Your Burlesque Questions Answered by Black Mariah

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Tape Dilemma

By: Black Mariah

How do you apply pasties?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Ben Britt and Daniel Driensky

Dallas Burlesque Festival, billed “The Sexiest Show in Big D” took place last month at the Historic Texas Theater in Oak Cliff, one of the oldest sections of Dallas. Only two years old, the festival, produced by Elisa Davis, Ginger Valentine, and Black Mariah, grew by leaps and bounds over its inaugural year. While ticket sales for 2010 were about the same as 2009, the festival spanned two nights, which meant all festival goers had the luxury of their own seat. The sold out production grew to host over 50 performers spanning seven states and two countries. The DBF gals also decided to add a featured performer to the line-up, Angie Pontani of New York headlined the festival. Due to the 1000 plus attendees in 2009, the media was ready this year and gave Dallas burlesque lots of attention the week prior to the show.

While Friday night’s showcase was hectic and had some technical setbacks (the wrong music was cued up and took seven minutes of silence to fix, at which point the crowd became agitated, the producers were also thrown a last minute curve ball when the fire marshal was called in due to questions about the venue’s safety, which resulted in ticket holders being turned away.) By Saturday night the Dallas Burlesque Fest crew, in a large part due to stage manager Nick, got all of the kinks ironed out. Saturday night’s performance was nearly flawless, and the energy of the crowd was amazing! Pin Curl was on hand to ask festival attendees to share their experiences. Here’s what we learned:

Jessica Dawn, from the audience perspective:

I arrived Friday night eagerly anticipating the event. Both Pixie and I were excited to attend as audience members instead of working the event, either off or on stage. When I arrived, there was confusion at the door with the different lines you needed to be in and though it was a cold night to be left waiting a half hour for the house to open- it was neat to listen in to those in line with us and what they were anticipating the event. The Friday night showcase was performers bustin’ out the crowd favorites. The show was a little rough with a couple of snags which the emcee, radio personality Jesse- handled with flare and aplomb. I had a friend with me who had never been to a Burlesque event before and she (of course) fell in love.

Saturday night was less line confusion but still a long cold wait for the house to open. A group behind me that had not been to a burlesque event before worried whether or not it would not be worth the wait. I reassured them it would be, but I’m not quite sure they believed me.

I have to say Saturdays showcase was FABULOUS. Many of the acts, routines and performers, were new to me, which was quite a treat. The production on the second night was much tighter and seemed to run very well from the audience perspective. The sound quality this year was a vast improvement from the year before as was the closer attention to crowd control. It was easy to see that the team had learned a lot from last year’s event and applied it skillfully to this one. At the end of the show I did run in to the couple that had stood with me in line and I asked them if they had thought it was worth the wait in the cold. Their faces lit up with smiles, assuring me it had been and they were very excited about next year’s show already.

Jessica Dawn’s favorites? Angie Pontani’s veil routine Friday night, and Roxie Moxie’s Saturday night routine, about which she remarked- a Vodun who kills herself at the end- gotta love it!

Jessie, the festival’s emcee

Terror aside I had a ball at Dallas Burlesque Festival. Emceeing such a huge show over the course of two nights was totally out of my realm of experience…as a dj I am usually hidden in a small studio where it is just me and a mic. It is a totally different animal to be thrust in front of a paying crowd AND have to be entertaining; which is probably why I spent both days TREMBLING and slightly horrified. But once I was in the Dirty Martini/Ellingson inspired Wonder Woman gown it was all right.
 
Highlights for my role include the Cat Butt Gum intro for Athena Fatale, seeing Angie Pontani’s dazzling bongo number live, ohhhhh and Lily Wilde’s explosive dance routine…. that was MOM upside down for sure….WOW! Small wonder she earned a standing O. 

