Roxie Moxie. Photo: David Peterman

Roxie Moxie, founding member of The Lollie Bombs (Dallas), and later Stripped Screw Burlesque (Seattle) talks big glittery ponds, sexual role-reversal, inside jokes, and surviving marathons.

Q: You got your start in burlesque as one of the founding members of The Lollie Bombs.  Can you share a few stories with us on the early days of burlesque in Dallas?

Those early days were so much fun – mostly, I think, because we had no idea what we were doing. We made a lot of it up as we went along.  Not everything we created was stellar, but because we were free to explore the avant-garde side of burlesque, some of it was really ground-breaking and unique. We used spoken-word poetry and even conceived a number where we formed a giant human spider that crawled around the stage as Lawless sang about the “unrighteous government.” It was weird and silly and fun, but I suppose my favorite story is of the time Angi’s balloon-popper broke and she had to tear apart the balloons with her hands instead. Now THAT is dedication to your craft.

Q: In regard to your early days, you are quoted as saying in your interview with RAW that “I told [The Lollie Bombs] I would be in it as long as I didn’t have to strip”.  Obviously you have changed your mind about the stripping part.  In your mind, is doing a full reveal essential to calling yourself a burlesque performer?  Why or why not?

I suppose that depends on how you define “full reveal.” A burlesque reveal is less about showing your body and more about showing the audience something special. Something they didn’t expect. I don’t think you have to take your clothes off to have an effective burlesque routine. I’ve seen some great numbers that don’t incorporate stripping at all.

Of course, most of the time your body is at least part of the reveal because the naked human form is beautiful, tantalizing, forbidden, and hot and a hell of a thing to see onstage surrounded by feathers and rhinestones.  If you make the decision to incorporate classic 50’s style striptease into your burlesque acts then yes, you do have to remove your clothes. Preferably nearly all of them. There’s no reason at all to be ashamed of doing so.

Roxie Moxie live. Photo: Ben Britt

Q: In 2008 you moved to Seattle.  How hard was it to come from a place where you were very connected with the “scene” to being completely on “the outside”.  What did you learn about how to break in to a new burlesque community that you could share with our readers who might be having the same experience?

It was really very difficult to break into the burlesque scene in Seattle. Some would argue New York is the burlesque capital of the country, but I beg to differ; no offense to Jo Boobs or Tigger. Seattle is a well-established scene that is saturated with fabulous performers. Many of them come from Indigo Blue’s burlesque academy and are driven enough to begin performing almost immediately after they graduate. So by the time I got there in 2008, I was a very small fish in an enormous glittery pond.  I kept pushing, went out to as many shows as I could, took classes (acting, voice and dance), met producers, and took any gig I could get.  I did a lot of awful gigs, but I just refused to give up. Eventually I hooked up with some like-minded burlesquers and formed Stripped Screw. After that things really skyrocketed for me.

Q: In 2009 you formed Stripped Screw Burlesque in Seattle.  What is it about being part of a burlesque troupe that appeals to you so much, as opposed to life as a solo performer?

The best part of having a troupe is you’ve got a built-in sounding board for your ideas. Sometimes you don’t realize an idea is terrible, or already been done by another performer, or logistically impossible, until you run it by other burlesquers who understand your mindset. They often have creative insight on how to change or improve an act so that it works. Having a troupe means you also have a ready pool of available actors/dancers/singers to pull from for specific roles in a show.  Having talented people to work with in a group setting is invaluable.

Don’t get me wrong. Being a solo artist has its perks. You don’t have to depend on other people to show up to rehearsals, get their costumes finished in time, or remember to send you the right cut of their music, but you also have no one to share the workload, no one to laugh at your inside jokes backstage, and no one to gripe to when the sound guy screws up your music. Your troupe is your showbiz family.

Roxie Moxie. Photo: Steve DeMent

Q: In Stripped Screw you began producing shows that were more narrative from start to finish, reading more as a play then “just a burlesque show” or even “a themed burlesque show”.  What was your thought process behind the move, and what were the pros and cons of such a structure?

First of all, I still love burlesque shows of all kinds, themed or not. But I noticed in Seattle that the most successful shows, the ones I wanted to see over and over like The Burlesque Nutcracker, House of Thee Unholy and Shine (the burlesque musical in which I played “Feral” in Seattle and New York), were shows that followed a more narrative structure. With a cohesive show that follows a narrative framework, each number can advance the plot and provide audiences with a more effective and engaging story. You can also create really interesting, complex reasons for characters to take their clothes off.

Q: In your RAW interview you also stated: “I use sexy strip tease to send a message.”  Can you please elaborate on this?

Sure – actually I suppose I should have said that I use sexy strip tease to tell a story.  Whether or not you want to interpret the act as having a message is entirely up to you. It’s not my goal to beat the audience over the head with a message. For example, my Roxie the Riveter act is, on one level, a cute story about a Rosie the Riveter character who transforms into a military-costumed pinup girl. On another level, it plays around with female stereotypes and sexual role-reversal. You could see it as a feminist piece or an anti-feminist piece, or both. Or you could just watch me strip into a heavily-rhinestoned military costume with sequin shoes and the cutest army hat EVER.

I prefer to create acts that work on multiple levels like this. You can choose to over think or to turn off your brain. Either way, you’ll be entertained.

Photo: David Peterman

Q: Later this month you are performing in the first ever Lollie Bombs Reunion show, on January 6^th.  What should audiences expect, and what makes The Lollie Bombs so unique?  With so many troupes that come and go, what is the secret to keeping together and strong for as long as The Lollies have been going?

