Lisa Carmen. Photo: FreeYourVixen.com

Dallas burlesque instructor and enthusiast Lisa Carmen talks being a ham, the Burlesque Experience®, being “everybody’s cheerleader”, and stripping like you mean it.

Interview: Divertida Devotchka

Please correct me if I’m wrong, but your personal foray into burlesque started with the creation of the Dallas group Les Femmes Aplomb!, right? Care to share a little more about the development of the group and how it shaped your burlesque future?

Yes, that’s right! I like to say I didn’t find burlesque- burlesque found me! In mid 2009, a friend and I got this ‘crazy hair’ to create a burlesque group and learn burlesque. I invited 7 of my boldest, bravest friends to join us for the adventure. We created characters, routines, worked our butts off, put on a few shows, had a great time and each of us was changed, somehow, by the time we were done. It was transformative.

"I was born for burlesque." Little Lisa Carmen

I want to know about Carmen Diablo the performer. I’ve read that you’ve been performing since age 2 (theater? dance? both?) and you’ve described your style as “fusion,” meaning that you’re not entirely classic or entirely neo. Please tell us about your background and your creative process for developing a new act for yourself.

Family legend has it that at age 2, I was two years too young to start tap and ballet class, but my mom had me meet the teacher and she made a special exception for me after that! I was doing solos on stage by the time I was 4 and my mother was the quintessential ‘stage mom’. I’ve always been a showgirl, or a ham, and frankly, performing was one way I quickly learned how to feel loved at a very young age. I also danced Ballet Folkorico for most of my childhood, as well as acting in many theatre productions. I’ve always loved the stage. Sadly though, once I hit puberty, like many young dancers, I rebelled and resisted, and eventually rejected my dance practice entirely. My dance practice was waiting for me when I returned to it as an adult. A bit different this time around, but it’s felt like coming home.

You’re the creator and instructor of the Burlesque Experience®, a burlesque series located at Dallas PinUp which is totally different from its contemporaries. You’ve described it as having more of an emphasis on personal growth and expression rather than a hardcore burlesque technique intensive. What else can you tell us about the journey of a Burlesque Experience® student?

I’m a life coach and personal growth champion, first and foremost. My daughter teasingly calls me “everybody’s cheerleader.” It’s what I do and who I am. For me, burlesque became a vehicle for my personal growth and empowerment. It was so important and exciting and inspiring, and served as such a catalyst for me, that I knew others would find it to offer the same benefits, whether or not they wanted a future in burlesque. Women come to the Burlesque Experience® for a variety of reasons, and more often than not, they get WAY more than they’d anticipated. They show up desiring their moment in the spotlight, but scared and full of insecurities. They move through those feelings through weeks of planning, work, rehearsing and learning, and then they “bust out” in front of a huge, loving and supportive live audience, in a gorgeous theatre setting, red carpet and all. It changes them. I’m also continually blown away at the support system they provide for one another, and the genuine love and affection that develops within the group.  I think every woman deserves her moment in the spotlight and I love supporting that process.

The winter session of the Burlesque Experience® just started this month, right? Could you dish a little about your new batch of students and their progress thus far?

Yes! We are having SO much fun. I have ten women journeying with me and preparing for their “BUST-OUT”, which will be held at Quixotic World, just a few doors from Dallas PinUp, on Friday, February 24th. They’re nervous as hell, and they’re doing it anyway! It’s such a profound joy for me to watch the transformation. We get together weekly to dance, learn, laugh, tell the truth together… it’s seriously one of my life’s deepest pleasures. This particular group is blowing me away with their passion. I asked them the night of our first session “Are you ready for a new obsession?” They have all caught ‘the burlesque bug’! It’s like a flu- it gets inside you and spreads quickly, infecting everything else!

I’ve asked a few other burlesque instructor friends about this, and I’m curious to know – when teaching burlesque (especially act development, choreography, etc.), do you find that the process makes it more difficult to create new acts for yourself since you’re essentially always immersed in it? Or do you find that seeing others being inspired is what inspires you to create even more?

That’s an interesting question! As I work closely with most Burlesque Experience® students on their solo acts, I feel involved with the creative process and output of about 10-12 acts per show, even though I’ll only get on stage to dance once during that show!  The energetic demand of coaching, teaching, producing and marketing each Bust-Out, while being present and available to the women for support and encouragement is intense! It’s like planning your big fat sparkly wedding every three months!  Luckily I have a lot of support and help, from artists like Vivienne Vermuth, Violet O’Hara, and a load of graduates who love to stay involved in a bunch of different ways. I love it so much, and the satisfaction I get is immeasurable, but yeah, I’ve learned to keep my calendar clear for the days immediately following a show… I am so emotionally, mentally and physically spent by then!  And then I get ready for the next one…

Carmen Diablo. (aka Lisa Carmen) Photo: Dee Hill

I’m curious about your project SacredSexyU®, and I’m sure our readers would like to know more as well.

SacredSexyU® is the umbrella under which the Burlesque Experience® and several other components of my work fall. I am completely and utterly in love with my work and committed to supporting women to live their most bodacious, wildly blissful, powerful, spirited lives, to heal the gap between sexuality and spirituality, masculine and feminine, to heal self-esteem, to annihilate self-loathing and to abolish shame! I think life is supposed to be a sexy, fun adventure, and I believe in joy and pleasure as a spiritual path. I have a number of retreats, workshops, coaching groups and one-on-one coaching clients that I do this with, or through. It’s an incredible honor and joy to do what I do every day. Not a day goes by that I don’t think “lucky me!”

In January you were the featured speaker at the DFW Burlesque Industry Meet and Greet. What were some of your discussion topics? What was the most memorable part of the evening?

When I speak publicly about The Burlesque Experience®, it’s impossible for me to contain my enthusiasm. I glow and overflow. It’s one of my favorite topics, and yeah, I gush! I’m really grateful to Jerry Fedora for the invitation to share my passion for this work with the Dallas burlesque community.  What’s most memorable to me about that night, and every time I attend Jerry’s events, is to see everyone come together as a community. I’m a huge believer in supporting others, and I’d love to see that nurturing and supportive energy continue to grow in the Dallas burlesque community.  I think the blossoming mainstream popularity of burlesque is so exciting and cool, and that there’s enough room for everyone to do what they love on this beautiful landscape of possibility. Let’s consider it an honor that our art is inspiring so many others, and let’s support the passion we’ve ignited. Imagine if no one ever wrote another song, because John Lennon wrote so well … there’s always room for more creative expression, and now more than ever, the world needs people who have come alive. If burlesque makes you come alive, DO IT. Support your local scene. Get up there and strip like you mean it.

What’s next for Lisa Carmen?

More, more, more! More adventures, more speaking, more classes, more burlesque, more Burlesque Experience® Starlets productions (my alumni group of B.E. graduates who finished and said ‘more, please’!) More connection, more healing, more tales of aplomb and transformation. More community, more joy, more success!

Anything you’d like to add?

You can learn more about me and my work at www.SacredSexyU.com and/or www.theburlesqueexperience.com.  Thank you Pin Curl Magazine for this opportunity to share, and Dallas PinUp for supporting this work! The ripple effect is immeasurable.

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.

Our Best of Winter 2011 with the infamous Lola Van Ella on the cover, is out now! Here’s a sneak peak at her interview with Divertida Devotchka and photo shoot with Shoshana For the entire interview & photo shoot, including a tear out poster, you’ll need the print edition! Issue release party Friday, Dec 2nd at Viva Dallas Burlesque!

