaves you feeling deflated. With the same dedication we apply to our creative pursuits, we can learn to become skillful communicators without disrespecting our colleagues or ourselves.

The first step in transforming our unskillful way is to recognize the commonalities between us. What makes life more fabulous? Not just for ourselves but for those around us? Joy. Joy is the thing that all beings seek. We seek it for ourselves and we seek to bring it to others. Perfect! That’s why we all became glittering burlesque stars right?! So what’s the problem? Why do we claw each other’s eyes out if we seek the same thing? Your idea and her idea of joy may not be the same thing. So there you are standing on two different sides of the same dressing room, having two different experiences, while a deep ravine of misperception divides you. Only one choice for a real solution exists: To build a bridge of compassion. By building that bridge you begin to recognize language that actually blocks compassion. Marshall B. Rosenberg, PhD, founder of The Center for Nonviolent Communication and the author of Nonviolent Communication: A Language of Life, suggests that moralistic judgments, blame, insults, comparisons, diagnoses all block the flow of compassion from one heart to the next. The use of phrases such as “makes me feel like” or “have to” clouds our awareness of personal choice in our feelings. Requests as demands threaten the listener with blame or punishment if they fail to meet your request. By allowing a brief moment of self-reflection:  “What will make life more fabulous for myself and my colleague?” the river of compassion will flow from heart to heart, allowing you to communicate your needs more efficiently.

Once the river is flowing, you can use Nonviolent Communication as an effective tool by dividing your communication into four components: Observations, Feelings, Needs, and Requests. Like any healthy tree, your tree of communication must have healthy roots. Most of us entangle our observations with judgments causing others to hear criticism. “That’s my boa betch!” The use of the word “betch” is clearly an evaluation based upon an uninformed surface level response.  Back to square one, shouting at your colleague across the ravine. By separating observation from evaluation you can focus on the facts. You observed your colleague dancing with your boa. This does not make her a “betch.”

Now that you have your facts straight you can clearly identify your true feeling around the conflict. “That’s my boa betch!” was stated out of an emotional response but does nothing to communicate how you were feeling when you saw her with the boa. In fact, that statement will likely escalate her to a reactionary state in return. Angry, frustrated, agitated, nervous are all very clear identifications of feelings, however the way you incorporate them into your speech affects how the listener will hear them. “You make me angry when you play with my boa” is a common way one may choose to communicate a feeling. The use of the phrase “you make” distracts responsibility away from you, the feeler, and places the blame solely on your colleague. By simply stating “I feel angry” or “I am angry because you are dancing with my boa” your colleague will  more likely hear your needs and request.

By taking responsibility for your feelings you can begin to understand the root cause for your reaction. You had a need which was unexpressed and unmet. Before we identify the need, let’s examine the events leading up to the appearance of your inner diva. Nerves were already on edge as you rushed from the house to the venue. Upon arrival, a sense of control was taken from you when you were told you could not use glitter in your act. As you entered the dressing quarters your personal bubble was invaded by the squawking of your boa dancing nemesis. Agitation had been building long before you observed her with your boa. So what was the need? It was a need for order, a need for organization, a need for control, a need for respect. You may choose to acknowledge your need by stating, “I feel angry when you dance with my boa because you don’t respect me.” The observation of the action and the feeling were both clearly communicated without judgment, however the need was not. Stating “because you don’t respect me” makes a judgment about your colleague’s opinion of you. A more effective way to communicate your need might be to state “When I see you dancing with my boa I feel frustrated because I need respect for my personal space.” This statement extends the bridge of compassion across the ravine to your colleague who is now more likely to hear you because she can relate to the need for personal space.