 
Mostly I LOVED the goofball Jigglewatt boys who kept screaming “GOD BLESS AMERICA“ during Fridays show. That was actually helpful because the crowd was kind of rough and unresponsive. They gave me someone to focus on and to play with.  I got them good on Saturday when I wore the lacey see-thru Immodesty Blaize gown with the Swarovski merkin. They were screaming again as I came out on stage so I looked down at my bedazzled merkin and then, stared right at them and said “you know… if my cooch were a rifle it would go BLANG BLANG!” and I blasted a few very pronounced rat-a-tat-tat pelvic thrusts in their direction…the incredulous yet radiant look on their faces was worth its weight in rhinestones. Hilarious. They were cool too because they helped us raise some additional money for Patriot Paws Service Dogs and comedy attempts aside, that was really the passion that fed my participation in this wonderful event.
 
I am eternally grateful to Ginger Valentine, Elisa Davis & Black Mariah for inviting me to be a part of Dallas Burlesque Festival. I would love to do even more on the scene and in any capacity be it as an emcee, pantie wrangler, seat-pointer-to-er, program hander outer, dressing room fixer upper etc… the ENERGY and the art of burlesque really captures the primal essence of what it is to not only be feminine but also to be powerful without having to apologize or downplay it. Burlesque celebrates the female body in ALL of its forms and that is an electrifying combination that is as beautiful as it is intoxicating. I am woman hear me RAWR!

Vivienne Vermuth, performer in Friday night’s showcase and make-up artist Saturday night

At 6 pm on Friday Feb. 5th, the Texas Theater was fairly quiet, except for the low hum of crew bustling about setting up. The only signs that the biggest burlesque event in Dallas was about to happen was a white screen, that had clips of Bettie Page and Tempest Storm rolling. They smiled their Mona Lisa smiles, as if they knew the festival was going to be amazing – and they were right!

Burlesque festivals – To the dancers, it means a chance to hone their skills, strut their stuff, and meet other like minds from other parts of the nation/world. To the audience it means a chance to see a WHOLE LOTTA STRIPPIN’ GOIN’ ON, and a lot of different interpretations of burlesque, from classic to modern and beyond. This was my second run at DBF, having performed in the inaugural fest the year before, and I was determined to leave my big, glittery pawprint! This year I performed in the Friday night showcase with a new sea-inspired routine to Styx’s “Come Sail Away”, complete with glittery Guitar Hero controller, and helped backstage as a makeup stylist alongside LaDonna Hearne and Ruby Redlocks for the fashion show models on Saturday. This allowed me to enjoy the fest from all angles, and meet people on all sides of the show, as well enjoy the entire showcase on Saturday.

Without a doubt, this years’ fest certainly had something for everyone. There were great local artisans showing off their wares . Being in line with offering all side of burlesque, the fest featured pole dancers from The Girls’ Room in Dallas on stage before the shows, and local models took the stage in fashion shows both nights for Electrique Boutique and Jupiter Moon 3 custom corsets. The burlesque acts also varied greatly; some of my favorites included Viva La Muerte’s (Chicago) tribute to Creepshow, Angi B. Lovely’s (Dallas) aerial silks, …The emcee for both nights was the lovely Jessie Jessup, and she kept the audience laughing and cheering on the ladies onstage. The audience was outstanding, and I think Dallas has gained a new legion of burlesque fans!

The biggest and sincerest applause goes out to the entire cast and crew who put this together, and to the three producers (Elisa of the Ruby Revue, Ginger Valentine, and Black Mariah) for putting on this fest and upping the ante with each year. All in all, the show was a rousing success, and I know I walked away from it feeling fantastic! Met some great performers, got to talk to a lot of fans, and generally had a great time! Can’t wait til next year – can you?

Rouby Joule, Performer

I was honored to perform in both the 2009 and 2010 Dallas Burlesque Festivals, and though the 2009 show was a smash hit, I thought this year’s show took it to another level.  I love how the Dallas community of photographers, producers, designers, models and performers comes together to support this festival, and this year it seemed more focus was channeled toward the performances themselves. It was wonderful to have such a seasoned and capable tech crew running sound, lights and stage managing.  The theatre itself was a bit on the chilly side, especially in the dressing rooms, but it’s a historic building after all.  It was a small price to pay for such a beautiful stage. Having some reserved seating for the performers was a big plus, as we learn so much from watching each other, and from feeling the energy of the crowd all around us!  The audience was very enthusiastic and responsive, seeming to gobble up every act like candy.  I got to perform both Friday and Saturday nights, and the show and crowd on both nights was outstanding.  Some new fans even made the trip from Houston for the show.  I must say that having female producers who are also performers gave a rare spirit of camaraderie and heart to the entire event.  We were all invested in it together, body and soul.  