I think audiences should expect to see how each of the Lollies have grown as performers over the years.  One of the unique things about the Lollies is that we always emphasized the individual girls’ personalities. We each had strong show personas that shone through in the types of acts we danced, the clothing we wore and the music we chose. We prized that individuality and somehow it never got in the way of creating a strong troupe of performers that worked well together. Also, we were the “old school” of Dallas burlesque. We stuck it out through a lot of craziness in those early years and pushed into new burlesque territory. Because of that, we all have a very intense bond that will never be broken.

Q: Speaking of the new year, what are three of your New Year’s resolutions?

I’m running my first marathon on February 19^th, so my first resolution is to survive that.

If I succeed in surviving, my second resolution is to push new boundaries in my burlesque routines. I’ve got a few new tricks up my sleeve for 2012 that I’m sure no one has seen before. I’m super excited about that.

Third, I want to really get involved in the Austin burlesque scene. I’ve only just returned to Austin after seven years away, and I think the scene is really ready to take off. I’d love to be a part of it.

Editor’s Note: This just a small part of the interview & photoshoot, for the full reveal (literally) get your hands on a copy of the Best of Spring 2011 online or at our Issue Release Party at Hot Rods and Heels 2011!

Miss Coco Lectric, crowned Texas Performer of the Year at Hot Rods and Heels 2010, talks titles as currency, travel, and the burlesque community evolving.

Interview: Divertida Divotchka. Photos: DallasPinUp.com

My goodness a lot has changed for you since Pin Curl last spoke to you.  You were crowned Queen of Burlesque in New Orleans last September.  How have titles changed things for you?

The biggest change is being held to a higher standard every time I hit the stage. When someone introduces you as the Queen of Burlesque, the audience sets their expectations a little bit higher. They’re expecting to be blown away. I don’t know if I’ve always been able to live up to this higher standard, but I’ve certainly tried.

Producers have also had a good excuse to hire me for their shows, since the New Orleans festival, which has given me the good fortune of making burlesque my full-time job. Having titles is like currency in this business and everyone wants to see for themselves what all the fuss is about. I’d become accustomed to performing for an unassuming audience, and these days they prepare themselves to see something spectacular. I have to bring it just a little bit harder every show to live up to their expectations.

Congratulations on being voted number 13 in 21^st Century Burlesque’s Top 50 for 2010! We’re so thrilled to hear the news, what’s your reaction?

I was thrilled! I didn’t lobby for votes and I really didn’t expect to see my name on the list at all. I don’t know what happened, to be honest. I was watching the list and cheering on my pals, for sure. After it got to the top twenty performers I figured that I didn’t have a chance. I feel truly honored that so many people even know that I exist, let alone like my work. I’m still sort of in shock about it and I thank 21st Century Burlesque for always having such kind words to say about me. They’re doing great work to get the word out about so many talented performers and promote burlesque around the globe, and that’s priceless.

I’m told you’re focusing more on the education realm at the moment. As headmistress of the Austin Academy of Burlesque, do you mean teaching more, taking more classes/workshops, or both?

I love teaching and I love learning, so I plan on doing a lot of both. Learning from the legends and contemporary performers is key to keeping burlesque alive and well. It allows the community to grow and shape the art. Burlesque performers are like a family in a lot of ways, only we’re not born into it as much as we’re brought in by learning from the life and art of those who came before. I’m proud to be a part of this family, and by teaching I get to help other burlesque performers and students with the lessons I’ve learned from the greats.

In your last Pin Curl interview from July 2010, when asked about being the only Texan to perform at Burlesque Hall of Fame weekend in Las Vegas you said, “I was nervous that if my performance wasn’t so great, they really wouldn’t take Texas seriously. I’m hoping I made a big enough splash this year that they consider more Texas performers next year.” Considering that you’re performing in the Reigning Queen of Burlesque competition at this year’s BHOF weekend, it would be safe to say you made quite a splash, don’t you think?

I’m delighted to be performing in the competition this year. It seems as though the selection committee is looking a little harder at Texas performers, which is exciting to all of us in the Lone Star State. Congratulations in particular to my friend and colleague Ginger Valentine, who was chosen to perform in the debut category this year. I have high hopes that we’ll rock Saturday night and encourage performers from out of state to come to Texas and perform with us, too.

As always, you’re a remarkably busy woman. You said in your most recent Pin Curl interview that you were making festivals a priority, and boy did you ever! You’ve traveled all over the place this year, including Key West, LA, San Diego, Chicago, Albuquerque, Atlanta, Denver, New Orleans, Las Vegas, all over Texas, and plenty more that I likely missed. How do you manage to keep everything balanced?

This year I’ve had no choice but to take everything one step at a time. It’s wonderful that I get to do what I love, I wouldn’t change a thing, but I’ve had to remind myself more than a couple of times to breathe. I also remind myself that if I ever get tired of doing burlesque I can just stop, but I don’t think I’m in danger of that. It’s still the first thing I think about when I wake up and the last thing on my mind as I fall asleep. It’s my absolute dream job and I am so thankful that I can tour so much and make friends with performers all over the world. I suppose I manage to balance the craziness because this is my chosen profession and lifestyle and I’d like it to stay that way for as long as the universe allows.

The Jigglewatts, the Austin burlesque troupe you co-founded, was voted best burlesque troupe in Texas at Hot Rods and Heels last year and is also a finalist for the same award in this year’s event. How have the Jigglewatts evolved in recent years?