With all this beautiful communication you’ll be winning the award for Miss Congeniality in no time! But not so fast, it’s time to put your new found skills to the test by making a request. Consider using positive action language and be as specific as possible. Ask for what you want; don’t ask for what you don’t want. “Don’t play with my boa” would be the common request from the untrained glitterati. But remember your original intention. How can life be more fabulous? A more effective request may be “I would like for you to ask my permission before touching my personal belongings.” This lets the listener know exactly how she can help make your world more fabulous. This statement leaves some room for you to make her world more fabulous too. It implies that for her to experience your luscious boa all she need do is ask for permission. Once the request is made, allow space for your colleague to respond to what you’ve said. This creates an opportunity to be sure that your request has been received clearly. You may gain better understanding for why she chose to dance with your boa without seeking permission. Be aware that requests can quickly turn into demands when you judge or criticize your colleague’s response. Be prepared to let go of any expectation. The goal of Nonviolent Communication is not to get your way, but to learn to communicate without disrespecting yourself or those around you.

“When I see you dancing with my boa I feel frustrated because I need respect for my personal space. I would like for you to ask for my permission before touching my personal belongings.” The bridge has been built and both parties now have the opportunity to cross freely from one side to the next and back again. This is open dialog.  When you feel the fires of frustration churning in your stomach, stop, close your eyes and breathe. Your inner diva speaks to you with wisdom. “I have a need; a need for my world to be more fabulous.” Open your eyes and acknowledge that your colleague has an inner diva too, and she’s saying the same thing.

Sources

Rosenberg, PhD, Marshall B. Nonviolent Communication: A Language for Life

Encinitas: Puddle Dancer Press 2003

Rosenberg, PhD, Marshall B. Speak Peace in a World of Conflict

Encinitas: Puddle Dancer Press 2005

Lori Madison is a pioneering burlesque performer, producer and educator residing in Portland, Oregon. Relying on her BA in music performance, Miss Madison has successfully produced an extended run of her one woman show Madison Moone’s Burlesque Revue and currently co-produces Orchestre L’Pow! presents Dames and Games and Orchestre L’Pow! presents Big Time Burlesque. As a soloist she has performed as Madison Moone on premier Northwest stages such as The Triple Door, The Rosehip Revue, The Bossanova Ballroom, The Can Can Cabaret, and Dante’s. As an educator, Miss Madison has been operating a busy private music lesson studio for the past fifteen years, as well as being currently enrolled in a 500 hour yoga alliance training program while volunteer teaching for the revolutionary nonprofit organization Street Yoga.   Lori Madison leads burlesque performance workshops at She Bop in Portland, Oregon; she presented her revolutionary workshop That’s My Boa Betch! at BurlyCon 2011 in Seattle, WA.

The Pin Curl Staff put our heads together and came up with the best gifts this holiday season for the pin-up or burlesque gal in your life. Happy Holidays!

We are completely in love with the gals at Sugarville Candles!  Their unique candles, lip balms, & body butters smell so delicious, they are hard not to eat & the adorable pin-up girl labels are to die for!  (S’mores and Birthday Cake are among our favorites!)

There are several burlesque autobiographies that scored high on our list of gift giving favorites.  Check out: Georgia: My Life in Burlesque by Georgia Sothern, And Men my Fuel by Lili St. Cyr, Tempest Storm: The Lady is a Vamp by Tempest Storm, Gypsy: Memoirs of America’s Most Celebrated Stripper, The Days We Danced: The Story of My Theatrical Family From Florenz Ziegfeld to Arthur Murray and Beyond Any of which are sure to please the bookworm on your list.

For the fashion diva, we like Elegance Navy Polka Dot Dress by Bettie Page Clothing, The Birdie Dress by PinUp Couture is a fabulous holiday party dress, and for underneath we adore the Bernie Dexter Tigress Garter Belt and matching bra by Lucy B.  The vintage lingerie selections sold by Shannon Doah at Vintage ShowGirl are not to be missed!

If you are looking more to decorate yourself from the neck up, we are head over heels for the work of Sharon Sullivan, the milliner and owner of Dream Hats!  Whether you are looking for the perfect pillbox, fedora, or fascinator from her amazing line, or a custom one of a kind creation, Dream Hats is the perfect choice!

For stocking stuffers or the collector in your life, we adore the series of pin-up and burlesque gal drinking and shot glasses.  The gals’ clothes disappear as you drink!

If those aren’t enough eye candy, there’s a fabulous collection of modern pin-up books out by photographers such as Viva Van Story, Gayla Patridge of 666 Photography, and Roy Varga available on Amazon.