Lola van Ella, the Derriere Beyond Compare, talks St. Louis burlesque, the Beggar’s Carnivale, being entertained, and embracing the crazy.
Interview: Divertida Devotchka

I recently watched a beautiful promotional reel for Jumpin’ Jupiter, and I’ve been following updates on the progress. Please enlighten our readers about your involvement at Jumpin’ Jupiter, which is billed as a “neo supper lounge.”
I am proud to say that VanElla Productions is very heavily involved with the Jumpin Jupiter. It’s a gorgeous new burlesque and supper club here, with amazing food and the swankiest environment. It’s just gorgeous. I’ve known the owner for about 10 years and we would always talk about how cool it would be if he could open up a show club that I could perform in. I didn’t actually think that would happen, but I’m incredibly thrilled that it did. It’s been a lot of hard work, a little stressful at times, but now we have a solid supper show and late night burlesque show every weekend that has been selling out and getting rave reviews. The venue is fantastic, with a beautiful red velvet curtain, great lighting and a nice stage. It’s kind of a dream come true to have a place like this in St. Louis.
Another exciting project in which you are involved is The Beggar’s Carnivale. Tell us about your role in the show and about any recent developments. The show is doing some touring now, right?
I’ve never been more excited about another project. The Beggar’s Carnivale has become the largest regular event here in St. Louis and Sammich the Tramp and I produce it together. We are true partners in this. We plan out the shows together and Sammich dreams up the story and a lot of the ideas and essentially directs the show. It is a very collaborative process with our whole cast as well, which includes lots of physical comics, aerialists, fire artists, burlesque dancers, jugglers and a really cool band. I’m really humbled by how large the production has become. We have over 60 people involved in each show including the cast, crew and volunteers. Recently, we’ve added a really cool black and white set and a big carnival midway with games, sideshow tent and vendors. We are also traveling a bit. We’re so excited to be coming back to Dallas!
In an online interview from last spring, when discussing the notion of performers sticking to only traditional classic burlesque, you said, “It would get boring. If art doesn’t change and grow with the times, it will die.” You also recently had a discussion with our editor about the changing climate of burlesque and the return of vaudeville-inspired performance. Could you elaborate on your thoughts on the direction that you feel burlesque is going, or rather, the direction you think it should go in order to avoid artistic death?
Well, firstly, I love a good piece of classic burlesque. When done right, it’s beautiful, sexy, and downright delicious. However, I do think that burlesque has evolved into a performance art that is embracing not only striptease, but really good performance. I see more and more incredible dancers, singers, and acrobats in burlesque. I think more and more, audiences are looking for variety. They want spectacle, skill, wonder. I think audiences crave a truly live experience. Something more than just a show, they want an event. An experience. Burlesque when it started, with its roots in vaudeville, was much more like this. The dancers were more of a novelty, a specialty act, which made them all the more exciting, because they were in the midst of comedy and variety acts and everyone was itching to see the beautiful girls finally come out and wow the crowd. I love the strip. I love burlesque, but I love it more when I’m surprised by it. When it’s titillating, interesting and unexpected. I think audiences are feeling the same way. Regardless, above all, people just want to be entertained; truly and honestly entertained.

Want more?

Dallas female impersonator Patti Le Plae Safe talks Home for the Holidays Texas, Viva Dallas Burlesque, Miss Gay America, small town life, Don’t Ask Don’t Tell, witch hunts, doing what you love and Orange Power.

Interview: Divertida Devotchka. Photos: Michael Stephenson of Modern Noir Studios

You’re the president of Home for the Holidays Texas, a non-profit organization that works to improve the quality of life for persons living with AIDS. You and your team work feverishly to raise funds for this cause, and you just completed a black tie benefit for the group, right? There’s also the December Viva Dallas Burlesque show, Festivus Follies, which will again be a benefit for this organization. Please tell us about the outcome of your black tie event and your expectations for the upcoming burlesque benefit.

The 2010 Black Tie Dinner Organization chose Home for the Holidays Texas (HFTHT) to be one of the 20 charities receiving benefit money from the Annual Dinner.  If Black Tie hadn’t chosen us I am most sure we would have faltered within a few years.  Raising money for charity these days has gotten very hard and small organizations like HFTHT work ten times as hard.  It has become a daily need to raise more money just to keep up with the requests our organization gets.  We just have to be more creative with doing it.  Luckily, Black Tie notices us and respects us and was more than willing to support us last year.  They gave us $23,475 – enough to stretch us out for the roughest part for almost 2 years.  Next year we will go knocking on their door with the hopes that they will support us again.   We aren’t greedy; we know there are other organizations that need help too, so we don’t intend to ask for money every year.   Yes you are correct the December 2nd Viva Dallas Burlesque show Festivus Follies will again benefit HFTHT.  We are so honored to have been selected again to receive money from the producers of VDB!  Last year was so much fun, and I certainly plan to make it fun again.  We have auction items and a 50/50 raffle planned.  If you remember the winner of last year’s 50/50 auction gave the money back to HFTHT!  She was so generous to do so.  With the VDB crowd you never know what to expect; we are so full of surprises!

Speaking of Viva Dallas Burlesque, you are the host of the monthly show at the Lakewood Theater, and have been since its inception last summer. Now that you’ve grown accustomed to the burlesque world, I’d love to hear your input on how hosting burlesque differs from your other hosting and performance gigs. What are your favorite aspects of hosting Viva? What are the biggest challenges for you?

You know I really didn’t think I would be accepted and/or fit in with the BurlyQ crowd. I still wasn’t convinced until the audience started asking for my autograph. OMG they want my autograph, are they sick or something?  Really?  This is going to be so much fun for me!  Now I can’t wait to play with the audience and make them smile or laugh about what ever my brain cooks up.  I plan a script for each show but oh so many times I ad lib on a dime and hope that it plays off well. I am stalling for the “Panty Wranglers” to clean the stage and prepare props for the entertainers.  Truthfully, I think I do my best work when I have no script at all.  Like I said before you just don’t know how a crowd will be with the VDB audience.  You have to be up and ready for them at all times.  Can you believe people come up to me and ask me to pick on their best friends (usually hot straight men) and try to ruffle feathers and scare them? Now that is hard work, sometimes a little scary, but it is so much fun to do.  Especially after the show when “fans” tell me they enjoy me as much as they enjoy the performers.  I’ve even stripped a few times.  In the early years of Burlesque, there were famous performers that were men and absolutely no one knew.  It’s all about the costume and lighting and the total tease.  I have no intention of trying to fool anyone. I know I am a man in a dress, a pig in a wig!  Who is the wiser here?  I am having the time of my life and I think the audience is too. At least they tell me with laughter, applause, get pictures after the show and ask for my autograph.   You wanted to know the difference between VDB emceeing and other hosting appointments.  There is a huge difference.  The VDB crowd most likely has never met a female impersonator LIVE!  All of my other hosting appointments are typically gay and lesbian.  I’d rather work for a primarily straight crowd like the VDB audience.  They are so much more fun to share with, learn things from, play with, tease, and mostly get laughter from.  They laugh with me and never at me.  I think to be honest the straighter crowd is a hell of a lot more “open” than my gay and lesbian crowd.  What do you think of that statement!  But I really mean it.   I would so much more play with a straight crowd!  Our little Burlesque family is perfect!  I am so lucky that Shoshana came to GayBingo that month and invited me to emcee.  Who would have ever known?  But I think now after a year and a half we are the perfect match!

You were Miss Gay America 1995 and really took to the pageant circuit. Are you still doing pageant work? If so, how has the dynamic of the pageant scene changed since you first started? (If not, do you have any plans to resume doing them in the future? Why or why not?)

I entered Miss Gay America on a dare, not knowing I had what it takes to be a winner.  It was my very first time to enter a pageant and I became the winner above 82 contestants.  I’m not bragging but in 40 years of the MGA pageant that has only happened 2 times.  I’m the last one it has happened to.  I have a lot in my life to be proud of.  I did a ballroom dramatic dance and theatrical performance for the talent category and I was up against girls that did illusions of Janet Jackson, Madonna and Cher.  My talent was refreshing and it told a story that either made you want to be on stage as me or my dance partner.  It was so romantic and so different from the high energy dance numbers everyone else was doing at the time.  Pageants were so different back then.  Now if I were competing, there is no way I would win.  Kids today start planning and playing in makeup (secretly no doubt) in the early teens and once they hit the pageant circuit they are primed for the “look” of a winner!  It took me years to perfect my look and I am still changing.  In my day, lordy I hate that phrase, but it’s true, back in my day, interview was the most important category next to talent.  I won interview with only 6 points from a perfect score.  Today, scoring has changed and the system has changed a lot.  The winners are more seasoned each year and very prepared when they finally win.  For some winners it has taken them as many as 12+ years to win.  It is a very serious entertainment business, and a very different world once you get involved!  I wouldn’t be the entertainer I am today if I hadn’t simply tried it.  MGA made me polish it up and glam it up for the stage.  Burlesque in the last year of hosting has allowed me to be more myself and let me have fun with being who I am.  I am so very happy that I am still evolving and becoming so much more than I have been and that is because of my Burlesque family! As far as entering pageants again……..nah prolly not!   After winning the best title in the Drag World on my first try, why enter something lesser just to say I won something else?  And maybe have to enter 12+ years to win it?  Not only no but hell no!

You grew up in a small town in Arkansas, and since early childhood you were planning your escape to the big city of Dallas. Do you find that life in the big city was all that you thought it would be growing up? Do you find yourself missing the peace and quiet of Arkansas now that you’ve been in the city for so long?

I grew up in a town that was so small you couldn’t hide from anybody! Picture this: if I opened the back door and stepped out with my left foot, before I blinked or breathed and even begun to lift my right foot — the phone would ring!  The neighbor lady next door would tell my Mom she needed me to bring her a gallon of milk since I was going to the store… HOW DID SHE KNOW?  To this day I still never knew how she knew, but she did and of course I returned with her gallon of milk!  Do I miss any of that? Yes I do!   We all cared for each other.  Life was simpler then, but I had dreams.  I wanted to be famous!  I had to go or I would have committed suicide.  Life was simple but oh so slow and certainly unimaginable for a gay boy like me.  I had needs and desires that fueled me and motivated me to get out and make a name for myself.  I always knew it would be Dallas. I sort of took a long route to get here, but I knew once I made it that it was perfect for me.  I was bullied pretty badly during my school years and recently at my 35th reunion one of those bullies apologized to me.  He honestly meant it; shocked as I was over it, it was closure and certainly made me feel differently about the past.  I have forgiven him and thanked him too.  All that bullying made me the strong person I am today.  I am a survivor and today a better person because of it.  I am walking proof that “IT DOES GET BETTER!”

You were a staff sergeant in the U.S. Air Force and you also worked as a computer programmer on an Army base. I’m curious to know about your experience in the military and your thoughts about this year’s repeal of “Don’t Ask, Don’t Tell.”

HAHAHA too funny!   I am not a bit different today than I was back then.  A nelly boy never carries a sledge hammer. I have screamed more than once “Stop the War!! I forgot my Purse!”  I have survived so many witch hunts during my time in the USAF and as a civilian in the Army.  They were ridiculous.  We were interrogated in front of groups of men and singly with men who tried to entrap us into the “gay” world.  Once I was interrogated by this super hot guy (like a very young Kevin Costner or a Ryan Gosling kind of guy.  Trust me he was hot!)  He sat in front of me with his knees touching mine and tried to be “overly” friendly.  Funny thing is if he was my type of man I still wouldn’t have touched him back because I knew what was happening.  I was born on a farm but I wasn’t born stupid.  He tried so hard to get me to admit I was gay, and it really was too funny to watch him try.  I don’t know what made me think to do this, but today I admit it was a brilliant move on my part.  I told him he was wasting my time.  If he had some kind of proof like pictures or a video (back then it was 8mm) or a taped phone recording of me proving I was involved with someone of the same sex, then I would never need to admit anything, but until he did come up with that proof, I wanted to return to my job. I put my foot down and stuck to my guns with that thought and they couldn’t bother me anymore.   You have no idea how many of my friends fell for the entrapment tricks and were kicked out of the military the very next day.   I am a decorated soldier with an honorable discharge given only to those who complete their term of service with exemplary commitment to the military.  So you see if you are strong nobody can knock you down.  I am proud of my military past.  I learned so much from serving my country and hopefully our country is a better place because I did.

Patti Le Plae Safe’s daytime alter-ego is Hott Rodd the Hair Godd, who has his own salon in Dallas, correct? Can you share with us how and when you got started doing hair? What are your favorite and least favorite aspects of your day job?

I was born to do hair.  My motto is “If you like what you do, you’ll do it well!”  So I ask you, would you really get your hair done by somebody who bitches and complains every time you sit in their chair?  Do you really want someone who doesn’t enjoy coming to work every single day?  I have found my calling.  I used to cut hair in the dorms while I was in the military.  We were poor and couldn’t afford to get our hair cut twice weekly to keep it perfect in standards.  So I offered haircuts just so I could get free drinks in the night clubs.  T’was in my blood long before I ever took professional classes and got my license.  I was in computers bored to tears; I could do that with my eyes closed!  When the insurance company I worked for here in Dallas decided to move our company to Indianapolis, I had only one quick question that needed to be answered. Does it snow in Indianapolis?  I knew the answer, but it broke the ice in that big meeting.  I offered to take the severance package whatever it was so that I could stay in Dallas.  I took the offered package that was enough to live on for two years, went to school and well the rest is history.  This past Valentine’s Day I opened my own salon just big enough for me and two clients at a time.  I could not be happier.  My career is great.  I can always take new clients and never have to worry about the owner being upset because I am working too many hours. What doing what I love?  Really?  Okay I deserve my own place and the happiness that I create for myself.   I wish I could bottle it and give it to those who hate their jobs… now that is sad for them.   I just wish for them to have what I have!

I read a really beautiful story about you in the Dallas Voice, and I was very taken by your personal spiritual philosophy that you call “Orange Power.” Can you tell our readers what Orange Power is and how it affects your decisions and actions?

Orange Power (OP) isn’t real to anyone but me.  I can’t help but to be honest.  I don’t feel like everyone else in this world.  I’m not saying I’m alien.  I just don’t fit in with organized religion but I do believe there is a sense of a higher power.  God to some people is very, very real.  S/He speaks to them, but I have never been spoken to!   I do know what is right and what is wrong.  We all do.  So I need something to make me feel closer to the good vs evil.  The color Orange does that for me.  I feel surrounded by the warmth of Orange when I see or wear it.  I felt it was the perfect choice to develop an OP and not worship a god of any type. I find so many holes in blind faith.  Religion is something I cannot touch when I need to. I can’t lean on it physically.  Naturally, I’d rather tell myself to be good. I’d rather tell myself to stay on the right side of life.  I’d rather tell myself to be proper, professional, and polite, etc.  OP does all this for me and I’m not giving money to a bigger church in a country that tells the local church what they can and cannot do in their own local church.  I prefer the warmth and love I get from the simple vibrant color of Orange.  Pick your own color and make your own OP!  It’s cheaper and you can touch it when you need to.

I know a number of us Dallas burlesquers have had this chat with you backstage, but you look DAMN good, and we’d love to know some of your secrets! How does a gal like you stay looking youthful? We’ve also discussed with you the similarities in aesthetics of drag makeup and burlesque makeup. Do you have any drag makeup tips that could be used to enhance a burly gal’s stage makeup process?

How do I stay so young? Miss Thang I am 53 and I look every wrinkle of it!  If you really want to know my secret you’ll have to move in with me and watch my routine!  A girl never gives her secrets away.  You are so right drag and burly makeup is very similar! I just say more, even when you think you have enough on, don’t stop put more on!  The spotlight is so bright and harsh on unpainted faces and skin that you tend to disappear on stage under all those lights.  So the more you put on the more you are seen. I have a big face, so I have to enhance it with lines and shapes to make it look smaller.  You might notice I don’t use shadows on my cheeks.  I spend lots of time on my eyes and lips!  I have to draw attention to where I make the most expressions. It might be ugly up close but on stage for your 6 – 10 minutes you will be marvelous!   Oh and always more mascara so you can flutter those loverly lashes.  I have to wear fake lashes and without them I look naked (in a different sense) on stage.  I sometimes double up my lashes so that they totally frame my eyes……  I think we should have a class!  Would you attend a class if I set it up?

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

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

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

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

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

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

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

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

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

New Orleans burlesque beauty Trixie Minx talks turning tragedy into productivity, Fleur de Tease, inspiration and clowning.
Interview: Divertida Devotchka  Cover Photo: Don Corbitt

After reading up on you a bit, I found it very interesting that your burlesque career was partially shaped by the events of both 9/11 and Hurricane Katrina. Would you please share with us the impact those happenings had on your life?
As strange as it sounds both these events greatly shaped the direction of my life. I think most people reassess their lives after witnessing or enduring a major disaster. Prior to September 11th I was a ballerina and most of my goals pertained to achieving a specific body type and dance technique. Watching the towers fall on TV and learning that my husband lost a family member it just sort of struck me that my goals, while important to me at the time, weren’t really what mattered most in my life. It became very clear that life is precious and short and I didn’t want waste another moment on anything trivial. I had battled with anorexia & bulimia and this was the catalyst to get serious about getting better. I spent the following months becoming the person I wanted to be rather than destroying the one I was. I decided not to pursue ballet and began training to be a Pilates instructor. I traveled to different countries for the first time and spent a lot more time hanging out with friends. It was a year or two later I started dancing again but for the pure joy of performance/movement rather than anything else.
I was in New Orleans for Katrina and left on the day the levees broke. Once again I coped with this experience through internal reflection. I was living a healthy happy life but wasn’t actively pursuing any creative endeavors which I think had a lot to do with my fear of slipping back into anorexic/bulimic behavior. I remember thinking of all the things I never did in New Orleans because I was too busy, it was too expensive, or I was simply just scared. Katrina made me realize that not only is life precious but so is this world so enjoy EVERY opportunity, experience, moment you have. I moved back in October 2005 and my character Trixie Minx was born.

Photo: Don Corbitt

When did you first begin training in ballet and for how long did you pursue it? Do you have experience in other styles of dance or other arts like theater or music?
My first class was a creative movement dance class. I was 2 and a half; my mom lied and said I was 3 because I wanted to dance so much. I was what ya call a “bun head”, obsessed with Ballet. I learned several styles of dance like modern, jazz, character but never loved them the same as ballet. It wasn’t until I moved to New Orleans and joined the Komenka Ethnic Dance ensemble that I really started enjoying other techniques like tango, swing, African, etc. My experiences with theater & music didn’t really develop until I moved to New Orleans as well. But… I do come from a crazy artistic family. My dad plays piano/guitar, my mom is an excellent visual artist, my sister is a musical theater actress, & my brother makes films. I think I got the dancing gene from my Grandma. She taught tap & piano when she was younger and currently directly her own dance group; they even have a retired rockette!
From what I’ve read you were originally very hesitant to perform burlesque. Can you tell us why you felt that way and what it took to change your mind?
The first time I saw burlesque it was a clip from a documentary about the Suicide Girls. Before everyone gets fussy, I sincerely support the idea behind the group and have a couple awesome friends that model for them but, what I saw on TV seemed more like soft core porn than performance. I assumed all burlesque was like that. I later went to see a live show and while it was definitely a step up in the performance department it was a very bare bones show. The girls took off clothes to different music but there was no theme, no props, no lighting. It wasn’t until I saw the Moulin Rouge in Paris that I realized that burlesque could be realized as a full scale production like a classical ballet or Broadway musical. What they did wasn’t traditional bump & grind but they were beautiful dancers in amazing costumes on a professional stage. They were almost completely nude but it was never raunchy; the whole show was a celebration of different women and everything they embodied. This show made me realize there are no rules or limits to burlesque and it can be performed many different ways.

Photo: Hampton Van Meter

In addition to performing, you’re the producer and artistic director of Fleur de Tease, a New Orleans-based performance troupe. When did you start FDT and how has it evolved over the years?
I started Fleur de Tease the summer of 2006 and we had our first show at One Eyed Jacks (formerly the Shim Sham) in September that year. I remember our first show in a very positive light but it has definitely improved over the years. Our earlier shows were great but didn’t have a lot of definition beyond pure entertainment. We started by incorporating holiday themes and later expanded on that by designing our own theme shows. Two years ago we started doing full length story productions, like Alice in Wonderland and our adaptation of the Wizard of OZ. But it has been our collaborations which are the current highlight in our performance history. We work with several bands and were able to create a Prince themed show with one of the groups that was spectacular. I LOVE Fleur de Tease! I love all the cast members, our venue, our partners in crime; the whole experience has been awesome.
Do you consider yourself to be neo or classic? Why?
Neither and both? My character has several different personalities depending on which production I’m performing in. With Burlesque Ballroom & Creole Sweet Tease (two other shows I organize) it is definitely traditional bump and grind with fantastic New Orleans musicians. However with Fleur de Tease I perform mostly comedic strip tease, and while it is not the extreme end of the neo burlesque scale it definitely isn’t classic.
I also perform as a clown with a couple bands/groups which is an entirely different yet complimentary part of my character too. I often feel like a clown who performs burlesque rather than the other way around.
I’d like to know your creative process when developing a new act.
For me it starts with inspiration in something. It can be anything like a song, an experience, a joke, most recently it was tortoise, but no matter what it is, it becomes the driving force for the act. I tend to pull towards OCD behavior so whatever I’m working with plays in a loop in my mind. I tend to lock myself in a room or a studio and just play a song on repeat while I work movement out in front of a mirror. Dance is the easy part but I’m weak at costuming/props which is where I’m lucky to have a great group of friends that are able to help. The last part is stage time. I believe that while you need to rehearse, you truly develop an act in front of a live audience. It is their reaction and behavior that is better feedback than any video could be.

Photo: Kim Welsh

You also produce a weekly show called Burlesque Ballroom, right? How does that differ from your FDT shows? (I’m asking from both an audience perspective as well as how your roles/involvement change(s) with each show.)
I produce Burlesque Ballroom in addition to Fleur de Tease which definitely keeps me busy. The shows are very different. Fleur de Tease is a Vaudeville inspired Burlesque Revue with a full time cast and lots of variety acts. Burlesque Ballroom is a modern spin on a classic 1960’s Bourbon Street Burlesque Show with a rotating cast of soloists all performing classic strip tease to live music. Ballroom is a very cool show on a historical level too. It’s bringing quality jazz & burlesque back to its original home (at least during the 50’s & 60’s) on Bourbon Street. And this weekly show is entirely FREE which encourages a lot of people to check it out who might not otherwise seek out burlesque on their own.
Can you tell us about the New Orleans Bingo! Show?
The New Orleans Bingo! Show is a curious rock’n'roll spectacle of theater, clowning, music, dance, and of course BINGO! It really is hard to describe but very easy to enjoy. I’ve been a member for 2 years but Fleur de Tease has worked with the band on specific projects since 2007. Rather than try to put it in words I suggest ya’ll check us out online here: www.neworleansbingoshow.com
What’s next for Trixie Minx?
I definitely want to perform as long as I can though I’m not sure what will happen after that. I have a lot of ideas and plans in the works but I don’t want to jinx anything so for now let’s say… hopefully a LOT more.

Jeez Loueez! Photo: Kriss Abigail

Jeez Loueez, the Powerhouse of the Midwest, talks hot messes, family, Jeezy’s Juke Joint, butt cymbals and bro-dude karaoke.

Interview: Divertida Devotchka

You’ve described your first burlesque show as “a hot ass mess” with very little preparation and wardrobe/wig malfunctions. You’ve certainly cleaned up your act since, but we’re curious to know of any other show disasters you may have had. Any advice for aspiring burlesque performers who need encouragement to bounce back from a less-than-stellar show?

Where do I even begin? Wigs have flown off, bras have gotten caught in fishnets. So many things have happened, but I try to work through them. They usually happen at a festival. Last year on the opening night of WCBF I was performing Ramalama Bang Bang, it was my first festival and so many burlesque celebs and headliners were in the audience so I was very nervous already. My netted shirt got caught on my belly piercing and after a struggle to get it out I unscrewed it, yelled “Fuck iiiiit!” and threw it into the audience and everyone went crazy. This year at the WCBF opening night I was doing my Whitney Houston act and I slipped on a bag of crack and busted up my hip. I definitely played it off and the audience thought it was on purpose. I wish I could recreate that moment! My advice would be to allow yourself some time to recover from a slip up and play it off as best you can. If your facial expression shows that you effed up the audience will see that, but if you keep your confidence and cool they’ll never know. Don’t beat yourself up about it; those are just the brakes of live performance!

You’re originally from St. Louis but you now reside in Chicago where you perform and teach with Vaudezilla Productions, though you also perform regularly with the Beggar’s Carnivale. What brought you from St. Louis to Chicago? What are the biggest challenges and rewards of maintaining a presence in both cities?

I moved to Chicago 6 years ago to pursue a degree at Columbia College and I graduated with a B.A. in Musical Theater Performance. At the time I was very naïve to the artistic scene in St. Louis and wanted to be in a mecca for performing arts. I feel like being a part of both the Chicago and St. Louis burlesque communities is a luxury and very rewarding. I went to STL about one or twice a month this year. They make me feel like the hometown girl they’re all rooting for trying to make it in a big city. I’m fortunate to have the support of a troupe in Chicago and still have the freedom to travel. Both cities are my family and the biggest reward is that my mom and dad, brother, and grandmas are in St. Louis so I get to see them and my friends. It can be challenging because I want to do every show I can while I’m there because they’re all so amazing, and I might not get to see my family as much, or I might only be there for less than 24 hours before we head to another city. St. Louis and Chicago have very different communities and both are growing at a rapid rate and gaining national recognition. What’s great is that more and more performers are traveling between Chicago and St. Louis. The Midwest is not playing around and I love being a part of the Bi-State Burlesque Exchange!

Mama Loueez is brought onstage. Photo: D McWhirter

Your father is a musician- your mother a radio personality and actress. You’ve stated that performing is in your blood and it seems your family understands this because they are known to be very supportive of your performances, correct? Can you tell us more about that?

Oh yes, my family is all up in it! Just last weekend at a show a random man asked about my mother and where she was. She loves coming to support me and everyone loves when she’s there. Nadine Dubois even brought her on stage at the Show-Me Burlesque festival, and she always takes a bow and gets an applause! It’s hilarious. Someone thought she was in the show once and told her to get in the dressing room! My dad has even been to a performance and he said he loved it up until the taking my bra off part. My grandmother and aunt came to a zombie show, and my uncle came to the Colorado festival. Although, I do think too many people are adding my mama on the Facebooks. Back off!

Jeez Louees is "BAD" at the NOLA Burlesque Festival. Photo: AKoch Photography

You write a blog called “Jeezy’s Juke Joint” which focuses on burlesque performers and producers of color. You also had a show of the same name this year. We’d love to know more about both of these projects.

Well, it’s a project that’s very dear to my heart. When I started burlesque there were only a handful of Black performers in Chicago and EVERYONE always has to be compared to Josephine Baker. Not that that’s a bad thing! But every time you do a show someone is telling you that you should do the banana dance. There are already talented performers that pay tribute to her. I wanted to find out about other Black burlesque and shake dancers around the world and in history so I started researching and found so many performers! I found out about Perle Noire while searching for videos and I was floored. Here was someone who moved like me, danced like I danced and had an obvious physical and emotional connection to the history and culture of African movement.  I draw a lot from my training in African and modern dance, and from club dancing, juking, footwork, etc. and I knew there were more dancers out there who do the same. The response was overwhelming and someone suggested that this should be a show. Vaudezilla approached me about getting the ball rolling and in July we had the one night only SOLD OUT Jeezy’s Juke Joint: A Black Burly Q Revue! There was drag, burlesque, comedy, music, tap dancing and we were able to bring in great performers from around the country like Praline Dupree from New Orleans, and Switch the Boi Wonder from Minneapolis. We all felt such a connection with the cast and the audience in paying tribute to our past and future, it was one of the greatest nights of my life.

Your dance and music training is very impressive! Starting at age 5, you took jazz, tap and ballet classes five days per week all the way until high school. What is your absolute favorite style of dance and why? Did you find the transition into burlesque dancing to be an easy one with such an extensive background?

I don’t know if I can pick just one style of dance!  Oh man, this is cruel. There is something about tap dance that soothes me. The crisp, clear sounds of the metal making music. I think that’s what draws me to it, the fact that you can make your own rhythmic, percussive soundtrack with your feet. You don’t even need a song; you can be your own song!

I found the transition to burlesque to be very natural. I’ve always been very feminine and aware of my sexuality even at a younger age. My mother was quite open and honest about sex and nudity and showed an appreciation for the female body and didn’t shame it. That had a huge impact on me already feeling very comfortable with embracing my body and sensuality. I think my dance training definitely gave me the advantage of already knowing about lines, and technique and confidence on stage. What I really had to work on was the tease and the clothing removal. Instead of 5, 6, 7, 8, glove off, 5, 6, 7, 8, bra off, I had to find how to blend the two elements and to also take my time. I’m always learning new things about burlesque.

Photo: Kriss Abigail

You’ve said that you were “fed up with dance” in middle school and decided to “become a jazz musician instead.” You took vocal lessons as well as piano and trumpet. When is the last time you played music? Have you ever/Do you plan to mix singing/playing an instrument with your burlesque?

I make music every day! I’m love singing and writing songs and melodies. My friends and I actually prefer to sing most of our conversations rather than talk, and we would love to create an improv musical show. In high school I abandoned my dreams of jazz music because the school I transferred to didn’t supply band instruments, so I left the trumpet and drums for show choir and haven’t played since.  I continued with piano through college but reading music is such a pain that I prefer to learn by ear. I really want to utilize all of the education that I’ve received and show people that there are more sides to me so I’ve been hosting and singing a lot more. I have a few acts that are singing strips as well. I actually just started playing the harmonica and my dream is to learn accordion. Honestly, I want to be a one man band like Bert in Mary Poppins. I need butt cymbals if anyone would like to donate to that cause.

You’re also an actress, right? Any recent projects you’d like to discuss with us?

Yes! I just guest starred in a web show called Fool’s Goal with comedian Marz Timms here in Chicago. I was also featured as a trendsetting lesbian activist on The Playboy Club on NBC. And by “featured” I mean my face was blurred in the background in the last 2 minutes of episode 3, and you might have to watch a few times to really catch a glimpse of me. But hey, there are no small parts, right? And you can always catch me and boylesque sensation Tito Bonito making lip-sync videos and short films on our wacky internet sitcom, The 8^th Degree (www.the8thdegree.com)!

From what I understand you’re really into singing karaoke. If you could pick 3 overused karaoke songs that you would never have to hear again, which ones would they be?

Anything sung by bro-dudes. The top 3 bro-dude karaoke disasters are Don’t Stop Believing, Living On A Prayer, Bohemian Rhapsody, with Sweet Caroline as an honorable mention. Just stop. STOP. That’s why I go to gay bars.

You’re a rapidly rising star in the national burlesque scene. You’ve been in burlesque world just a few years, and you’ve already been voted #39 in the Burlesque Top 50! What’s next for Jeez Loueez?

I’m looking forward to more touring with the Beggar’s Carnivale this fall. Vaudezilla has a Live Band Burlesque show coming up that I’m preparing new acts for, and Jeezy’s Juke Joint will be back in early 2012. I’ll be performing in Iowa, Indiana, St. Louis, and beyond the next few months.  And you’re hearing it here first; I’m throwing myself into the running for the Viva Las Vegas competition! I’ve never done anything like that before so I’m quite nervous! I just want to keep working hard, stay true to myself and my craft, be a classy fucking lady, and continue to be inspired by the artists I encounter.

Anything you’d like to add?

I wasn’t kidding about the butt cymbals thing.

Photo: Ciro

Part Tom Waits, part P.T. Barnum, evoking music hall and Carnevale, with cabaret dreams and charlatan schemes, his curriculum vitae includes ringmaster, vocalist, percussionist, songwriter, director, maskmaker, fire-eater, instructor, and innovator.  Introducing the Carny Preacher himself, Armitage Shanks!

Interview: Femme Vivre LaRouge

First off, we would like to know, how was Armitage created?

In 1998, when my romantic partner (at the time) and myself co-founded Circus Contraption, I was in need of a name and character that would befit the role of Ringmaster.  We both were searching for the right monikers and had the occasion to do a bit of travel in Europe. As it turns out, she found her circus name on a billboard in the Metro station in Paris. And I found mine amongst the many thrones and vestibules that inhabit the finer establishments of the United Kingdom.

What influenced your character choices and led you to your current career?

As to character choices, I was influenced by a nostalgic image of Circus, Carnival, and Cabaret, Carnival Barkers, and their ilk.  Tom Waits has certainly been an influence on a particular way of blending music with theatrics.  Shaping the persona of Armitage Shanks, I ingested those and other elements as a starting place and then added my own…proclivities. Some of those are a fascination with words and wordplay, a desire to engage others in intelligent repartee, including the audience directly and   imbuing my performance with sense of physicality, sensuality, and a louche presence. And the idea that this is all illusory, and so fair game for play, satire, and comment.

I have always tried to remain open to what a character “needs” to be, and the idea that if you are receptive, a character will emerge if you listen, coax, and get out of the way, as opposed to you turning the screws.  Armitage Shanks filled the form that I sketched for him.  He picked me as much as I picked him.

It was a confluence of artistic intention and evolution, necessity, intuition, milieu, timing, and fate.  If a fortuneteller would have told me 20 years ago that I would go on to start a seminal, underground neo-circus, and that it would lead to traveling around the world as an itinerant ringmaster, compere, and cabaret singer, I would’ve thought they were smoking crack (but thanks for the great story!).  I truly had no idea I would end up doing this.

It makes perfect sense now, however. I had come up through playing music all my life, acting since a young age, stunt work, and all manner of odd, interesting, and banal jobs. But none of it quite fit. But circus, cabaret, burlesque, and variety arts just made sense.  That combination of music, acting, original creation, radical departure, and physical, corporeal engagement. Once I connected to what that was, it was truly “To the manner born.”

We’re all excited to see The Burlesque Assassins (burlesqueassassins.com)!  “Set in the 1950s, this tale of cold war espionage and intrigue follows superspies Johnny Valentine, Koko La Douce, Bombshell Belle and new recruit, Bourbon Sue, as they seduce their way within killing distance of a trio of villainy bent on global domination.”  Please tell us about your character, Johnny Valentine, and what it was like to film the movie!  (Surrounded by burlesque beauties and toting a cigar in every frame, it seems a bit like your real life, but perhaps with a bit more dynamite?)

“The Burlesque Assassins” was truly an amazing experience and one of the most intense things I’ve ever accomplished in my career. It started, for me, when my dear friend, Coco Framboise, recommended to the director and writer of the film, Jon Joffe, that he attend the Amsterdam burlesque Festival as I, amongst others, would be there to perform and may prove a fecund opportunity to explore casting choices for the movie.   I met Jon and he asked if I would read for the part of Johnny Valentine. As we were preparing for the evening’s performance I only had a few minutes in which to glance at the script and give it a go. I brought my dinner into the audition room and with Jon sitting across the room reading the other characters and recording the proceedings, we set about the thing.  Sometime later when I returned to the States, Jon contacted me and offered me the role.

Johnny Valentine was a cigar chomping, adventurous world-traveling rogue, a man of accomplishment, a romantic, and a lover of women.  A dashing, daring hero with a “devil may care” attitude.  A modern action hero, equally comfortable in a tuxedo, jumping out of an airplane, or foiling evildoers, incognito, in a cocktail dress and size 13 stiletto heels!

Becoming Johnny Valentine was an incredible challenge and yet familiar enough to accentuate and embellish my own characteristics.  If Armitage Shanks is me at “11”, Johnny Valentine is Armitage Shanks at “11.”

We had an amazing cast and crew of great talents and now good friends, who all worked their asses off far beyond the call of duty to make this film happen. If you’ve never worked on a movie before, it’s a very intense experience. It’s a little bit like boot camp…but in this case, with really beautiful women!   My co-stars, Kiki Kaboom, Koko La Douce, and Roxi D’Lite were so talented and a delight to be around and work with.   All four of us in one house together for a month! With a pool table and a hot tub.  Calgary will never be the same.  Ask Kiki about the frozen underwear.

I can’t wait to see “The Burlesque Assassins” in theaters and I hope it takes the world by storm because I’m already preparing for the sequel!

Photo: Allen Lee

You co-founded and toured with the one-ring circus, Circus Contraption (www.circuscontraption.com), serving as Ringmaster.  Please tell us about the conception of Circus Contraption and about what you’ve experienced in your performance career as the avant–garde in the ‘New Circus movement.’

In some ways, Circus Contraption was just a bunch of really talented people making things that appealed to us. That simple. We were driven by the ideas that we thought were fascinating.  That made us laugh.  That we responded to as moving. We didn’t set out to be ‘avant’ by any stretch of the imagination.  We were a group of smart, talented creators that happened to catch a bit of the public’s imagination, and at a time when only a handful of others in the United States were doing that kind of presentation. It is perhaps a bit hard to imagine, now that the circus/carnival aesthetic is so prevalent, that there was really no circus identity, aside from the Ringling/Cirque scale here.  Circus Contraption seemed to be part of a resurgence that has now really seeded and doesn’t seem to be abating.  It was twelve magical, glorious, at times maddening, years that I wouldn’t trade for anything.

Another of your projects is “Squirm Burpree- A Vaudevillian Melodrama,” which had a run Off-Broadway.  Won’t you share with us a little bit about your work with The Handsome Little Devils and your experience bringing vaudeville back to the New York theatre district?

Speaking of other groups who picked up on the “New Circus” Zeitgeist, we met The Handsome Little Devils at a festival in California about three or four years into our existence.   For obvious reasons, we became fast friends and a mutual admiration society.  We continued to cross paths and occasionally perform on the same stages throughout our travels.  When they decided to make the transition from more of a festival/outdoor show to a show that could stand up to the framework of theatrical staging, they asked if I would come in as a co-writer and show director. Fast forward 3 years of late nights, hard work, side-splitting collaboration, great friendship and hi-jinks, and “Off-Broadway, Here We Come!”  That and the fact that HLD is one of the most talented, imaginative troupes of lovely, twisted folks I know, who put in Herculean amounts of effort on even the smallest details.

New York is a great proving ground.  It will let you know right away what you are doing well and what is missing the mark.  And they know their Vaudeville.  2 days before our show opened, we did a Gala with Bill Irwin. It doesn’t get grander than that for our people.

All in all, I think that we put on a beautiful, strange, magical presentation of original circus/vaudeville spectacle that had touches of sheer genius and loving care.  And the Baron looks pretty damn good in frilly undies!

Photo: C Talbot

Your credits include a great deal of travel, to some very interesting international locales.  Every performer dreams that their art will take them all over the world; what got that ball rolling for you?  Any fond memories or raucous adventures that you’d care to share?

As those of us in Circus Contraption could sense we were approaching the end of the Midway, I realized that I might be able to take what it is I do to a wider audience. At that time, producers were asking me locally, as well as nationally and internationally, if I might host their festival or event. I did so, and in that way started to ‘spread the gospel’ of Armitage Shanks.  Over time other producers and events saw or heard what I was doing and it generated momentum from there.   It was a calculated risk, and at first, a bit of a business investment.  But I was willing to take that chance and it paid off.   I also realized that if I was going to make my living from creating and performing that I would need to diversify.   Which is why I also direct, consult, teach, and have an event production company, Dog & Pony Show Productions.   Making your living as an artist is a bit like having 20 part-time jobs.

Fond memories and raucous adventures, eh?  Generally, hundreds of fond memories of gracious people from all over the world who have treated me like one of their own. A few specific ones that come to mind- Playing the part of Italian Prime Minister Berlusconi wearing a clown suit, and a jailer’s ball & chain, grasping a fistful of dollars while riding on top of a 4-story parade float with bas relief scenes of the Kama Sutra flanking its sides and in front, a 30 ft. articulated Ganesh, through 150,000 people during Carnevale in Italy.  Leading hundreds of people to become Pink Elephants.  Or ice skating under a snowy, moonlit night on the Leidseplein in Amsterdam.  So many memories…

As to raucous adventures… there may have been a few.

I’ve read that you are also an instructor for Arts Corps, “a non-profit organization that provides quality arts learning opportunities to youth, regardless of resources or income,” which sounds like a wonderful project.  What is it that you impart to these youngsters?

Through my work with Arts Corps, or summer camps I taught with Circus Contraption, or my present tenure as artistic and show director for the School of Acrobatics and New Circus Arts (SANCA) 2012 Gala, “Up, With A Twist,” the song remains the same.   I try to teach honesty, truthfulness, originality, and creative center as all being most fully realized by the exploration of the individual gifts of self.  That the most compelling thing you can bring to the stage is your own uniqueness.  The idea that says, “Why be a cheap copy of someone else, when you can be a great version of you?”  How to ramp that up to its utmost.  And to give permission to goof off in public.

What advice would you give to new comperes, for whom there is little training available except in the ring itself?

In keeping with the above, BE HONEST!  Don’t be a bullshitter or a crap knock-off of something you’re not.  Risk enough to let the audience experience who you are. You are their tripmaster and conduit to the experience, so you best establish a rapport.   And for those working in burlesque, don’t be a sexist douchebag.  The world doesn’t need another shmuck dressed in a suit talking about the “hot, sexy ladies” or “would you like to see some tits?”  If that is all you have to bring to the stage, stay off of it!   Call upon your better nature and bring some thoughtful rumination.

R.E.S.P.E.C.T… find out what it means to those performers that are you are sharing the stage with.  Ask them about their acts and what significance they bring to bear.  Inform yourself so you can weave a story from the seemingly disparate elements of the night.  The story is there, you just have to look for it.  And don’t forget the audience is the “5^th Beatle.”  They are active participants in shaping the flow and energy of the night.  Allow them to inform what you do. Forget that and you forget the reason that you are there- to communicate.  And that is a dialogue.  And finally, be adaptable.  Push hands.  Let the night move you about and take you to unexpected places.  That’s where good stuff is hiding.  Embrace mistakes.  No accidents, only opportunities.

And get out and live some life.  Nothing informs your work like doing something else.

Soapbox Descended.  Whew.

Naturally, we’d love to hear all about how you landed yourself in an issue of Playboy France.  Pray, do tell…

All I can say, is that I don’t think they will ever get the pudding stains off of the Llama.

As if all of this wasn’t enough, Armitage Shanks is also a singer of songs both dark and dreamy.  As Dan Savage said, he has “A voice like honey-coated gravel. He was a sinister and louche presence, who put some sex in the air.”  Have a listen at: http://www.myspace.com/theearmitageshanks

Customs By Cora – D.I.Y. Sewing and Crafting

Anyone who knows me knows I have a costuming compulsion…sickness…ok, possibly a serious problem. Thanks to Pin Curl Magazine, I now have an opportunity to share some of my madness with you. I hope that I can give you some ideas and information that will help you find new and fun ways to express yourself and make the world a more beautiful (or crazy) place…Enjoy!

Here’s Looking At You…The Googly Eye Series.

We all know that shoes covered in rhinestones are amazing. But, what about another material? In the middle of creating some new costumes for our yearly Zombielesqe show, one of my dancers sent me a picture of shoes that had goggly eyes on them. WHAT??? Googly eyes? This must happen!

I should say at this point that you can apply this whole column to rhinestones as well, but for this project, I was using goggly eyes.

Step 1- Grab a pair of shoes. Anyone who knows me, knows I have an entire room filled with costumes I have made and an embarrassing stock of materials I think I “might” use someday. Patent leather shoes are always my shoe of choice for these kinds of projects. With patent leather, I have had the best luck with glue adhering to both the shoe and the rhinestone. Plus, they are really affordable.

Step 2 – Make sure the surface of the shoe is really clean. I use Clorox Wipes, but then I use them for just about everything including taking makeup off my face (Insert horrified look here).

Step 3 – Once your surface is clean and dry, grab your supplies. In this case, eyeballs, a wax stick and glue. I used goggly eyes from Joann but I am sure you can get them just about anywhere and they are surprisingly cheap. My glue of choice for ANYTHING on a shoe or flexible surface is E-6000. E-6000 can be found in most craft stores. Warning: use E-6000 in a well ventilated room. The vapors can be pretty toxic, but, I have found nothing that works better. I use a wax ended stick from www.hotfixqueen.com to place the rhinestones/googly eyes. I understand that beeswax, museum wax and crayons also work. I’ll have to try that someday. But for now, I am sticking with what I have.

Step 4 – Pour out your goggly eyes into a small tray with sides. Anything will work, but I like a flat lid or something that will allow me to shake out the eyes/stones when they are not right side up. This flips them over rather than having to do it one at a time. I find this step saves me a lot of time.

Step 5 – Apply small dots of E-6000 wherever you want to put your embellishments. I do multiple dots at a time. Just make sure that you do it fast enough that the glue doesn’t dry before you get to it. Touch the top of the eyeball (yuck) with the waxy end of the stick and it will pick it up. Then gently press the bottom of the eyeball down into the glue. Try to get just the right amount of glue so it just barely comes out the sides. This will make the strongest bond.

Step 6 – Pour yourself a glass of wine and settle in. This is going to take a while…

Step 7 – Make sure when you are finished you give the glue at least 24 hours to cure and you will have an amazingly crazy pair of shoes!

But, I had leftovers….so…

An eyeball bra!! I took a bra (again from that room of craziness) and got to work. Note: a hard cup bra works best for gluing on any embellishments. I used the same application process and a few hours (and glasses of wine) later, I had eyes down where we always say they aren’t. Get it?

Another warning: the early feedback I have gotten is that men are freaked out by boobs staring back at them. So proceed with caution…and awesomeness.

Until next time…xoxo Cora Vette www.coravette.com

La Cholita by Laura Byrnes Photography. Byrnes also shot our cover.

Los Angeles’ La Cholita, the Latina Queen of Burlesque, talks motherhood, medieval torture tactics, her new band, rhumberas, body image, and childhood bedazzling.

Interview: Divertida Devotchka

Congratulations on your baby boy! (He’s your first, right?) Regarding your pregnancy, you mentioned in a recent interview that you were “excited and thrilled but also terrified at the same time.” Now that he’s here, do you find that you’re still slightly terrified, or has instinct kicked in and taken over?

Thank you so much!! Yes he’s my first and the best thing that has ever happened to me. Having a baby is an immensely joyous occasion but nobody talks about how scary it can be too. Aside from the fact that you are growing a tiny person inside you, all of these  crazy things are happening to you physically, emotionally and mentally, then there’s this stigma like you are just going to drop off the face of the earth. Suddenly everyone is treating you like you’ve been stricken with some terrible disease! Even some of my closest friends stopped inviting me out or calling because they just assumed that I would no longer have a social life but that’s when I needed them most. All I kept hearing was how this was the end of my career as a performer but I think the most terrifying aspect was that it was a serious reality check. It made me really reevaluate my priorities and my life. It was a year of intense transition for me, I had to look closely at myself, my career, my relationships, and be brutally honest with what changes needed to happen. That was hard, especially letting go of people and accepting the things I couldn’t change. Dealing with heartbreak, devastating post partum, and all the new changes in my life there were times I wanted to crumble, but then I would look at this amazing gift I’ve been given (my son) and all the hardships I faced suddenly turned into artistic gold. I stopped whining and feeling sorry for myself, grabbed a pen and started writing music and finding ways to channel those emotions into creative outlets.

Valentino has been the biggest blessing in so many ways, he is the ultimate love of my life, he’s so inspiring, just an endless source of light and happiness that pushes me to strive harder and be the best I can possibly be and as a result all these amazing things began happening. I’m more successful in my career than I’ve ever been: traveling around the world, headlining tours, performing with my idols. It’s been the most challenging yet most rewarding experience of my life but I feel like a fucking warrior now. He has awakened a strength and unconditional love within me that I never knew I was capable of there’s nothing in the world that compares to motherhood!

Cholita Live. SH Photo

You’re fresh off headlining a European tour. Tell us all about it! Care to share some of your fondest memories from the tour?

This tour was an epic experience on so many levels. I love to travel, and Europe is incredible because there is so much history which is an element you really aren’t exposed to living in L.A. In Ireland I explored abbeys, Victorian gardens, lush country side and saw a knight sarcophagus that was just mind blowing. In Belgium I visited a castle and learned about all of the brutal torture tactics used to punish prisoners in medieval times and although it was disturbing it was fascinating. Each country was more interesting than then last. It was amazing to be half way across the world and in every country have fans, some people driving as far as 5 hours to make it to see a performance.

I am so incredibly grateful to each and every person that comes out to my shows and I really enjoyed the European audiences because they were so enthusiastic. They just do it the way they feel it and aren’t afraid to go crazy and I LOVED that. At one show in particular there was a girl who I noticed kept looking at me but looked really nervous so I smiled and said hi and she came over with a little piece of paper. She didn’t speak any English so before the show she had looked up all the things she wanted to say to me and printed them out on a piece of paper. She read each line to me and I melted, Is that not the sweetest thing ever?!

Another big highlight was fulfilling my long time dream of dancing in Paris; it was magical. Paris is enchanting, breathtakingly beautiful and the whole city is blooming with love. It’s just in the air and you feel it. I’m a big time romantic so I fell madly head over heels with the entire city. I cried as the car took me to the airport, I didn’t want to leave and definitely look forward to returning. Everyone was asking about my band which was really exciting for me too since it’s a fairly recent endeavor for me, we’re working on a European tour next summer so I can’t wait to get back!

I’d like to know more about your band, La Cholita and the Kreeps. Can you describe your style for our readers and fill them in on when and where they can see you play?

Currently this is the project I am most excited about and of which I’m most proud!   It’s like a new romantic relationship, everything is fresh and thrilling like a constant natural high and you want the whole world to know about it. Our sound is influenced by psychobilly, surf and garage rock. I sang with a few different bands but never really felt like I could let go and be me;  I was always upholding this kind of glamorous image. Although I do identify with it, there’s also a part of me that wants to trade my heels for creepers, get in a pit, get rowdy and dance and sweat like a wild woman!

Showmanship is really important to me so I still approach each performance with The Kreeps the same as I would a burlesque performance. I’m always thinking about new costuming, hair, makeup, props, etc. If fans are coming to see us I want them to feel like they got their money’s worth.  My favorite performers are those who really dive in and are 100% in the moment giving it their all, they don’t even have to be great singers it’s just that raw passion. I hate when I go see a band and he/she had a great voice but they just kind of stand there or walk back and forth I could have just bought the CD.  The thrill of performing live is that exchange of energy that happens between you and the audience because no two are alike.

I was really nervous at first because I had already made a name for myself doing burlesque, so on one hand it was good because I had a fan base on my own and people were curious, but I also knew they would be more critical.  It’s like you are only allowed to be talented in one capacity. But if you are an artistic creative soul by nature chances are you are probably good at a lot of things.

I know that not everyone is going to like me but I can’t sit around and not live my life out of fear of what other people think. So far we have been REALLY lucky, and the response has been tremendous we had our first show in May and things have just taken off it’s incredible. We’re playing places like The House of Blues in Hollywood, The Las Vegas Shakedown and opening for legendary acts. One of the biggest music magazines in the UK just featured us as what’s new in music, which is insane and awesome.

Photo: Aaron Settipane. Image from Dita Von Teese and Special Guests "Burlesque: Strip Strip Hooray!" at the Roxy Theater. May 17&18, 2011.

You recently performed with Dita von Teese in the “Strip Strip Hooray” show in L.A. Since seeing Dita was your first ever burlesque show when you were about 19 years old, that must have been quite the accomplishment to see things come full circle. Did you ever expect that things would turn out that way when you first began performing?

It was very emotional for me because when I got the invitation I instantly went back to the night 9 years ago when I was watching  her perform on stage for the first time and thinking to myself, this is what I want to do. I have always held her in the highest regard, and have a deep respect and admiration for her work. To have your idol tell you they love what you do and ask you to be in their show is just beyond, words cannot express. I was pinching myself all the way until my heel hit the stage the first night and even then thinking to myself, “WOW is this really happening?” On top of that I just had my son 3 months before and hadn’t performed in a year so it was the ultimate comeback! Being on stage again at a historical venue was like reuniting with an old friend, I wanted to laugh and cry at the same time. It was overwhelming. It was very exciting to perform for a whole new crowd and to have such a positive reaction from them. I was over the moon and remain grateful to Dita for the opportunity. As far as whether I expected it to turn out this way, not necessarily I mean I always set goals with the intention of fulfilling them and I always give my all when in pursuit of those goals but this was HUGE and I feel really lucky. It is definitely a moment I will cherish near and dear to my heart forever.

Speaking of your first burlesque show, you said in a recent interview that your mom took you to that first show, and you said of that experience, “it felt like I had been training for it my whole life without knowing it until that moment.” First of all, let me just say- your mom sounds AWESOME! Second, I think many performers had that same epiphany (I certainly had the same feeling) but I’ve never heard it described so perfectly. I’d like to know more specifically the things you were doing that were “training” before you realized that’s what it was. Do you have dance or theater background? What about costuming?

Yes my mother is awesome. As an artist herself, I think she understood what it was like to dance to the beat of your own drum so she has always supported and encouraged my interests .I always say that I tap danced my way into the delivery room because performing has been an innate instinct for me for as long as I can remember. I started Ballet and Tap when I was about 2 or 3 but I knew I wanted to do more. I became involved in theatre and music first by putting on shows in my living room for family members and house guests, then in the yard recruiting neighborhood kids as my back up dancers which evolved into me joining community theaters and playhouses.

In middle school I wrote all my school’s plays and was obsessed with makeup and costuming. I played a lot of male roles as well as crazy people and villains; I loved the transformation and challenge. I was also born with a deep rooted lust and fascination for elaborate decadent costuming. I would watch old Mae West films and Ziegfeld Follies girls and just be in awe day dreaming of being a modern day version of that. My mom bought me my first Bedazzler and I Bedazzled *everything*!! She also had an extensive collection of gorgeous vintage rhinestone jewelry that I would wear to preschool. I don’t think anyone in my family or who has known me since then is surprised one bit by my career choice now. It’s funny because when I’m working on costumes and acts sometimes I have flashbacks and it will remind me of being a little girl, bedazzling my dresses and imaging they were big beautiful showgirl costumes that I would be wearing on a big stage and now they are.

You’ve described your performances as “a love letter to the things that have inspired” you, most notably Latin culture. Your fiery Flamenco act won you the title of Miss Viva Las Vegas in 2007, effectively making you the first Latina to become Miss VLV. You’ve also got an act that you describe as “if Mae West was a Mariachi,” as well as a Día de Los Muertos routine. Being that you’re a pioneer of Latina burlesque, what has it been like to see it grow over the last few years? (I’d heard you say in another interview that you’ve started some sort of revolution. Was that your intention or did you find that it just sort of happened?)

It was a demographic that wasn’t being largely represented anymore. Some of my favorite dancers were the rhumberas from vintage cinema like Amalia Aguilar and Yolanda Montes (Tongolele) but I hadn’t seen anyone do anything like that since Russ Meyer queen Kitten Natividad. When I first started, it wasn’t my intention I just saw a place for myself within the community because I knew my style was different, and that I brought a unique element to what was currently being offered. It’s an honor to inspire people; I think it’s the best compliment you can receive. But you never know if that is going to be the outcome of your work.

Every act that I do comes from the heart, and at times as an artist I think you feel vulnerable when you debut a new project because it’s like you are putting a piece of your soul out there for people to judge and criticize but when I think back to the people that have inspired me they were all pioneers in some way. Just because something isn’t being done doesn’t always mean it can’t or shouldn’t be done. I think the most important thing is that you are genuine and true to yourself, that’s how you create a signature and if you can inspire others in the process that is a beautiful thing. It’s great to see so many interpretations of Latina Burlesque from glam, to camp, and traditional to modern Latin culture. It’s been wonderful to see the Latina revolution evolve over the past few years and become a thriving contribution to the burlesque world; I hope it continues to grow.

You say that you’ve been “every size” and that even at 98 pounds when you were 18, you still thought you were overweight. You’ve also stated, “In no other entertainment medium is it really encouraged or accepted for women to embrace their figure and their shape.” Many other performers I’ve interviewed feel that burlesque was the biggest help to their body acceptance. Is that the case with you as well?

Definitely. Being involved in burlesque has been the most empowering and liberating experience for me. I never felt that I represented the ideal model of what was socially accepted as beautiful. I always thought there was something wrong with me, my hair was curly, I had freckles, I was chubby, whatever and no matter what size I was there was always something negative that I focused on. After I began doing burlesque, it was like I had unleashed a force within me that just took over. I wasn’t going to let anyone else dictate what I considered or accepted as beautiful, I took responsibility for that definition!

I started focusing on the things I did like about myself and then I began appreciating the things I previously looked at as downfalls. I realized that my strengths lied in my differences. I didn’t want to look like everybody else.; just because something is popular doesn’t make it better. A gem is precious because it’s rare. There’s nothing you can do about facts, but the great thing is you can change your outlook and beliefs then you begin to realize facts are few and far between, there’s not much that can’t evolve or change.

I highly recommend burlesque to anyone who is struggling with body image even though it may sound like the most intimidating thing you could possibly do if you are feeling insecure, but there is something magical about the transformation that happens when a woman is in tune with herself and tap into that natural sensuality that is within all of us. Some have to dig a little deeper because they’ve denied it or been afraid of it for so long that it’s buried deep down but it’s there. You may not be twirling tassels at your desk or maybe you will but you will hold your head higher, and appreciate yourself more.

Not everyone has to perform in front of an audience; taking classes can provide you with all the tools you need to coerce that inner burlesque bombshell. I recently watched a phenomenal documentary film that is a *must see* for everyone interested in burlesque it’s called A Wink and a Smile. There are many elements that make this film so special but one being that it takes you on the journey of women from all walks of life who have enrolled in the incredibly talented Miss Indigo Blue’s burlesque workshop. Regardless if you have been performing for 100 years or if it’s still just a twinkle in your eye, I guarantee there is part of you that will relate to each and every one of them. I laughed, I cried, I LOVED it. It was such a raw, authentic representation of how diverse women are, and that should be celebrated.

What’s next for La Cholita?

My primary focus is my band The Kreeps. We’re having so much fun, and I’m learning so much about myself in a whole new capacity. I feel really lucky we found each other and are embarking on this adventure together; I’m really looking forward to returning to Europe with them and seeing where our music takes us. Then again there is so much I want to do! I’ve been hustling and working so hard for so long that up until recently I never took the time to appreciate the things and goals I was accomplishing along the way.

If you put your mind, heart and soul into it you really can achieve anything and your imagination is your only limitation. Sometimes the way you get there isn’t the way you expected it to happen, and sometimes you are achieving goals without recognizing them or without even remembering you set them. It’s been such a crazy journey to get to this point in my life and I still feel like I’m just beginning. Now it’s just figuring out which direction to go next.

It’s awesome to be constantly be exploring new avenues and making my dreams my reality and I don’t want to ever stop doing that. I go back to being that little girl, spending hours bedazzling my clothes, putting on my mom’s rhinestone jewelry, singing, dancing and performing shows in my living room imagining that one day I would be traveling and performing for sold out crowds on big stages. I’ve always wanted to be an entertainer and sing and dance around the world, and that’s exactly what I’m doing.