Jennifer, Jupiter Moon 3 Corsets, Vendor

Dallas Burlesque Festival was an absolute blast.  Even as a vendor, I had a great time.  The energy was fantastic, people were really enjoying themselves, and the performers were top notch.  I am so glad it was a two night event, because with that many people in attendance, it would have had to run all day to cram them all in to a one day event!  I personally had my best night vending, twice over; I was a happy camper!  I also had a fashion show to kick off the evening, and I couldn’t have been happier.  I had eight great ladies modeling for me, and it went off without a hitch, especially for not having a single rehearsal!  It was a great little fashion show, and the crowd really seemed to enjoy it.  All in all, it was a fabulous show, I have only heard wonderful things, and I sincerely hope to do it again next year!

Selling Out Show After Show is No Accident: Meet The Lollie Bombs

Story: Shoshana; Photos: Benn Britt and Through the Looking Glass

Year after year, audiences pack into the cozy Pocket Sandwich Theater, sip on sangria served in a pitcher, and enjoy their favorite late night revue- with everything from a crazed Zombie shooting character, to a pill poppin’ princess, and a gal dropping down from the ceiling performing a silks number, this evening is anything but “traditional” burlesque. Since forming in 2006, The Lollie Bombs and their Valentine’s Day show has become a Dallas tradition. In fact, the Lollies are so popular, that in a city known for its distaste for pre-show ticket sales, much preferring the walk-up route, they sell out almost every performance way in advance. So what is the secret to the Lollies success, we decided to try and find out.

Like most great creations, the zygote that later became The Lollie Bombs started out as a crazy idea in the head of woman. Miss Angi B Lovely had the idea of starting a burlesque troupe, and went to visit a theater owner who was looking for a reoccurring booking. She quickly rounded up four other dancing pals- Lily Lawless, Roxie Moxie, Kitty B, and Lady J. After performing 3 shows under the name “Burlesque Contempo”, the gals decided they were in need of a lot of assistance. “We weren’t really considering ourselves a ‘troupe’, at the time – really we were just putting on a burlesque show in a town where no one knew anything about burlesque and there was no ‘scene’ as of yet.”, explains Roxie Moxie, who relocated to Seattle in 2008.

Eric Hall went to one of the earliest shows, and agreed that the ladies had a lot of potential. Hall was hired as the group’s choreographer, and the show started to really come together. Along with the new skill set, the ladies decided they needed a new name. During a late night brainstorming session, Lawless popped out with “The Lollie Bombs” and it was a hit! The Lollie Bombs began performing in different venues around Dallas, and pounding the pavement with handmade flyers, until they had developed quite a following- but they still needed a permanent home. They found that home in the summer of 2007 in The Pocket Sandwich Theater, and the troupe had changed a bit. While Roxie Moxie, Angi B Lovely, and Lily Lawless remained, Kitty and Lady moved off to other cities; while Black Mariah, Miss Malicious, and Jai L Bait joined the troupe.

Pocket Sandwich audiences loved the Lollie Bombs late night performances, and the theater loved the new fans that the Lollies brought in with them. The Lollie Bombs began doing shows every other month at the theater, and achieved a consistency with audiences that many other troupes and producers haven’t been able to achieve. That consistency opened the doors to many media outlets, who simply weren’t interested in a fly by night production- either those newly starting out, or constantly switching venues with no regularity. Media brings in more fans, and fans bring in more media, creating a hefty audience base for the troupe, but media won’t keep fans coming back. What gives the ladies such a regular fan base of folks who come again and again? Part of that may be their high attention to production detail- putting on an entire theatrical spectacle. Another part is certainly the diversity of the show, and the constant revamping and growth in The Lollie repertoire. While members have come and gone, and new members have come on, The Lollie Bombs continue to thrive. The current Lollies are Angi B Lovely (left the troupe briefly to relocate to Houston, but returned to the group as soon as she returned to Dallas), Miss Malicious, Black Mariah, Jai L Bait (joined 2007, left for a brief spell, and returned in 2009), Trixi Toxic (joined 2008), Scarlette Switches (2009). For more on the troupe’s success, we decided to ask the ladies of The Lollie Bombs themselves.