We’re constantly evolving because we recruit such great performers. Miss Ruby Joule and I love being solo performers, but having a group is so rewarding and allows us to reach more people. Selecting new Jigglewatts is a process, and in the five years we’ve been producing shows we realize how important it is to have a troupe full of headliners who all just happen to get along. We need to keep the cast small and everyone needs to be confident in their abilities and recognize how valuable their individual talents are to the group as a whole. This year we added Jolie Ampere Goodnight and Ruby Lamb to our cast and 2010 Jigglewatts Pearl Lux and Goldie Candela will be performing again with us very soon. We recognize that as a group we’re so much more powerful and entertaining than we are individually. The Jigglewatts mission has always been to support the beauty and talent in other women, and it might be a little hard to do that without showcasing as many different beautiful and talented performers as we can.

Anything you’d like to add?
The burlesque world changes and grows constantly, and with its increase in popularity there’s an opportunity for the community to come closer together and there’s also more potential for the genre to grow. It’s our responsibility as the current burlesque community to work together and help it become the best and most wonderful thing it can be. I understand that there’s been some concern about the recent increase in the popularity of burlesque and a lot of us are afraid that it will morph into something new and different and unappealing to those of us in the field now. I feel strongly that if we stay true to our studies and our roots and we keep our eyes open to the world around us, we will be able to help guide the art form as it develops. We just have to continue to support each other.

Oh, and I love Pin Curl! Thank you for all the great things you do in the community, and for working so hard to promote burlesque as the wonderful art form it is. See you May 21st!

Find the full interview & photo shoot here!

Burlesque Haunts: Austin

by: Femme Vivre LaRouge

If you’re planning on heading down to Austin for the Texas Burlesque Festival this month (which we recommend) you may want to consider staying at The Driskill hotel for some extra kicks.  Fans of all things vintage just might have an intimate encounter with history via one of the numerous ghosts known to haunt The Driskill.  A “landmark of legendary Texas hospitality,” the place is so lavish and lush that some guests choose never to check out.

The Driskill was built by wealthy cattle baron Colonel Jesse Lincoln Driskill.  Its architectural splendor was matched by its advanced technological luxuries and was the first hotel south or west of St. Louis to boast electric lighting.  The very first long-distance call ever placed in the city of Austin was from the lobby of the Driskill, and the hydraulic elevator and elaborate bell system that enabled guests to ring for room service made it a luxurious place to stay in 1886.  Thanks to the Austin Heritage Society and many concerned citizens, the structure was saved from the wrecking ball and remains not only a State Historic Landmark, but a luxurious place of lodging to this day.

Ever important to Austin’s social scene, the hotel is located right on the infamous 6^th street, and during Prohibition it housed the finest hideaway in all of Austin.  The Driskill has been dubbed ‘the living room for Texas politics’ and indeed, not only have the politically powerful gone there to meet and drink, but the Texas Senate convened at the hotel for about a year during the construction of the State Capitol.  Rumor has it that the Texas Rangers even hatched the plan that would be the demise of Bonnie and Clyde while sitting in a suite at The Driskill.  It’s also considered by many to be Austin’s most haunted building as well as the most haunted hotel in the state of Texas.

Due to a tragic accident on the stairs, the first resident ghost of the hotel arrived in 1887 while the Texas Senate was in session.  The daughter of a senator, the little girl was back within the week and has never quit playing and bouncing her ball in the 1^st floor lobby and the 2^nd floor ladies’ room.  The Driskill is still home to its namesake, Colonel Driskill, as well, whose face you can gaze upon in the lobby thanks to a portrait painted in 1890.  Don’t worry, he won’t be showing his face any other way, although if you smell a cigar and no one’s smoking or an unseen force becomes interested in your bathroom lights, he may be nearby.

But don’t get Colonel Driskill confused with Colonel Peter Lawless, who also haunts the hotel.   A resident of the Driskill hotel for around 31 years, the retired railroad man stayed on thereafter and has been seen by several, usually checking his railroad watch while waiting for the elevator.  A woman driving a bus recently had to slam on her brakes at the intersection of 6^th street and Brazos when a man wearing “old time clothing and carrying a watch on a chain” appeared in front of the bus, only to disappear again.  If you happen to see him, he’ll probably just turn and walk off through a wall, although hauntedtexas.com notes that he is an unusual spirit as he will look at and acknowledge the living.

There is one room of the Driskill that has been known to steam up as an invisible roommate takes an imaginary shower and you may even find some scribbles on your notepad.  Guests in another room have had their luggage rearranged while they slept and once a cheeky phantom decided to choose Annie Lennox’s outfit for the evening while she was showering.  In a friendly fashion, the alternate outfit was hung neatly in the closet.  The same ghost has a reputation as a ladies’ man and has been known to make advances on single ladies.

The most mystifying room, though, is 525, which went unused for years.  Legend has it that two brides, 20 years apart, had committed suicide in the bathroom, but whatever the reason, the bathroom door was bricked up until 1998 when renovations brought about a smattering of paranormal activity.  The paint peeled from the walls, the air conditioning defied science, and most alarming, the tub turned out to be full of water with seemingly no way of it getting in there.

The ghosts of The Driskill really seem to be a kindly bunch and for some of them, the party just never ended.  Banquet manager Arthur Cicchese once heard inebriated laughter erupting from the elevators at 6am and then a whole group laughing around him in the hall after the elevators had both opened, although none of the merrymakers was visible.  As the author of Ghost Stories of Texas, Jo-Anne Christensen, puts it, the Driskill embodies “the true ‘spirit’ of southern hospitality.”