If DIY is more your style, you’ll want to get to work on a Mikiphone- vintage or reproduction a Mikiphone is a nifty pocket phonograph popular in the 1920’s.  It fits into a canister just a little larger than a snuff can.  Certainly a lesson in patience and not for the novice builder, you can find plans and video online to build your own, or get lucky on Ebay! Either way you go, a wonderfully original gift for the music loving guy or gal in your life, and a superb conversation piece.

Of course, if you are looking for a practical yet fun gift that helps a good cause in the process, you’ll want to check out the 2012 calendars offered by pin-up centered non-profits such as Pinups for Pitbulls, The Pinup Angels, and Pin Ups for Vets.  What’s not to love about flipping through images of lovely ladies with big hearts? Each are changing the world one centerfold at a time.

Femme Vivre La Rouge has compiled a list of great vintage and burlesque inspired books and films to keep you cozy by the fire this winter!

Books:

For a cheeky and satirical look at social history, go with The Nice Girl’s Guide to Good Behavior by Monica Redlich.

With chapter headings such as “A Guide to Public Appearances” and “People You Ought to Know About” this book gives the best worst advice of the 1930s and, while it purports to teaching girls good behavior, it really focuses more on how to put other women down ‘politely,’ play men, and climb the social ladder.

If you’re looking for something instructional this year, you may want to give Atomic Cocktails: Mixed Drinks for Modern Times a whirl. Compiled by Karen Brooks, Gideon Bosker, and Reed Darmon, this book is full of fantastic photos, illustrations, and best of all, drink recipes from the great age of the cocktail.  Throughout the year this little gem has helped my fella and I keep our New Year’s resolution of ‘drinking fancy.’

For aesthetic inspiration and leisurely gazing, I recommend The Art of the Great Hollywood Portrait Photographers by John Kobal. Spanning the period of 1925-1940, this title offers up 150 stunning photographs with information on the photographers and their subjects.  This one would look great on your coffee table!

Sisters of Salome by Toni Bentley is an excellent look at female artists at the turn of the last century, the emergence of modern dance, and the Salome Craze This one is definitely in my top 10 favorite non-fiction books.

For something spooky, I recommend Hollywood Haunted: A Ghostly Tour of Filmland by Laurie Jacobson and Marc Wanamaker. Featuring stories about Marilyn Monroe, Lucille Ball, Bela Lugosi, and many more, this is an excellent compilation of Hollywood’s most famous specters.

If you enjoy pulp fiction and a good detective mystery as much as I do, and you’ve already made your way through the Raymond Chandler and Dashiell Hammet classics, here a few new suggestions:

The Corpse Wore Pasties by Johnny Porkpie, the Burlesque Mayor of New York City– a scintillating burlesque detective mystery written by one of our own He Done Her Wrong: A Toby Peters Mystery by Stuart Kaminsky features Mae West as a main character, blackmailed with a stolen manuscript of her scandalous autobiography.  Chinatown Death Cloud Peril by Paul Malmont is another fine choice An excellent modern pulp fiction, this book’s characters are all famous writers from the great pulp era.

Films:

If you’re in the mood for a classic holiday film, but you’ve tired of White Christmas and It’s a Wonderful Life, check out 1945’s Christmas in Connecticut with Barbara Stanwyck

For another marvelous Barbara Stanwyck film of the burlesque variety, look up Ball of Fire, in which she plays a nightclub performer mixed up in a murder case with her gangster boyfriend.  It’s a little bit like a 1941 version of Sister Act except that Stanwyck seeks asylum with a group of nerdy lexicographers rather than nuns.

For a burlesque biopic try The Josephine Baker Story Released in 1991, with Lynn Whitfield as the title character, this film chronicles the incredible life of Josephine Baker.

Another great biopic that shouldn’t be missed is 2009’s Coco Before Chanel starring Audrey Tautou as the great designer, Coco Chanel.

If you’re in the mood for a musical, might I suggest 1960’s Can Can starring Shirley MacLaine, Frank Sinatra, and Maurice Chevalier

For Romantic Comedy, try one of my all-time favorite films, 1934’s It Happened One Night, starring Clark Gable and Claudette Colbert. Filmed in just four weeks while Colbert was on break from another film set, this cinematic masterpiece was the first to win every major Academy Award.

A marvelous series of films beginning in 1934, The Thin Man movies are a mix of detective mystery and romantic comedy, with heavy drinking and witty dialogue on the side

Finally, for a modern classic, set in the 1930s just before the dawn of WWII, watch 2008’s Miss Pettigrew Lives for a Day, with Frances McDormand, Amy Adams, and Lee Pace

Burlesque: There Are Big Hearts Behind Those Busts.

Story Femme Vivre LaRouge

It struck a poignant cord with me this year at the Burlesque Hall of Fame Legends Q&A how many of our legends have followed humanistic pursuits, not only in the performing arts, but in the social spectrum as well.  I realize that it might be easy for the uninitiated to think of these sensual entertainers as divas or mere attention-seekers, but they are, in fact, intelligent, empathetic, strong, and passionate women who have chosen to share their love of life with others.  Judith Stein and Shannon Doah, legends of burlesque, have displayed themselves with grace and glamour for international audiences.  But their beauty goes much further than skin-deep.  These ladies have followed up their lusty and illustrious careers as showgirls with work that serves others.  Judith Stein brings humor to housebound patients and Shannon Doah aids animals in abusive homes.  We are lucky to have living legends such as these to look up to.

Judith Stein, a resident of Nelson, British Columbia, has been inducted into The Burlesque Hall of Fame as Canada’s only Legend of Burlesque.  She is active in the Canadian burlesque community as a performer and mentor, and teaches workshops on the art of striptease “for your inner tramp” (theartofburlesque.com)  Ms. Stein’s performance career began in 1974 when she took up topless go-go dancing to help pay for college.  From there she had the chance to learn the art, firsthand, from some of the greatest peelers in the business, and became an internationally acclaimed sensation herself.  I was lucky enough to meet Ms. Stein this year at the BHoF Reunion and she was absolutely delightful, “the last Legend standing” at all the after parties!

Judith Stein now works with Interior Health of British Colombia as a Home Support Worker.  She provides services to those who wish to remain in their own homes, but need a helping hand with cooking, meds, bathing and hygiene, etc.  Furthermore, when these patients are getting ready to pass, Ms. Stein keeps them clean, comfortable, and in good company.  She states that, in these palliative health care cases, “Of course, mine die laughing.”  Some of the men she has cared for even knew her from her original days as a performer, one telling her, “I can die a happy man now.”  Judith says that the great reward in this type of work, the same as with burlesque, is “The smile on people’s faces.”  The importance of her work is obvious, and her patients are grateful; as one woman put it, “You walked with me to the end of the road.”

When asked, “What have been some of the more challenging and rewarding aspects
of your careers?” Ms. Stein replied that, after quitting burlesque, she moved to a small town and was open about what she had done in her previous career.  “Some of the challenging things were being taken seriously as an intelligent, caring human being; being taken seriously by men, and dispelling the myth that I was probably a hooker, and dumb.  I remember when I moved here, there were radical feminists, and they challenged me about my choice of career.”  A long-time feminist herself, and member of C.O.Y.O.T.E. (Call Off Your Old Tired Ethics), she attempted to explain to such challengers that, “I earned my own living, I did what was right for me.”  She says, “I had to educate a few people.”  Judith states that what was rewarding about her career in burlesque was the ability to entertain, lots of money, travel, independence, and being her own boss.  In her current line of work, it is rewarding to do something that is needed, to provide a valuable service.

I asked Ms. Stein, “What has remained constant between your careers, and what has changed?” to which she replied, “What has remained constant is my love of people, and to provide the service with the utmost of charm, grace, and intelligence.”  As to what has changed, “When I was a dancer, I thought the world would never end.  I hadn’t given much thought to aging.  When you’re young and beautiful and in demand, you don’t think about the days when you’re going to go through menopause, health issues, and that you’re not going to have all that money again.”

When asked, “What are some of your accomplishments that you are most proud of?” Judith replied that it has always been the ability to entertain people, “to present myself as an intelligent thinking and aware woman, and well-educated.”  She shared a chilling story with me about dancing at a frat party, after which a group of young men rushed the stage, shouting “Rape her!” and pulling at what was left of her costume.  She said, “I got away, by sheer luck” and she took them to court over it.  Although the case was not a total success, the judge was impressed that she was not after any monetary compensation, but that she was charging these disrespectful hooligans because it “was the right thing to do.”  When asked by the judge what she would like to see happen to them, she stated that she would like for these boys to be sentenced one year of compulsory women’s studies.  And that is just what happened- a great accomplishment, indeed, and hopefully a turning point in those wayward young men’s lives.

I also requested that Judith Stein honor us with a favorite memory from her career in burlesque.  She told me a charming story about an old cowboy who came up to her after a performance in Odessa, TX, and said in the customary drawl, “Ma’am, you’re one fine filly of a lady and I’d be right honored to buy you a drink.”  Later, while performing her cowgirl act in assless chaps, he played the spoons on her bum; it turned out that he had also played the spoons at none other than the Grand Ol’ Opry!  Judith shared the following with me as well: “Two years ago I performed at the Vancouver burlesque festival, and it had been about 22…23 years since I’d been on stage.  The music started, I walked onstage, and the whole place stood up.  I was incredibly honored.  It was thrilling to be back onstage, to entertain again, to put myself out there and spread the love.  The young people who are involved in burlesque have been so gracious, and have honored us more than we could ever have imagined.”

For anyone interested in doing the type of work that Ms. Stein now does, she shared, “In every town there’s a senior citizens place, nursing homes, assisted living, and neighbors who live down the street and might need a hand with groceries, shoveling their walk, or just someone to drop in for a cup of tea and a visit.”

“There are no great deeds, only small deeds done with great love.” Mother Theresa

Shannon Doah (also known as Patricia Oppelt) was born in London, England, and now resides in San Diego, California.  She is once again active in the burlesque scene, performing, teaching workshops, and selling some truly lovely merchandise at vintageshowgirl.com.  Shannon Doah began performing in 1967, in San Francisco, after which she moved to Hollywood, and subsequently traveled a great deal to perform, into the 1980s.  Elegant, gracious, and sympathetic to the needs of others, she reminds me of a modern-day Audrey Hepburn.

What influenced your decision to focus your energies on assisting with the Animal Safehouse Program, and implementing the subsequent Canine Coach Kids and Silent Companion programs, after your illustrious entertainment career?

I had been volunteering at a local humane society for nearly ten years when I was asked to join the front desk staff. I was still performing, but I was traveling less and beginning to think I should transition into a new career.  I thought working for the shelter would be a place I could wrap my heart around. Within a year I became the program director for Humane Education volunteers and the Animal Safehouse.

When Janet Winikoff spearheaded the Animal Safehouse, it was a new concept and only a handful of these programs existed nationally; today there are hundreds. The program is life-saving and provides shelter for the pets of domestic violence victims who wish to leave their abuser and enter a battered women’s shelter. I won’t go into detail about my personal history, but I empathized with the women who needed this resource, and supported the new program. When Janet moved, she encouraged me to continue her work. I conducted presentations to professionals and the public on the link between violence to humans and cruelty to animals. I was thrilled to see animal welfare and domestic violence workers collaborate. I attended the domestic violence community’s workshops. I learned that a woman is abused by her partner every 9 seconds so the chances are high the family pet is also at risk. In fact, 75% percent of family violence victims who have animals report that their pets have been harmed or threatened. This added worry has kept victims from leaving their abuser and entering a domestic violence shelter. I also learned that animals could be protected in restraining orders, as property.

The need for kindness programs to help break the cycle of violence to humans and animals inspired me to create the Canine Coach Kids program. Through my experience, and from information from workshops, I learned that the children who most needed interaction with animals were those who had been displaced and exposed to violence and could readily relate to animals that were homeless and abused. I set up animal shelter tours for the kids from DV and transitional housing shelters. During one visit, a boy didn’t want to participate and was sullen and withdrawn. As we entered the rabbit area, I gave the kids some greens to feed the rabbits. The young boy’s face lit up with a big smile as he gave the rabbits their treats.  According the DV shelter’s manager, it was a break-through for the youngster. I started my new program with trust and help from the community, support from my peers, child therapists, and plenty of eager homeless dogs at our shelter.

In the Canine Coach Kids program, side by side with their dogs from our adoption program, children experience goal setting, the power of the Human-Animal Bond, compassion, and a sense of responsibility. The homeless dogs’ adoptability increases, and many are adopted before the sessions end- and the kids are delighted get to train another dog!

My inspiration for creating the Silent Companion project blossomed when I served as Chair of the Domestic Violence Council Shelter and Support Services Committee. I worked on collecting data for the National Domestic Violence Silent Witness Project (awareness campaign using silhouettes of domestic violence fatalities).  There were no animal silhouettes. Animals are often the overlooked and forgotten victims of domestic violence. In 2003, I created the animal figures to serve as a powerful educational tool to remember animal victims of family violence and to bring awareness of the correlation between human violence and animal fatalities. Each figure represents a companion animal killed by a perpetrator of domestic violence and animal abuse, and is a life size silhouette. Each figure wears a collar and tag with the name of the pet (when available), a description of the pet, other family members, how the animal was killed, and the outcome or conviction of the perpetrator. The animal silhouettes are displayed at international conferences, candlelight vigils, and other family violence awareness events. I’m pleased that others have shared my vision and additional silhouettes have been created.

What have been some of the more challenging and rewarding aspects of your career after burlesque?

Getting up at the same hour I had been going to sleep was a huge challenge!

When I was performing, I wasn’t open about my occupation. I often received a negative reaction to this profession. Although I didn’t disclose my former life, I was insecure that when I spoke to the professional community they wouldn’t take me seriously. I decided to call upon my stage experience to help me prepare for the public speaking. If I could strip off my cloths in front of a crowd, why not speak? I created a “show” with rehearsals, a script, and slides (no power point then!)  Eventually, it became second nature to speak, and really quite enjoyable.

What has remained constant between your careers, and what has changed?

Well, I’ve never been mainstream, and I’m a progressive thinker. I think I’ve proved this by my choice to become a strip tease artist and in my willingness to create, develop, and implement programs where they don’t exist. I believe in humanitarianism and the rights of all animals. Creativity in my life has remained constant. It’s part of everything to me and has given my life meaning. The way I approach work comes from my ability to see possibilities and draw from my creative nature. What has changed is that I’ve learned I am a great collaborator.

Please honor us with a favorite memory from your career in burlesque.

There are so many fond and funny memories. Being a lover of tropical weather, I took the opportunity to perform in a huge outdoor Tiki Hut on the island of Tahiti. I was the Feature and I followed two Asian acrobats. There was no stage and the audience sat in circular fashion around the floor. Since it was all outside, if the weather was bad, I got several nights off with pay and flew over to the beautiful island, Moorea. This was 1970 and only two hotels existed on the pristine island!

I also read on your website that you are related to Jane Greer!  Being a fan of film noir (for anyone interested, Jane Greer’s most famous role was the femme fatale, Kathie, in 1947’s Out of the Past, which is a visual dictionary of film noir’s classic conventions), I was very interested to learn this, and I can absolutely see the resemblance- you both have such a graceful and sophisticated loveliness. Would you care to share anything about this intriguing family connection?

The film noir actress, Jane Greer, is my cousin from my mom’s side of the family. She was classy and beautiful. I think it runs in the family, and a reason I keep my strip tease shows a class act.

Are there any resources you would like to share with our readers who might be interested in volunteer work or implementing one of the programs that you have conceived and carried out?

Readers may contact me though my website: www.vintageshowgirl.com

Readers can contact their local animal shelters or domestic violence shelters and inquire about volunteer work or programs to help break the cycle of violence. Please report animal abuse to your local animal shelter authorities.

First Strike Humane Society of the United States: http://www.animalsheltering.org/programs_and_services/first_strike/

Directory for Safe Havens for Animals: http://www.humanesociety.org/issues/abuse_neglect/tips/safe_havens_directory.html

Guide to Safe Havens for Pets: Guidelines for Programs Sheltering Pets for Women Who Are Battered by Frank R. Ascione, Ph.D.: http://www.vachss.com/guest_dispatches/safe_havens.html

National Domestic Violence Hotline: 1-800-799-SAFE (1-888-799-7233)

Child Abuse Hotline: 1-800-344-6000

Sexual Abuse Hotline: 1-888-272-1767

Elder Abuse Hotline: 1-800-510-2020

The new one-stop pin-up shop Dallas PinUp opened to much fanfare this month.  A unique store model, the first of its kind, Dallas PinUp is a retail space featuring several “booths” where independent, local, and all female owned businesses sell their vintage inspired merchandise.  Everything from pin-up clothing, lingerie, jewelry, accessories, shoes, and make-up can be found in the retail store on Main Street.  In addition to the retail side, Dallas PinUp is also the new location of Through the Looking Glass, Dallas’ premier pin-up photography studio, and home base for award winning hair & make-up artist Ladonna Stein.  Dallas PinUp is Dallas’ first pin-up and burlesque store, and the only all female owned collaborative in Texas.

Photographs provided by Mark Kaplan of NakedLens.org, and were taken at The Dallas PinUp Grand Opening on October 26^th.  Dallas PinUp is located in the heart of Deep Ellum, Dallas’ original Arts District, at 2928 Main, Dallas 75226.  Store hours are W-F 4-8pm, Sat 10a-6p, Sun 11-4.  Studio hours vary by appointment.

Interview with Dallas PinUp owner, Shoshana

Burlesque Haunts: Behind the Curtain at the Mauch Chunk Opera House

by: Femme Vivre LaRouge

Reports of apparitions and applause, spectral piano playing, whistling, and much more abound at the old opera house in Jim Thorpe, Pennsylvania.  For the past two years Jim Thorpe Burlesque, also known as Dragontown Burlesque, has held the Jim Thorpe Burlesque Festival at the historic Mauch Chunk Opera House, and from what I hear, there’s an audience around before the crowd ever arrives.  Jacqueline Hyde, performer and Production Manager of Dragontown Burlesque, was kind enough to share her chilling personal experiences with me.  For starters, she felt hot and cold spots in the upstairs balcony, and the sensation of ‘walking through webs.’  Then, backstage she continued to sense cold spots in the space and began to hear ethereal voices and movement near her.  But the strangest interaction came the next day when Jacqueline was teaching a class on the stage.  “I was facing the curtains and I saw as though someone was putting their hand on the curtain and running it up and down the curtain.”  Although no one was visible behind the curtains, and there was no breeze to stir them, the movement continued, going up just as high as arm’s reach, and down to a similar point at the bottom of the curtain.  Rather than cancel class, Jacqueline chose to address the entity feeling up the curtain: “When I asked it to stop because it was being disruptive the curtain went back to normal instantly.”

Nestled beautifully amongst the mountains of Pennsylvania, Jim Thorpe is a picturesque Victorian village of around 5,000.  Voted one of America’s “Top 10 Coolest Small Towns,” the borough was originally named Mauch Chunk, meaning Bear Mountain.  The opera house was built in the early 1880s, to accommodate both the town hall, and a farmer’s market.  Becoming a fixture on the vaudeville circuit, the opera house hosted big-name performers such as Mae West, W.C. Fields, Al Jolson, and John Phillips Sousa.  Then, in 1927, the venue was converted to a motion picture house, operating in that capacity until 1959.  Serving as a common warehouse for many years, the opera house was rescued by the Mauch Chunk Historical Society in the mid-seventies and restored to its original glory.  Now the opera house is in constant use for live performances and events.

The Jim Thorpe Burlesque Festival, produced by Brooke Au Buchon (aka Madame Corsetiere), has contributed to the preservation of The Mauch Chunk Opera House with the shows held there.  Although the festival will be moving to a larger venue next year, Mrs. Au Buchon is also the Vice President of the Mauch Chunk Historical Society.  As she has spent a great deal of time in the theatre, she had a few spooky stories of her own to share.  While inspecting the seating prior to the 2011 festival, Brooke decided to take a peek in the old projection room.  “It was brightly lit from a high window that faces the street, and contained nothing but an old desk and dusty scraps of wood and wire.  As I turned to close the door behind me, the shadow of a person passed across the floor, as though someone had walked in front of the window.  The window is far too high to reflect traffic from the street, and the top of the nearest tree is a full story down.”  Dragontown Burlesque is named after Madame Corsetiere’s own business, Dragontown Corsets, and they also host an annual Halloween show, Boolesque.  In 2010, while preparing for the show, Au Buchon went to wash her hands after moving some beer kegs.  Alone in the venue, she made her way through the dimly lit theatre to the ladies’ room.  “There are two doors you must pass through to get in, and they create a small vestibule between them.  I entered the first door, and it closed behind me.  I held the second door open, and fumbled for the light switch in complete blackness.  Before I could find it, there was a very loud noise from the back right-hand corner of the room.  It was the unmistakable sound of heavy furniture being dragged across the floor.  However, there is no furniture in the room at all, and the area the sound came from is only occupied by a toilet cubicle. In fright, I turned back, still in darkness, and tried to open the first door.  I couldn’t.  It felt like someone was holding it closed, as I would pull and the door would crack open slightly under my weight, and then slam shut again.  This only lasted a few seconds, but it felt like an eternity.  Whoever was holding the door did finally let go, and I practically fell into the lobby.”

Many others have had otherworldly encounters at the Mauch Chunk Opera House, and the site has been investigated by several paranormal societies.  One such group, the Blue Mountain Paranormal Society, invited the public to join their investigations, thereby raising money for the historic venue.  The group detected shadows and phantom whistling, temperature fluctuations, and electromagnetic field changes.  Investigator Beth Dennis responded to a tingling sensation by pointing her camera into the dark and filming where she could see nothing.  She states, “The next day when I reviewed the video, I saw the outline of a gentleman wearing a hat.”

Another organization that has examined the opera house is NEPA Paranormal, whose medium, Lauri Moore, came into contact with the ghost of an usher at the opera house.  He seems to have been concerned about her safety as she navigated the balcony area in the dark.  Although the usher was kind to Lauri, demonstrating an unearthly loyalty to his job, he did chide her for being late.  The word ‘tardy’ was caught on the group’s Ovilus, or ghost box, a piece of equipment which amplifies vibrations so that they are audible to the human ear.  When the NEPA team posed the question, “Who’s with us this evening?” the answer on both the EVP and Ovilus was ‘ghost.’

To listen to the EVPs obtained that night at the opera house, visit: http://www.nepaparanormal.com/page43.php

You can also listen to EVPs obtained by the Hazleton Paranormal Society: http://www.hazletonparanormal.com/mcoh.html and view videos from the investigation by A&E’s Psychic Kids and CT Paranormal Encounters And Research: http://www.cpeargroup.com/id103.html

Meet the Pinup Angels

by: Shoshana

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

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

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

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

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

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Meet some of the gals:

Miss Kitty Baby- Founder, Seattle

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

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

Christina Rini- Team Lead, California.

Q: What is your favorite Fourth of July tradition?

Singing the National Anthem before or during our fireworks show.

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

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

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

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

Miss Lilly Day- Team Lead, East Coast

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

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

Becky Lee- Volunteer, Las Vegas

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

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

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

Q: Your perfect date scenario would be:

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

Mighty Mo- Volunteer, New Mexico

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

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

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

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

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

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

Q: What is your biggest indulgence?

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

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

Burlesque Hall of Fame Legends Challenge

By: Femme Vivre LaRouge

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

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

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

Highlights from the BHOF Legends Q & A

By: Divertida Devotchka

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

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

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

Share a favorite backstage memory.

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

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

What do you want your legacy to be?

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

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

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

Dusty Summers by RJ Johnson of LightReclaimed.com

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

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

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

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

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

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

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

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

Tips from the Living Legends of Burlesque:

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

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

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

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

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

Toni Elling: “Have fun.”

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!