Meet The Lollie Bombs:

Angi B Lovely
BIO: Angi B. Lovely began performing at a very young age as part of a dance group called the Konocti Klogging Kids. As a teenager Angi discovered Ball Room dance and worked as a dance instructor, competing at the professional level. She studied musical theater and pursued an acting career. Eventually, Angi’s interests turned to circus arts– fire spinning, aerial silks, and hula hoop.  As a founding member of the Lollie Bombs, Angi B. Lovely has been involved in Burlesque since 2006.  Her current repertoire is a mix of dance, theater and circus art. 

Q: In your opinion, what is the secret to the success of The Lollie Bombs?

The secret to The Lollie Bombs success is being able to adapt and change as time goes on, we are always looking forward and improving on the production value of our shows. Also, we are an extremely multifaceted group of girls and our repertoire is always expanding, you never know what to expect from a Lollie Bombs show. 

Q: What do audiences love most about you?
Audiences love me for my diverse skill set, especially hula hoops and aerial acrobatics.

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

Lucille Ball

Q: When did you know you should be a performer?

I knew I was meant to be a performer when I would bring my tutu to preschool and ask change into it during recess. 

Miss Malicious
Q: In your opinion, what is the secret to the success of The Lollie Bombs?

The secret to the Lollies success is diversity. You get it all for the price of 20 bucks- acrobatic work, snarky gals, butts, boobies, and fantastic choreography- Everything!

Q: What do audiences love most about you?

Audiences love me for my sarcasm and I think my butt; along with my thought provoking numbers and the overall destruction of everything. 

Q: When did you know you should be a performer?

I knew I was meant to be a performer when I was 6 years old and would act out every movie I saw. I was never shy; my step mother used to say I could have been easily abducted as a child because I would talk to ANYONE, especially if they had an animal with them.

I started acting in plays when I was 8 or 9, and dancing and doing gymnastics around the same time. I have always loved the stage. In junior high we would skip class by saying we had a big performance coming up, go to Drama, hang out with the teacher and build props all day. Somehow I still passed everything!

Q: What’s your pre-show ritual?

I rehearse a bit…eat some carbs so I don’t get hungry during a show…then get a beer…Stella or Blue Moon.

Black Mariah
Q: What is your pre-show ritual?

I listen to music by Brian Setzer Orchestra. I love his music and it puts me in the mood to perform. I also listen to the music I am performing to that evening on my IPod with my headphones. I close my eyes and visualize the routine from beginning to end and see it as if it is a goal I have already achieved. Physically rehearsing is just as important as mentally rehearsing.

Q: What is the secret to the Lollie Bombs success?

Diversity in every aspect of our performance.

Q: What do audiences love most about you?

Curves and comedy! I don’t take myself so seriously that I can’t laugh at myself. I’m not perfect; I think that makes me relatable to my audience.

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

Zooey Deschanel

Jai L’ Bait
BIO: A true old soul, Jai L’ Bait knows to much for her own good. Abandon at the age of two, she was brought up by the gypsies. At an early age, she had the knack to capture audience’s attention. She was trained to use her looks and talents to her advantage and soon, as a weapon. Shimmy and shaking her way on the stage, she caught the attention of the Lollie Bombs where she joined their burlesque group. A natural seducer, you older guys may want to watch your back! This young temptress is here for the music and mischief. Get ready for trouble…

Q: When did you know you should be a performer?

I knew I was meant to be a performer when I was a child and I begged my parents to take me to auditions to Corpus Christi to audition for the Selena movie. Then I threw a dramatic fit because they told me no and I was extremely frustrated because I was convinced I would get the part. I was about 9.

Q: What is the secret to The Lollies’ success?

There is no one like us. We truly are a unique group that brings something unheard of in the burlesque world.

Q: What do audiences love most about you?

Ha! The fact that I look like a 12 yr. old, my blasphemy, and according to the Lollies–my booty! 