If you still haven’t had your fill of ghosties, head on over to The Tavern, rumored to have been  a speakeasy and brothel during Prohibition.  Located on West 12^th Street and Lamar, The Tavern is home to ‘Emily’ who is enjoys the peaceful mornings at the bar and has been known to change channels on the television and occasionally break a glass.  The staff doesn’t seem to mind, though- they’ve named a liquor cabinet after her!  Emily has also been seen standing in the window with a little girl who may or may not have been her daughter, and staring out across the road, to the gas station.

Or, you could just camp out at the Capitol hoping to see the mysterious lady in the red dress.  Whatever your itinerary looks like, April in Austin is sure to be spectacular, and maybe even a bit spooky.

Delia Dread, of Austin’s Black Widow Burlesque troupe, talks glitter smack, blackjack, to-do lists, and Spanksgiving.

Interview: Femme Vivre LaRouge

Black Widow Burlesque was founded in January of 2009, but you were performing with Red Light Burlesque before that.  What inspired you to strike out on your own and form BWB?

Well I did a Christmas show with RLB; I was under the impression that they were coming to an end. So essentially, this is my first and last show.  I was so hyped up on the glitter smack that I wanted more and made it happen.  I am very thankful for Red Light and glad to know they are still going strong with Ruby Rockit.

How did you first discover that burlesque was your calling?

Well, I have always loved singing and dancing.  I had a job as a karaoke entertainer for a while.  When I moved from Midland, TX to Austin I knew there was a fabulous burly-q scene here and I am already into the rockabilly, and my love of showgirls became one and the same.

Performing, modeling, managing a troupe, producing shows, and having a personal life is a lot to keep up with- how do you maintain balance?

I also have a part time job and I am getting back into school so now is more difficult than ever.  But I realize that every single hour of every day is important, and I have a planner and I am a big fan of to-do lists.  They help me stay on point and focused on important things that need to be done.  I decompress by singing karaoke, going to other burlesque shows, playing blackjack, watching the Golden Girls and Judge Judy, yoga, and of course champagne!

How did you meet the lovely ladies (and gent) that perform with you? Do you do most of the booking and group choreography yourself, or does the group function as more of an artist collective?

CRAIGSLIST! Yeah, that’s right; we hold auditions whenever we need fresh new faces and ideas and we actually just had 3 new ladies join our ranks!  The biggest reason why I started Black Widow Burlesque was because I wanted the troupe to be a group collective and for everyone to have a say in what goes on.  It makes it more of a family and it’s great that we can delegate tasks to each girl so I am not responsible for everything.

You draw on several influences for your work, from the classic queens of burlesque to classic monster movies- if you had to pick just one favorite of each, who would they be?

Lili St. Cyr is my favorite classic burlesque queen and Frankenstein is my favorite monster!

What are your performance pet peeves?  What is your favorite aspect of performing?

Sound guys and venue space.  We aren’t like a band, where we just plug in and go.  We need room to dress and we need a person to press play and pause on the sound board.  You would be surprised, but that is hard to find.  That’s why we wrote up our terms of agreement, yea we are professional now woohoo!  The best parts are the costumes, free booze, the audience’s energy, and being able to be proud of your femininity and accept your body.

Have any great stories about show catastrophes?

We had a show at Creekside Lounge and the sound man ended up leaving to go drink, so I had my friend’s boyfriend run our sound.  The stage had broken bottles on the ground and I ended up ripping the hem off my dress from a protruding nail….Burlesque is dangerous, people!  I know, classy…..we have come a long way from our humble beginnings.

Tell me about your upcoming projects and your goals for yourself and your wonderful troupe.

November 19th Black Widow Burlesque is proud to present the first annual Spanksgiving, a burlesque festival at club Encore!  The show has two stages with variety acts, burlesque, and bands, not to mention vendors such as Naughty Cakes and Dreamers, the best part is 100% of the proceeds go to breast cancer awareness.

Ginger Snaps and I are putting together a performance burlesque class for the future. We plan on a Texas tour and to keep supporting burlesque in its entirety.

The Layman’s Guide to Burlesque Classes in Texas.

By : Shoshana

Whether you were inspired by attending a local burlesque show, and want to hit the stage yourself, or you are just looking for a creative workout there’s a local burlesque class and instructor that is just right for you.  The trick is finding the perfect fit.

Dallas

Ginger Valentine uses her 15 years of dance training to serve as headmistress of Ginger Valentine’s Burlesque Charm School.  Novices and seasoned performers welcome.

Monday & Wednesday evening classes are held at The Ruby Room (Fair Park in Dallas) and sessions include “Bumps and Grinds” and “Classic Burlesque Striptease”.  You may buy classes in series, or drop in for $20.

Tuesday is “Burlesque Shimmy and Tone” at Move Studio in far north Dallas.

Miss Malicious of The Lollie Bombs and Texas Performer of the Year 2009 teaches “Burlesque 101” at 7pm every Monday evening at Lady of America Gym on Mockingbird at Abrams. Malicious covers everything from classic burlesque moves and basics to full burlesque routines.  Class is free with gym membership ($30/mo) or drop-in for $15.

Delilah Muse, nationally renowned flamenco dancer, has dove head first into the world of burlesque! Her “Get Your Sexy Back” Burlesque class at United Dance Academy caters both to new mothers wanting to get back in shape & expectant mothers looking to stay sexy and fit during pregnancy.  Classes are on Saturdays. $55 per Month or $15 per class.

One of Dallas’ oldest cabaret troupes, The Velvet Kittens teach a wide variety of cabaret style and burlesque classes at the Verandah Club in Dallas.  Classes and workshops change monthly.  Four Class Series is $60 regular registration.

Denton

Honey Cocoa Bordeauxx has been on the stage since age two.  She brings her expertise to the Green Space Arts Center every Monday night for Burlesque Aerobics.  Classes are $10 for TWU or UNT students and $15 for non-students.

Honey will also be starting at class at Sole Groove Dance Fitness in Flower Mound later this month!

Austin

Austin Academy of Burlesque’s headmistress is none other than Miss Coco Lectric, co-founder of The Jigglewatts and Hot Rods and Heels Texas Performer of the Year 2010.  Lectric covers everything from classic techniques with boas, gloves, and stockings, to advanced choreography and full routines.  Classes range from $10-$15 and are on a drop-in basis and are held at Galaxy Dance School and Lucila’s World Dance Studio.

Houston

Grace Truvant founded Lady Grace Academy, Houston’s first school of burlesque just over a year ago.  The classes are taught in series and students may choose from a wide variety of subjects such as “Classic Moves of Burlesque” (Truvant is a New York School of Burlesque associated instructor), “Advanced Burlesque: Creating Your Character”, and “Exotic Essentials”.  Fees variety based on studies choosen.

Miss Cardinal Cyn of Austin is the featured performer for Hot Rods and Heels 2010. Here she takes the time to chat with us about Mexican wrestling, pimps, Miss Exotic World, and Femurs. This is an abbreviated version of the full article available in our Best of Spring 2010 Issue, which will celebrate its issue release at Hot Rods and Heels on May 15th, and will be available in our online shop after that!

Interview & Photographs: Shoshana, of Through the Looking Glass Studio

Q: Your burlesque bio is extensive.  How did you get your start, tell us about that first performance.

My introduction into the burlyq world started behind the scenes where I helped friends with their hair and makeup for shows and photos.
My first appearance as Cardinal Cyn was on the cover and centerfold of Barracuda Magazine!    

From there I was in the “Night of the Tiki” featuring Don Ho!  I was the mermaid that sheds her tail, so she can join in the tiki fun. Kitty Diggins gave me my first shot on stage as  one of her follies in “the Kit Kat Follies Burlesque Revue” fundraiser for Dixie Evans Exotic World Museum at the Palace Theater. The Palace is an art deco theater that holds 2200 seats! My most memorable solo-ish performance (I had 2 backup dancers) was at the Mayan Theater (built 1927 holds 1491 seats)which is truly amazing  it’s the real deal with balcony seating and art deco mayan carvings on the walls.  The show was Lucha Vavoom (Mexican masked wrestling, comedy & burlesque) which I previously performed in as a ring girl. I read that in 1948 the Mayan was a burlesque theater and Marilyn Monroe made an appearance!
 
Q: You competed for best Debut at Miss Exotic World 2006, can you tell us a little bit about that experience? 

It was the first year they did it in Vegas! I just remember all the great acts and getting to see and meet the legends! I had my first run in with Satan’s Angel in the bathroom giving my friend Mia Vixen a impromptu lesson on tassels! I recommend to all the girls new and old to attend Miss Exotic World or Tease O Rama and really experience the true supportive and awe inspiring performers from all over the world.  It’s a really great feeling to be enveloped with all the camaraderie with other women that have the love you do for burlyq!
 
Q: At one point you were represented/managed by a talent agency, maybe you still are.  What is your view on professional representation, as opposed to performers representing themselves?

I’ve always represented myself. I’m listed with a friend’s promotion agency out of NY!  Living in TX now I don’t book as much in the corporate world.  It would be great having someone to deal with all the money aspect.  It’s hard when there are people out there trying to take advantage of performers, we don’t need pimps, people!

Q: Now a painful subject.  In 2008, when it seemed like you were unstoppable, you slipped on an audience member’s spilled drink and broke your femur during a show at Emo’s in Austin with Kitten Deville.  It took a troupe in the show insisting that you go to the hospital, and when you arrive you learned you were going to need metal screws to put you back together.  You were out of commission for three months, and unable to perform for a lot longer.  How long did it take you to emotionally recover, and how long did it take your career to recover?  What has the rebuilding process been like?

Ladies I don’t recommend doing this at home or anywhere!  Although I do believe it helped win me the title of the “Most Beloved Burlesque Performer” in the Austin Chronicle! I broke my femur at the hip and have 3 metal screws to put me back together. I was on a walker for 3 months and then moved on to crutches.  I was scheduled to perform at a benefit for Miss Exotic World in Corpus Christi. I didn’t want to let them down and I really wanted to perform!  I bought a beautiful art deco red velvet chair to perform on.  I was nervous because I’m a hip shaker and never just did a striptease!  It was an amazing experience!  My adrenaline kicked in and I couldn’t even walk on my crutches, I had to be carried off stage! I did that performance two more times in Houston at the Continental Club and Numbers! Burlesque definitely helped to get back on my feet.  I don’t have insurance so I couldn’t afford physical therapy. I did it all myself dancing in the pool!  My motivation was to perform at the Tease O Rama in SF, where I used my cane right up till I got on the stage!  That was 8 months after my accident.  Two years later I’m still working on getting my leg back to full use without discomfort, and no I can’t tell if it’s going to rain.  The experience really made me appreciate my life, legs also made me realize how vulnerable I am.  How nothing can hold me back and that I’m not patient what so ever!
 