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

Mila Kunis

Scarlette Switches

SCARLETTE SWITCHES is no stranger to burlesque and the art of the tease. She has been performing in risqué groups and as a solo artist for over 10 years. As a singer, model and burlesque artist, her style often combines influences of cabaret, vintage fetish and Hollywood glamour. She performed alongside Jamie Deadly, Angela Ryan, and Athena Fatale in “Burlesque on the Fringe.” She also performed as a guest artist with “Fluff Girl Burlesque.”  She joined the Lollie Bombs Burlesque in early 2009.

Q: What is the secret to The Lollies’ success?

Diversity and courage.

Q: What do audiences love most about you?

Audiences love me for my TNA and naughty songs.

Q: What is your pre-show ritual?

I have a ritual of taking about 3 hours to either have hair and make-up done for me or DIY.

Q: What is your favorite physical feature on yourself?

My eyes.

Trixi Toxic
While according to her MySpace profile, she loves Autumn, Resident Evil, Zombies, Barbies, and Vampires–she apparently does not like email or interviews.

Upcoming Shows:
The Lollie Bombs next performance is The Valentine’s Show on February 12 & 13 at The Pocket Sandwich Theater. Call 214.821.1860 for reservations.

Three Lollies: Miss Malicious, Black Mariah, and Scarlette Switches will be performing in the Amour Show- A Lust Filled Burlesque Comedy- on February 27th at the Lakewood Theater. Call 214.821.7469 for tickets.

With: Black Mariah

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

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

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

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

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

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

Next month, individual lashes with visual help!

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

Shake a tail feather with Black Mariah

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Love and Tassels,
Black Mariah

Dallas legend Black Mariah, who will be performing next at Bewitching Burlesque’s Mid Summer Masquerade on August 8th, sits down to talk White Lightnin’, Jabberwockies, full-figured gals, and complacency.

Interview & Photographs by Shoshana of Through the Looking Glass Studio

Most Texans met you as “Black Mariah of the Lollie Bombs”, but you have been performing for many years, prior to moving to the Lone Star State. Can you tell us about your burlesque beginnings?

I started performing as a soloist in Tennessee. I was going to do burlesque on a stage or else! So I got in touch with a couple of friends who ran a Gothic club night at a local venue, and I debuted at their Halloween show. At that time, no one was performing burlesque in the area. I was, however, slightly nervous when I realized that there was no one else booked to perform that night. Instead of being part of a much larger show, I WAS the show!

I did not disappoint and became hooked on the rush of performing burlesque. I did a couple more solo performances and along came a good friend with a great idea to start White Lightnin’ Burlesque, Knoxville’s first modern burlesque dance troupe. I moved to Dallas about a Year after the troupe started which made me very sad to leave my close knit sisters. I was lucky the Lollies snatched me up as soon as I got here.  
  
With all of the recent growth of burlesque, the mentor relationship becomes very important. Can you describe that relationship for us?

I did not have a mentor when I began. I’m pretty sure I was the first in my town (with the exception of the burlesque shows performed in the 30’s and 40’s) to forge a path for burlesque in the definition we see it now. I do mentor, because I don’t want to see performers have to take the long route, when I have all the information to help them get started.

Beginners should look for qualities in a mentor that we would look for in a mentor of any industry. The qualities should reflect not only a positive and uplifting personality, but also consistency in their interpersonal relationships with other in the community. Good mentors have great relationships in the community and are not prone to breaking deals, or burning bridges. Good mentors also have enough performances and experience in their pocket that they can advise an up and coming performer about potential obstacles and pitfalls. Hopefully a potential mentor can also introduce her budding debutant to other professionals so they can share advice as well.

Can you describe your creative process from seed to stage?

I get tons of ideas. I often write them down in an idea book. I chew on the idea while, to make sure that the idea wasn’t a fleeting interest and it is strong enough to transcend more than one show. All of my numbers have to be something I can perform on almost any stage and be appropriate for almost any type of show. I get a concept of either the music or the costume and make sure this is something tangible, physically practical and affordable. Large props or large amounts of props are often a recipe for disaster. I keep in mind that at any point, I may be the sole person carrying the costumes and props in for my performance. I want nothing bigger than I can handle on my own.
 
You are known for your fan routines, which many view as more classic burlesque, but often use more edgy modern music. How do you describe your style?

Neo- Burlesque. As I understand, Neo- Burlesque is the modern spin on burlesque utilizing modern music and dance styles or costuming but taking it off like the old days. With “classic” burlesque, the performances are defined as performances utilizing music or a live band playing music from the era of the 30-50s, with classic costumes, props, and choreography. Classic performers look like they stepped out of any of those eras without any indication of the new millennium being an influence.
 
Who are your burlesque idols?

Dita Von Teese. She was the first performer I saw and her grace and beauty made me want to do this. When I had the chance to meet her and tell her how she changed my life, she was so kind! She was so humble and sweet. She is one of the nicest celebrities I have ever met, not to mention the most stunningly beautiful!

Dirty Martini is also a personal hero for me. She is extremely curvy and confident. Her performances are always very unique, and her facial expressions are just animated and perfect.  

 
Many fans are in awe of your amazing performances and your ability to really connect with the audience. Many women also find inspiration in the fact that you are a full figured gal. What advice can you offer to larger ladies who may be struggling with accepting their beauty?

I wasn’t a full figured girl all my life. I was lean when I was younger, and at one point in my 20s I lost a LOT of weight, nearly 80 pounds down to a size 10. I look at pictures from that time in my life and you would think I would be happier then, but I wasn’t- I thought I looked sick. There was nothing wrong with me, but I just don’t think “thin” was a good look for me.

I don’t think I really felt good about the way I looked until I made the decision to become a burlesque dancer. I was out of shape and knew I needed to get into shape (notice I did not say “lose weight”) to be happy with how I looked on stage. Confidence begins within. I wanted to tone up and not only be healthy but look healthy. And just so you readers know, I don’t think I could have possibly gotten much smaller at the Size 10. Females are not all engineered to be a size 0-2 at our lowest body fat capacity. Don’t buy into that.

If I have learned anything at all from being in the burlesque scene, it is that low self esteem is not reserved for the full figured gal. Body image issues are across the board more equally than people realize. I think people assume larger girls must be self conscious because our “flaw” is obvious to the superficial. Truth is women who do not have to fret over their body mass index can easily find anything else they don’t like about themselves.
 
Do you feel an extra obligation to represent plus size gals?

Yes. Don’t get me wrong, I would love to fit into designer dresses and have thighs that don’t jiggle, but I just cannot connect with my audience if I am not being true to myself. I am thankful that I am a larger girl but I want to be a healthy full figured girl. I want to inspire women to love themselves for who they are and take care of their bodies. I feel like I am blessed with a unique platform to inspire young women to become the best each one of them can be.
 
You are a Renaissance woman, in that your art is not exclusively in your performances; you also are known for your pin-up modeling, costume and pasties design, as well as your graphic design abilities in creating beautifully whimsical Lollie Bombs flyers.  How has art transformed (or formed) your life?

Art is my life. I get inspiration from every opportunity and experience in my life. I feel inspiration and share the energy from seeing other’s creativity come to life. I become excited like a little kid when I find something that really speaks to me. I can watch the JabbawockeeZ dance, and be just as excited and inspired as I can watching a documentary about birds.

I am more appreciative of creativity and the hard work it takes to achieve iconic success when my eyes and mind are open to love the art.

What does the future hold for Black Mariah? Any upcoming performances or projects we should know about?

You will be seeing a lot more solo performances around town. I will always be a Lollie Bomb first, but I am also working on getting into the Burlesque Festivals and experiencing that aspect of the business. The performers that make it into the festival shows are stunning, and have amazing routines. I will be working on some big debuts this year that will give nod to the burlesque legends, as well as carve a niche in bigger and better performances. My greatest fear is becoming complacent in this business. Once you become complacent, you become mediocre and obsolete.

Black Mariah will be performing at Bewitching Burlesque August 8th at the Plaza Arts Center, and with the Lollie Bombs at the Pocket Sandwich theatre August 21st and 22nd for a Breast Cancer Awareness benefit.

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

Dear Daisy,

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

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

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

-Black Mariah