Q: In addition to quite an impressive burlesque career, you have an equally stunning career as owner of La Petite Rouge in Austin where you are a hair and makeup artist.  What have been your most rewarding experiences in your “day job”?

I love vintage glamour and I love making people feel beautiful inside and out!  That truly is the most rewarding!  I have had the pleasure of working with many great people including celebs and the girl next door.

Q: What are the most common mistakes you see gals make in the realm of pin-up and burlesque make-up and hair artistry?  What are your beauty pet peeves?

Well I’m eyebrow obsessed and it’s truly one of my specialties! So ladies get them right!  Just find what makes you stand out and have fun!  Do your homework before a shoot.  Look at other pinups and find the pose and the look you want before the big day!  For burlesque know your body what are your best attributes? Make them a focal point and disguise the ones that aren’t!

Not a beauty pet peeve, but a performance…I don’t really care for shock value in burlesque, to me that is more of a performance art. I like the glamour of burlesque, I’m not into the raunchy props keeps those at home please!…Unless of course the show is all about that then by all means go for it.

And a final word from your burlyq sponsor :]  Be supportive of your fellow burlyq girls they’ve got your back!  If you’re not having  fun don’t do it.  xx Miss Cardinal Cyn

Pin curl had the opportunity to visit with the Jigglewatts: Ruby Joule & Coco Lectric and talk assassins, Madonna, zombies, and baking.

Photo: Through the Looking Glass

Q: Who founded the Jigglewatts and how has the troupe evolved since its inception?

R: The Jigglewatts has three original founding members: Ruby Joule, Coco Lectric, and Cherry Zap. Coco brought along the Jigglewatts name from an earlier incarnation, which was the inspiration for the electrical theme of our names, and also spoke to our philosophy.  Since the troupe was founded, a handful of dancers have come and gone but we’ve remained small in number, keeping an exclusive “boutique troupe” feel. Because of this, we’ve moved away from the idea of group numbers, focusing instead on developing spectacular solos and engaging duets. 

CL: Before the Jigglewatts was a burlesque troupe it was a club I created for women to support each other in their endeavors and to appreciate how we’re all beautiful and unique. As a troupe we strive for these goals and really demonstrate how women who realize their unique beauty and sensuality can be powerful and inspiring. When we first started out we were still trying to find our niche. I was more serious about culturally inspired numbers that utilized my dance and gymnastics training. I also used to choreograph a lot more and we had more ensembles. Now we do a lot of solos and are very intense about our costume choices and engaging the audience instead of just hitting them over the head with our dance moves.
  
Q: Both of you have extensive dance and theater backgrounds. Can you give us the highlights?

R: Gosh, where to start?  I’ve been dancing since I could walk, and was on the prima ballerina career track until I had a serious foot injury as a teenager.  I couldn’t bear to leave the performing arts, so I transitioned into theatre and started learning other, less punishing forms of dance.  I have fond memories of performing with Ballet Austin in The Nutcracker and Snow White, and later as the “palest hula girl in town,” performing Tahitian and Polynesian dance for about 9 years.  I am particularly proud of originating the role of Eva in the musical, The Cafe du Cache, and following in Madonna’s footsteps to play Karen in Speed-the-Plow.  

CL: I began dance training at the age of 3 and began dancing professionally at the age of 14 in Houston. I performed with Ruby for years in the Austin area in the Polynesian arts, belly dancing and Afro-Caribbean styles. I began my professional choreography career in Austin where I was the house choreographer at Paradox Nightclub. Austin has known me as a featured dancer for years. As a vocalist I’ve performed with award winning band, Salsa Del Rio and toured Europe with an operatic choral group with top performers from the state of Texas. As a pop/R&B singer I performed with Liquid Stereo Project and co-produced and recorded as a solo artist on my album, Alive. My most notable film appearances have been as associate producer, choreographer, vocalist for the female lead in Z: A Zombie Musical and as Isabella Montoya in Green. I now teach Classic Striptease and Go-go Cardio and am coordinating the Austin Academy of Burlesque.

Q: In your opinions, what makes a “great” burlesque piece? What elements should it possess?

R: In my opinion, a great piece starts with a concept that is original or meaningful to the performer, and utilizes the elements of music, costuming, movement and stage presence to the fullest and most detailed extent possible to illustrate a story or transformation. As a spectator, none of these elements can be a weak link, or the act falls like a bad soufflé!

CL: In addition to what Ruby mentioned, a great burlesque piece is all about what makes the performer tick. She has to really look like she’s enjoying herself, like there’s nowhere in the world she’d rather be. I also love watching performances that have a little twist or a well thought out theme.
  
Q: Many of your signature numbers involve elaborate costumes and props that add to the glamour. Can you describe your creative process in developing a new number? How much of the prop and costuming is yourselves, and how much is commissioned?

R: For me, the creative process can be sparked by anything- a theme show, a character I want to portray, a song I just HAVE to dance to or a special prop I want to play with.  Then it seems to come together in bits and pieces, like a jigsaw puzzle.  I make (or repurpose) all of my props and costumes.  It’s one of the parts of the process I enjoy most, plus I like having complete creative control over the finished product.

CL: So far all of my props and costumes have been created by me, or have been fashioned from something that already exists. Jupiter Moon Corsets recently made me a fabulous cocoa colored ensemble that I’m working into a signature Coco solo. New numbers or themes pop into my head several times a day. Sometimes a theme of a show will inspire a new number, for example, at Gifts and Garters where I’ll BE a gift from Tiffany’s. I find myself wanting to BE something non-human like a pony or a tangerine, I’m working on a cobra number and a dragonfly number, now. Lovers, friends, family and the politico-social climate inspire my numbers quite often, but I’ve got to keep some things a secret, right?
 
Q: Speaking of glamour, our cover shoot is having fun with image of an over the top glamour girl as the image of burlesque, and has you ladies baking in the kitchen in fabulous dresses. Do either of you ladies actually cook? What are your contributions to your Thanksgiving spreads this year?

R: Ha!  I’ll let Miss Coco handle this one, as I do not cook! At Thanksgiving feasts, I’m usually relegated to bringing the relish tray.

CL: When I do cook, it’s to die for. But–I’ll let you in on a little secret — I hate to clean. I love to cook, but I hate to clean the gigantic mess that accompanies a delicious meal. My Czech grandmother taught me to make all kinds of pastries and jams, and a close friend taught me how to make some traditional Chinese dishes, but for the most part I like to discover food on my own. I made Thanksgiving dinner a few years ago and people are still raving over it. I’ll bring the turkey, dressing and gravy if they let me this year.

  
Q: Recently, Dallas has had the privilege of seeing a lot more of you lovely ladies. Each of you has performed at various Bewitching Burlesque events as well as Dallas Burlesque Festival and Hot Rods and Heels. How does the Austin burlesque scene different from the Dallas scene?

R:  The Dallas Burlesque scene is so exciting in its rapidly blossoming growth! I love coming to Dallas to perform because the shows are such bombastic events and there is a feeling of mutual respect and support for every role in the burlesque community, from dancers to producers, photographers and designers.  The Austin entertainment scene is saturated with talented artists trying to be noticed, so it can be quite competitive as we are pitted against theatre, indie film, live music and myriad other entertainment choices every time we perform. Perhaps for this reason, Austin has been a great place to hone professional, attention-getting acts.

CL: Dallas really knows how to appreciate local talent when it sees it. You all are very good business people and on top of your game in entrepreneurship. Austin is more a town of artists with far fewer business people in the arts, but that part is growing. We are all on our own, in a way, but like Ruby said, there are so many of us. People come from all over the world to live in Austin for that very reason and there are more bands and performers than I could ever hear about in town. I’m so proud to be a part of the longest active burlesque troupe in town.
 
Q: Ruby Joule, you’ve been working a lot as an actor lately, and even jokingly referred to yourself as the “music video queen”. What acting projects do you have in the works currently?

R:  Haha, that’s right!  I love working on music videos because they are often quick shoots and can be very creative.  Up next, I am pleased to report that I’ll be appearing as “Midge” in the feature film, “A Mind of its Own,” which will be shooting in Dallas in late 2009. In it, I play the main character’s co-worker, a fiery redhead from Scotland.  Winning this role was quite a feather in my cap, as I hear they auditioned in Texas and LA before making their final decision.
 
Q: Are you switching your focus from burlesque to acting?

R: This burlesque adventure has actually marked a grand detour from my acting career.  The aspect of burlesque that had me hooked was the ability to cast myself in any role I felt like dreaming up! No waiting around for a good character to come along, auditioning, and hoping the director likes you.  It’s DIY from start to finish, with complete creative control. However, while I love the art of burlesque dearly, I’ve realized that for me its scope is limited.  I wouldn’t say that I’m switching my focus as much as trying to find a happy balance between burlesque, legit film and stage, and modeling while keeping it all in perspective.  A lofty goal when there are still only 24 hours in a day! 
  
Q: Miss Coco Lectric, you recently stared in an ass kicking martial arts film. Tell us a little about your character?

My character is an assassin in a futuristic sci-fi action film. She’s caught in the crosshairs of a scandal between warring factions in the not so far future in the United States. She’s trying to find herself and avenge the death of her father. I loved doing this film. Isabella and I are very similar only she gets to beat people up all day and she has to lay low. Coco doesn’t lay low.
 
Q: Though you’ve done film and television as well, your love affair with burlesque is your main focus. What is it that has you so captivated?

CL: Burlesque combines dance, music, singing, acting, costuming, modeling and playing dress up; why am I so captivated? But really, burlesque is an art that has the ability to inspire and heal people at a deep level. Women have been given so many mixed messages regarding their bodies and their sensuality, and for that reason many women are unhappy with themselves. Burlesque gives me an opportunity to show a healthy and fun portrayal of sensuality and the beauty of diversity. As a performer I’ve always made an attempt to make the audience feel special, happy, and alive. Burlesque gives me that opportunity. The audience reaction is such an integral part of the show, they are all a part of it. It’s truly an honor to be able to share even just a few moments with everyone in the crowd.
 
Q: The last six months have been successful and busy; we’ve found you ladies in Las Vegas, Dallas, New Orleans, Austin, and Los Angeles! Being able to be a part of so many fabulous events, and finding yourself surrounded by so many amazing performers has to been inspiration as well as informative. What’s the biggest pearl of wisdom you’ve taken to heart in recent months?

R: For me, it has been inspiring to greet those mythical places and people who previously only existed in my remote imagination; The Viper Room, Marilyn’s handprints, Catherine D’Lish, Jo Boobs… they have shown me that perhaps the world is smaller and friendlier than I once thought.

CL: I’ve found that, no matter where we perform, audiences want to be enchanted. When we get up on the stage and dazzle audiences they are more than willing to accept the escape from their every day lives. I can’t help but want to create a more and more spectacular numbers.

 
Q: It is human nature to always want bigger and better. What does 2010 hold for the Jigglewatts, both as a troupe, and as individuals?

R:  We’re continually dreaming up ideas for “our next big show” with the troupe; perhaps one of those ideas will be brought to fruition.  We have both been invited to perform at the Southwest Burlesque Festival in New Mexico, and I plan to make as many stops on the festival circuit as possible.  I would also love to devote more energy to helping our younger Jigglewatts develop their burlesque presence and refine their acts.

CL: As a troupe we are working toward producing more shows in the Austin and San Antonio area and getting our name and reputation for quality performances out there. The Jigglewatts have a very high standard of quality when it comes to performances, we work very hard at what we do and that should continue. We’re always learning about ways we can improve, so traveling will also be in store for us next year. As a solo artist I plan to keep trying to outdo myself as a performer and costumer. I also am looking forward to teaching more burlesque workshops and classes on the road. I’ve taken in upon myself to create more of a classic burlesque presence in San Antonio–it’s a risk–but burlesque is important to me.
 
Q: What would be your dream performance?

R:My dream performance would involve a stage in Europe, a large prop of some kind; crescent moon, swing, champagne glass, or maybe a disco ball that I “hatch” out of, and a live orchestra… all of this wrapped up in a well-produced film.  I’d also love to play Mistinguett (legendary star of the Moulin Rouge) in a film about her life.  A girl can dream, right?

CL: Every time I dream up something I try to make it happen. I’m working toward being a Broadway performer later in life, but for now I want a big stage, big props, and big smiles in the audience.

Catch Ruby Joule & Coco Lectric at these upcoming events:
 
R: Dec 5: Gifts & Garters, Feb 2010: SW Burlesque Fest.  (Filming in Nov)

CL: I will be filming a couple of movies in November, will be in the next issue of Bachelor Pad, performing in Chicago on November 12th a the Blue Bayou and Vaudezilla Presents The Absolut Comedy Show + Punk Rock Red Carpet on November 14th, performing in Gifts and Garters on December 5th, and The Southwest Burlesque Festival February 20. 

Austin based Burlesque Entertainer Erin Go Braughless talks drag queens, comic books, and being hot.

Q: You recently won the title of “most outrageous” in your luche libre costume that made audiences roar with laughter. We think outrageous is a great way to describe the over the top hilarity of your burlesque numbers. Have you always been a comedian of sorts?

Believe it or not, I am actually a really quiet person.  I think backstage at shows, people a lot of times think that I am rude, but in truth, I am super shy!  Once people get to know me though, I open up and become a totally different person and I have a really citric sense of humor and act pretty outrageous all of the time.  I also think it helps that I work full-time year round at Lucy In Disguise with Diamonds, an over the top costume shop in Austin, read comic books, watch professional wrestling several times a week, worship drag queens, and wear over the top fashions most days of the week.
 
Q: In your submission to Pin Curl, you wrote ” [I] give the audience just what they came for- a close and personal encounter with the endangered species of the confident woman.” We were taken by this. In your opinion, why is the confident woman an endangered species?

I think that most women are so caught up in being hotter or thinner or younger that we forget to take a look in the mirror today and go “damn I look good”.  You hear women say all the time “when I was 17 I thought I was so awkward and ugly, but now looking back, I was a real Bettie”, so my goal is to always find something that I love about the way I look that day.  Sometimes I have a breakout so I focus on my hair, or on a bad hair day I focus on my awesome rack, so I always feel confident and sexy; I don’t ever want to look back and feel like I missed out on a single experience because of my own insecurities.
 
Q: Your email signature includes your self-given title “Big Fat Burlesque Queen”. In a society that frowns upon the word “fat”, you have chosen to embrace it. Why do you choose “fat” instead of gentler words like “plump”, or “full-figured”?

Fat is just what I am.  To me saying you are offended by the word fat is the same as being offended by the words short or blonde.  I am all of those things and I don’t call myself “flaxen haired” or “vertically challenged”, I don’t call myself fluffy, chubby, or anything else.  I also choose to use the word fat because when you use it, it is impossible for others to use it against you as a weapon.  I am fat.  I always have been.  I always will be.  I wouldn’t have it any other way.

Q: You are a founding member of “Big Star Burlesque”. Tell us more about the founding and mission of BSB.

Our founder is Blue Valentine and she was inspired to create BSB after seeing the Fat Bottom Revue in San Francisco.  She came back to Austin and started an all plus-sized troupe to help inspire and empower plus-sized women all over Texas.  After Blue moved to San Antonio to found Stars and Garters Burlesque, I took over our troupe and have been carrying on the mission of empowering women of all shapes and sizes through dance, strip tease, and soaking up the spot light.  Myself and the other girls feel a huge sense of responsibility in carrying on the mission and ideas and she set forth in our founding.

Q: Do you find that there is a smaller audience for a troupe of bigger gals, as opposed to a more diverse troupe?

I think that we tend to draw in a crowd that appreciates full figured women as we often perform at functions that are for plus-sized women and their fans.  I also think that we draw in a lot of first timers because we have a gimmick, and if there is one thing you need in show business, its a gimmick!

Q: You recently started the Erin Go Braughless School of Burlesque. What are the top three things you would like your students to learn from your classes?

1. Anyone can twirl tassels
2. There is a big drag goddess in all of us
3. Fat girls take up more room in the spotlight

Gayle Patridge of the legendary 666 Photography studio in Austin, Texas recently sat down with us for an interview on art, small business ownership, and Dolly Parton.  Here’s what she had to say: