Murray Hill by Malgorzata Saniewska

New York icon Murray Hill, “The Hardest Working Middle-Aged Man in Show Business” talks Don Rickles, Dita, cheeseburgers, Texas, Swedish Fish, biographies and showbiz.

Interview: Divertida Devotchka

I love how you describe yourself as simply an entertainer, as opposed to a stand-up comedian, burlesque show host, etc., as these are not really accurate descriptions. I read a 2009 interview in which you said, “I’m not up there with some great message, or going to talk about how messed up our country is, or work out my demons for an hour, I’m an entertainer, you see.” Can you tell our readers a little more about the development of your style as a performer and how it’s changed over the years (or if it hasn’t changed a bit?)

Entertainer is an old-school term these days, but it’s what I do. Simply put, I entertain. I’ve always made a conscious decision to play to as many different audiences as possible and to knock down that fourth wall…even if there isn’t one.  With blood, sweat, and tears (sometimes all at once) I earned the best showbiz education available…pounding the boards of New York City in every dump, dive, and high class joint imaginable.  What’s changed over the years, I’ve got a lot of experience under my belt, and a belly hanging over my belt.  I’m like my Grandpa’s La-Z-Boy recliner…I’m beat up, worn in, but totally comfortable.

Obviously the burgeoning neo-burlesque scene in New York is a great avenue for your style, and I’ve read that in some ways you compare your style to that of Don Rickles, who got started in burlesque clubs. Rickles eventually earned the reputation of being an insult comedian, but I’m curious to hear your take on where the line is drawn between making a joke and alienating your audience with too many insults. How do you know when to draw the line, especially when so much of your material comes from off the cuff?

Working the burlesque scene has been a Reese’s peanut cup from day one. It just works. The showgirls, the booze, the energy. I’ll take a lounge, theater, nightclub over a comedy club any night of the week.  Don Rickles is the Master. To truly understand his act, you need to see or listen to it from beginning to end.  Unlike the crass insult comics, or really most stand-ups today, he had a heart and he was all class. He never came from a mean place.  It’s a subtle difference but it’s palpable as an audience member. Comedy clubs are often cold places, Rickles is all warmth. Ironically, he’s called Mr. Warmth…in reality, that’s the vibe of his shows.  I love this quote from him: “If I were to insult people and mean it, that wouldn’t be funny.”

The line is thin between alienating people and making them in on the joke is hair thin.  Based on your earlier question…after years and years of doing this, I’ve learned how to play that line and not go too far.  In the early days, I wasn’t as disciplined as I am now and sometimes schtick went too far or negative.  One of my biggest priorities is making sure any room I play is warm. That’s showbiz.

Murray Hill by Allison Michael Orenstein

You just got done hosting a string of sold out shows featuring Dita von Teese. Care to share a few of your favorite highlights from the tour?

So many highlights, that could be its own interview and reality show! Working with Dita is like being in the major leagues. It’s all pro, all the time. She’s elevated burlesque through the roof and into the mainstream.  My Texas debut was in Dallas and that show was a personal highlight.  The energy was high-voltage so I gave it back full blast and then some. To have a sold-out house flip out like a stadium rock ‘n roll concert for burlesque, well, that’s showbiz. That’s warmth.  Nothing I love more than bringing all kinds of people together and presenting them with a jaw-dropping show. The Texas audiences blew me out of the water.

I must say, it was about 110 degrees that day. At the after party, a very busty and sexy woman came up to me and said, “I know it’s a federal crime, but I want to kidnap you.  I know it’s hot baby, but I got a pool. I’ll even clean it.”  I’ve been in showbiz a long time, that’s one of the best line’s I’ve heard.  A little later in the night, a fox screamed out “Marty! You my boo! You crazy, you funny, you my boo Marty! You crraaazzyy.” That had me laughing too!

You were a photographer when you first came to New York, and much of your subject matter was related to drag queens. How did you make the transition from photographer to performer, and what made you decide to go that route?

That’s a long story. I’ll tell ya, I saw a discrepancy in representation out there, so I became the subject matter I didn’t see. I like to say, if you don’t feel represented out there, then go out there and represent yourself.  Photography is a powerful medium but it’s silent in a way. I wanted to have a voice (even though it can be high-pitched at times) and take up some space. I wanted to even the playing field so to speak. So eventually I put the camera down and jumped on the other side of the camera.  Through performances, I’ve traveled the world, met so many people and made some history in the process.  That beats hanging a picture on a wall any day. Although, I wouldn’t mind my double-chin being photoshopped.

Photo: Allison Michael Orenstein

You have been incredibly busy as of late, and I’m astounded at the number of notable appearances and cameos that you’ve made on television programs and music videos. Which of your recent appearances was the most exciting for you and why?

They don’t call me the “hardest working middle-aged man in show business” for nothing! I love being in a Gossip video and then being on Real Housewives of New York. Keeping it real, and keeping it showbiz. It was a great honor to have a cameo in HBO’s “Bored to Death.” Jonathan Ames, one of my showbiz pals from the East Village created the show after years of hitting the boards in NYC and has hit the big time.  A real inspiration, and he never lost his unique voice.

As a notorious meatatarian, I share with you a strong affinity for cheeseburgers. Tell me about Murray’s dream burger. I want to know everything- the bun, the meat (rare, medium, well?), toppings and assorted condiments, as well as your preferred side dish and beverage, if you wish to include that (though they obviously take a backseat to the burger.)

Incredible how many double entendres I read in this question.  I love a good cheeseburger, and my preferred side dish is the legendary Dirty Martini.  Cheeseburger and fries, straight up, that’s my favorite. I’ve had to cut down on my cheeseburger consumption to just remain 20 pounds overweight. It’s tough in the biz, I tell ya.  Right now, the recent best burger I’ve had is at the joint in Brooklyn called 5 Leaves.  Also, I’m addicted to Swedish Fish candy.  Ladies out there, it’s a real weakness for me. I’ll do anything for a bag of Swedish Fish.

What’s next for Murray Hill?

Waking up before noon tomorrow! Rimshot.  Small, attainable goals are the key to life. Next up is shooting a TV show in London this fall on Channel 4 called Dirty Digest.  I can’t wait! I’ve spent a lot time over there filming pilots, and one of the planes got picked to fly.  And, because this recent southern tour was a blow-out, I think Dita and her VonTourage have some more shows cooking! It’d be great to share the showbiz all over!  Of course, make sure to check on http://mistershowbiz.com !

Anything you’d like to add?

You know I’m a showbiz biography addict?  I’ve got a big library of showbiz books here at the headquarters. When I get a chance, I’m going post The Murray Hill Book Club on my website. I’m a student of showbiz, so to speak.  I’m reading Keith Richards and Roseanne’s new book right now. Some favorites are books on Jimmy Scott, Sammy Davis, Dean Martin, Benny Hill….and I read everything on the old Catskills and comedians that worked the resorts, or the “hills” as they used to say.  Sitting on my desk, waiting to be cracked open is Tina Fey, Kay Thompson and Dancing at Ciro’s.  Readers out there: send me your favorite showbiz books to listmurrayhill[at]gmail.com!

Check out more of Murray on his website See him perform at the upcoming New York Burlesque Festival

Jonny Porkpie. Photo: Leland Bobbe

Jonny Porkpie – performer and host, director, writer, and the Burlesque Mayor of New York City – talks unfortunate run-ins with the color purple, inauspicious beginnings, and of course- grabbing his junk.

Interview: Femme Vivre LaRouge

From Mr. Porkpie’s debut novel, The Corpse Wore Pasties: “I’m Jonny Porkpie, known to audiences as the Burlesque Mayor of New York City.  It’s not an elected position—I’m self-appointed—but I do take my duties very seriously.  I try to spend as much time as possible pressing the flesh and polling the electorate-”

First of all, let’s talk names and titles.  Your name, Jonny Porkpie, comes from your trademark hat, a porkpie.  Tell us about your favorite hat and what led you to make that your moniker…

The hat is so-called because of its crown, which – it is said – looks not unlike the crown of a savory pastry.  The story of how it came to be named after me, or I after it (Wikipedia is unclear on that point) is a long and depraved one, involving not only savory pastries but savory pasties, a defunct basement dive bar called “Siberia” and an unfortunate run-in with the color purple.  Someday, perhaps, it shall be revealed.

You bill yourself as the Burlesque Mayor of New York City and in 2009 you actually ran for Mayor of New York City, your main opponent being The Naked Cowboy.  What set you on the campaign trail?  Did you rise from inauspicious beginnings or have you been groomed for politics since birth?

Inauspicious beginnings, but of course.  I like everything I do to be as inauspicious as possible.  I got into the race specifically because this so-called “naked cowboy” was running.  I mean, have you seen the guy?  He’s wearing tightie-whities.  I know naked.  Some of my best friends are naked.  And that, sir, is no naked.  Soon after I entered the race, he dropped out.  I think that says something.

I read that you’re an Ivy League graduate with a degree in Visual Arts – you’ve got smarts as well as a good dose of sex appeal and good humor!  But what began your career in the Performing Arts?

Yeah, but for some reason they never list my shows in the alumni magazine.  Strange.  As for the performing arts, it’s unclear whether it was nature or nurture – all three of my parents are actors, and my first appearance onstage was as a rather large lump in my mother’s stomach.  But once I scored the starring role of “Boy” in my kindergarten production of that seminal work “A Sunny Day” (by either Mamet or my teacher Mrs. Herbst, I forget which), I suppose there was no going back.

Jonny Porkpie. Photo: Don Spiro

Another title you’ve gained is “Most Innovative” for your duet performance with Nasty Canasta at the 2007 Exotic World pageant in Las Vegas.  I believe this was also the first time that award was given?  Please tell us what it was like to win a title at the Burlesque Hall of Fame Weekend.

Was it 2007 or 2006?  I’m forgetting.  Yes, that was the first one, and it was quite a surprise to get it…  We’d forgotten there were more awards for which we would be eligible, and suddenly people were saying “You just won!  Get the heck onstage!”  I’m thrilled to have shared the honor of being the first, and thrilled to be in the company of those who have won it since.  I miss doing that number.

I had the great pleasure of meeting you this year at the Burlesque Hall of Fame Weekend in Las Vegas and all I really knew then was that you’d given one of the most delightful performances I’ve ever seen.  If I had been more acquainted with your work I might have needed a fainting couch, but you were incredibly amiable and down to earth.  How did you get to be such a great fella?  And won’t you please share a description of that number so that our readers, who may not have had the chance to see it, can envision its greatness?

Oh, god, it can’t possibly live up to that ballyhoo!  The name of the number is Competitive Burlesque, and it’s a classic burlesque number to classic tunes featuring classic moves – bump and grind, glove peel, stocking peel, tassel-twirl, etc., but with sports commentators narrating
the action as if it were an Olympic event. Special thanks to Jo “Boobs” Weldon for putting me through high-heeled boot camp to help get my classic moves up to snuff.

Jo "Boobs" Weldon and Jonny Porkpie. Photo: Don Spiro

You’re co-creator of the widely acclaimed “Pinchbottom Burlesque” as well as creator of the bump and grind game show “Grab My Junk”(Grabmyjunk.net) and the monthly production, “Jonny Porkpie’s Bad Ideas.” “Grab My Junk” is currently wrapping up a summer tour and has even spawned a franchise in Melbourne!  The show combines striptease, inappropriate questions, and a plethora of prizes that must be pulled from your pants.  Now that’s a Great idea!  What have some of your best ‘Bad Ideas’ been?

Those are probably inappropriate for a family publication.  This is a family publication, right?  No?  Well, probably still pretty inappropriate.

This March Hard Case Crimes published your first pulp novel, The Corpse Wore Pasties.   (He has supplied the first chapter for free on his website).  The book has made mention in Vanity Fair and Publishers Weekly just to name two, and Bob Lunn of LibraryJournal.com states that the novel “will surely come to nestle comfortably between Gypsy Rose Lee’s classic 1941 The G-string Murders and Kinky Friedman’s mysteries.”  What made you decide to put your wit and words on the page and where on earth did you find the time?  Can we expect more hardboiled, lusty literature from you in the future?

I’m working on a follow-up (set in Las Vegas during “the Superstars of Striptease Showcase and Reunion”), but have to admit I didn’t get much writing done on tour.  The first book happened because Charles Ardai, the creator of the Hard Case Crime line came to a Pinchbottom show and I guess he liked what he saw…  And of course, he saw quite a bit.  (Useless tip for aspiring writers: Putting talented nudity in a show is sure to catch an editor’s eye!)  Charles proposed that we collaborate in some way, and I managed to convince him that the best way would be for him to publish a novel written by me.

Last, but not least, won’t you tell us what it’s like putting the burly in burly-q – what are some of the challenges and rewards of being male in a predominantly female field?

Tigger says, and I agree, that it’s very important that it IS a female field, and that it remain so, and that men are guests in it.  (Don’t get me wrong, I love the boylesque as much as the girlesque, and in my travels have tried to get as many men into pasties as humanly possible, but it’s not the thrust of the genre.)   It’s not just that burlesque is female-driven, it’s that it’s performer-driven – the performers themselves not only conceive, choreograph, costume their own acts, but also produce the shows, stripping alongside the people they hire.  This is what makes burlesque such a vibrant, joyous, immediate, and fearless art form.

Thank You, Jonny Porkpie, for sharing your time, talent…and junk with us.

International burlesque sensation and former Miss Exotic World (2008) Angie Pontani talks glamina, keeping the drama for your mama, the smell of hot glue, vintage industrial sewing machines, and the New York Burlesque Festival.

Interview: Divertida Devotchka

Born a Jersey girl and dancing since age 4, you moved to New York at 17 to study dance and theater at NYU, but admittedly found the program to be “really super boring” and became a burlesque performer “almost by accident.” Tell us about that first performance at the Dutch Weismann Follies and how it changed your life.

Dutch Weismann Follies absolutely changed my life. It was everything that I imagined show business would be exquisitely crammed into this exclusive underground show. They turned a NYC railroad apartment into a speakeasy and created the most gorgeous costumes I’ve ever seen basically out of curtains.  It taught me that you can make anything happen.  During the first show, I was a nervous and excited wreck.  I felt like it was a big accident that I was cast, my dancing skills and experience were way below the other gals, I was also shorter, underage and totally naive.  I was totally faking it, watching the other gals and trying my best to mimic them!  I had three rehearsals to learn three routines and didn’t even get a fitting in my costumes until about an hour before curtain.  I clearly remember sitting back stage with the fantastic cast trying to figure out how to glue my lashes on and how to get those huge headdresses to stay on. The buzz of the audience was electrifying and the smell of hot glue filled the backstage air. I love that smell. It’s almost as comforting to me as the smell of my grandmom’s kitchen on a Sunday. About 13 seconds after the curtain came up on the opening number, I had an absolute Janet Jackson costume malfunction! The minute I threw my arms in the air for a dance move, the girls came out!  The costume was a tad too small I suppose, but I managed to get through the number with a lot of spinning and stuffing in.  That was it for me, I haven’t performed in any other type of show since and I suppose I wasn’t so bad because I quickly went from being in the chorus line to having several feature acts- I even sang in one.  That show was absolutely magical, from the costumes, story line, music, choreography and cast. I am lucky to have been a part of it and can’t wait for Dutch to mount another production!   Even after the show closed in a perfect cloud of scandal, as all speakeasy shows should, many of the cast and crew pushed me to keep performing and helped me when I started the Pontani Sisters.

What are the pros and cons of having a manager? At what point should a gal decide to get a manager?

I don’t really have a manager so much as I have 3 amazing booking agents that I work with, one who does my solo performances, one who books my full show Burlesque-A-Pades and one who handles all my work in Italy.  They are all much more than basic agents to me and help me with career decisions, press and really anything else I ask them advice on.  I am very hands on with my career and work really closely with my agents on everything.  The choice to use agents was really made for me when I couldn’t keep up with bookings and focus on my act at the same time.  I’m into fast response and being on top of things. When that became impossible because of my travel I got serious about getting representation.  The choice to get an agent or manager is a big one and certainly one that someone should consider when they get to the point that they can’t keep up with their work load, but you really need to find someone that you trust and jive with, someone who understands your act and won’t book you into an event that isn’t for you.  They are after all a representation of you, so it’s important to get someone who gets you!  I also rely on my family a lot and they are always happy to give me their opinions, especially my sister Tara who started the Pontani Sisters with Helen and me.

How long have you been co-producing the New York Burlesque Festival? The festival will have its ninth birthday this fall, and we’d like to know- what have you learned from your role in the festival?

I’ve been co-producing the New York Burlesque Festival since its inception 9 years ago.  I’ve learned a lot from that event, it’s not easy to organize 150+ performers, each with unique needs. With these big events, and with every show, it’s about advancing the information, being clear in communication, being organized and having a great team.  People are traveling from all over the world for 4 minutes on one of our stages in the big apple. We want to give them and the audience the best experience possible. To do that we advance all the information with each individual performer, the venue tech teams, our stage manager and sound coordinator, the host, the whole crew. It’s all about pre-empting any issues as well as having a fabulous crew, so that when something does go wrong everyone knows what to do.  We also search high and low for great venues with nice high stages and clean sight-lines; my favorite is B.B Kings in Times Square!  We also will be at Brooklyn Bowl, The Highline Ballroom and The Bell House this year; these venues are all top notch.  Additionally, we have a total zero drama policy. Keep the drama for your mama, we are here to do a great show.

Last fall, you said in your CNN iReport interview that one of the most difficult things about being self-employed is ensuring that you stay employed. Many people don’t realize that though you have what some would consider a dream job, it’s a constant struggle to get more work, and that you work 24 hours per day, seven days per week. Do you find that people misjudge the amount of work required to being a full-time performer, producer and choreographer? How do you manage all of that without going crazy?

Well, I think you have to be a bit crazy to be in showbiz. But absolutely, most of my non-entertainer friends don’t even consider my career a real job.  They think it’s all good times, parties, traveling and gallivanting.  While that is part of my job, 97% is total work. During my “off” days, I am working on upcoming tours, shoots, shows, videos, keeping my site and press materials current,  creating new costumes and maintaining my working costumes, thinking up new shows and keeping up with myself! Going to the gym and doing my nails are things that are career requirements to me.  When I am in show mode on tour or doing a string of performances, it’s typically a chaotic and sometimes grueling schedule.  Plane to tech to show, van to tech to show, plane to tech to show, etc…. That is the schedule and it can go on like that for weeks on end, throw in early morning interviews, time changes and sleep deprivation for fun! You need a lot of glamina (glamour+ stamina) to have a career in burlesque.  It’s also tough on family relations sometimes, I love my family and being away so much can be a challenge.  This year I’ve missed Easter and Mother’s Day dinner, I’m probably the first Pontani to ever do that!

In the same CNN interview you were quoted saying, “A good burlesque show is when the audience can get lost in the show.” What suggestions do you have as a producer and performer in terms of how to guarantee that your audience “gets lost” in the show?

As a producer, you need to think about more of the technical aspects, aside from getting a great crowd and keeping your performers happy in the green room.  Good lights, a proper stage with good sight lines- these things make a good show great. As a performer, you should be thinking and caring about these things as well, but you also have to practice.  I like to practice my routines like crazy.  I don’t ever want to think about what comes next, I like for it to be instinct so that I can be up there running on instinct and having fun, not panicking about my next step or garment removal, which is also why it’s important to practice in costume. Know your costume in and out and where the weakest points are in case of a tear away emergency.  It’s a little insane I know, but when I rehearse, I will first get my basic act down, know my markers in the music and where different things should happen, then I will turn in every direction and do the routine, I’ll do it in the dance studio which is a hard wood floor, then my living room which is shag carpet, then I’ll do it in my tiled entry way and then I do it with all the lights out and my eyes closed.  If you can handle that, you can handle any warbled stage or other mishap you might endure.

You, as well as your sisters, have played a significant role in not only the New York burlesque scene, but the burlesque revival in general. Though I’m sure there are many, what are some of the big changes that you’ve noticed taking place in recent years as far as the revival is concerned?

The form seems to be perpetually evolving and changing.  Mostly it has grown, there were a hand full of us in the beginning and now there are tons of performers.  I also see a lot of sects forming, classic, alternative, punky, comedy, pop, contemporary, themes… people who take burlesque and adapt it to their sensibilities teaming up with other like minded folks and creating full shows.  The biggest change is the growth of the scene, it’s amazing to watch and be a part of as well.

Unlike some other performers whom I’ve heard describe burlesque as an almost exclusive hyper-glamorous art form, you seem to stress the realness and audience connection when you describe burlesque, which I find not only much more realistic, but it also shows that you’re rather down to earth. You’ve said that burlesque “is being able to manifest this ideal image of glamour but at the same time create almost an accessibility to the audience where they connect with you… it’s ultra-glamorous, but not off-putting. It’s not like a red velvet rope feeling… We put a lot of effort and money into looking glamorous and fabulous but there’s a realness to it that I think people can connect to… it’s not unattainable.” What do you think is the key to being both ultra-glamorous and making a real connection with the audience?

I think a big part of the key is not taking yourself too seriously. I am very serious about serious entertainment, but there is a balance. I don’t want people’s perception of me to be this false ideal, that’s just not who I am.  I love glamour and corsets and 5″ heels and 20 pound gowns and my glass bath tub, but with enough time and effort anyone can have those things. The reality is I also love vacuuming and sitting on my stoop on any given day for hours chatting with my neighbors.  I think of Dolly Parton as the ultimate ideal of this philosophy, she is both glam, amazing, wildly talented and a total diva in her own way, but she is also real and real about what is fake. I hope I’m making sense, I have a tough time with these questions because to me burlesque is what it is, and it’s showbiz. I’m not much for analyzing.  If you are good at what you do and have a sincerity and love for show business, it comes across and that’s the joy and excitement the audience feels.

I noticed from some of your Facebook posts that you have at least one vintage sewing machine. What are the benefits of using an older model? Any drawbacks?

I have two vintage machines, both hand me downs from my family. One is a huge Viking Huskvarna industrial machine from the 40’s, the other is a 50’s table top Singer.  I’ve got a modern singer as well, but I rarely use it.  The old machines are quite indestructible and look a lot better too.  I don’t make my own costumes anymore, but when I did, I used those vintage machines. My Viking will sew through anything, fingers included. It is a dream with heavy fabrics.  The drawback to the vintage machines are repairs, I actually recently put my Viking in storage, there was only one man NYC who repaired that type of machine. He did house calls and came and tuned up my machine once a year, sadly he passed away and I can’t find anyone who can really get her going since!   I’ll never get rid of her, in fact I think I will probably end up hiring a mechanic to come and replace the motor and other parts one day.  Even though I don’t make my own costumes anymore, I sew quite a bit.  I tailor most everything I buy and I make a lot of my own clothes.  I love to make my friends homemade gifts for holidays and birthdays, like vintage aprons in really fun novelty prints.

What big projects are you working on at the moment?

There is a lot in the works right now,  we are in full swing planning for the 9th Annual New York Burlesque Festival which will take place September 29th – October 2nd right here in the big apple.  I am also working on a new touring show with Los Straitjackets, the Rock ‘N Burlesque Spectacular, that will be a two week tour in late October, we will also have a Burlesque-A-Pades tour back on in the winter and I’m going to be releasing some new DVD’s this Fall, including a new Go-Go Robics. I am really excited about that one!

New York’s Ruby Valentine, The Alabaster Beauty, talks huge props, Mad Men, The Slipper Room, Bruce Lee, and Valentine’s Day.

Q: Your name, Ruby Valentine, how did you choose it?  Does it perchance have anything to do with either the book or the old radio show?

The Ruby part of my name is in reference to my red hair, even though I went Platinum for many years. As for the Valentine, I always thought it was a great last name.  It reminds me of an old 1930’s mob boss, or a detective or something along those lines. I just put them together and came up with a great stage name. I think there are two books out with the name Ruby Valentine in them, one being a children’s book, however believe I was performing before they came out.

Q: New York has a burlesque scene unique to any other in the country.  In your travels, what are the regional differences you have found in the burlesque circuits?

The scene here is a bit different. When you see a show in NYC you can expect to see something you’ve never seen before, never thought you’d ever see, and your mind might possibly explode.  I’m not saying you won’t get that kind of excitement elsewhere though, in NY you know you will.  One difference I always notice is big huge props.  In NYC it’s hard to have a huge prop, there’s never anywhere to put that sort of thing.

Q: I describe your style as classic, with a neo twist.  How do you describe your burlesque style, and do you feel its important for entertainers to create a niche- or a trademark style, or be more versatile as performers?

If someone asks I will say that I mostly do a classic striptease, it’s just what comes naturally to me. I do so love to do the unexpected and ridiculous though. For me I really get a thrill from a nice, slow, sensual grind. I think it is always good to be versatile. A performer may fall into a certain style category without even thinking about it. The important thing is to do things the way you want to do them. Just remember the audience loves a surprise!

Q: In 2006, you appeared on the first episode of AMC’s Mad Men, how did you land the role, and could you describe your experience for us?

That scene was filmed in 2005, and aired in 2006, so it really seems like that happened forever ago.  I was blonde then.  The one very long day I spent filming that scene was fun. I hung out with the band for that scene, even sitting in the horn players car with them all for an hour or so… or was it the drummer. The whole thing was filmed at the Slipper Room, one of the best places for Burlesque (it is currently being re-built).  I can’t exactly remember how I found out about the role, someone contacted me, told me the details and I went to the audition.  For that I performed a slow sexy bump and grind.  I remember they really really loved the way I took off my gloves, I think that may have landed the part for me.

Q: Your famous Bruce Lee inspired Nunchuck routine- we know the inspiration, but how did this act come to be?  Was this a still you already had, or did the idea for the number come first and the training later?

The act really came from watching the movie “Black Dynamite”.  After seeing that movie I realized how much I had always wanted to be skilled in the art of the Nunchucks and kick ass like Black Dynamite.  I went to a Ninja store in midtown to get myself a pair of nunchucks, and ended up buying two pairs. I’m a huge Bruce Lee fan (in fact I’m watching The Green Hornet right now).  I watched a lot of Bruce Lee movies, the thing is he is really fast. I ended up watching YouTube videos, bought one VHS tape from the 80’s and taught myself that way.  Once I learned the basics I was able to go back to Bruce and pick up a few extra kick-ass moves, like the double nunchucks.

Q: Miss Valentine: What was your most memorable Valentine’s Day & what would be your perfect Valentine’s Day gift?

To be very honest, I really don’t go for Valentine’s day.  I prefer to be adored and showered with gifts everyday.

New York Burlesque sensation, Headmistress of the New York School of Burlesque, and author of the recently published book The Burlesque Handbook, Jo “Boobs” Weldon talks glamour, the Muppets, popped pasties, and evil nurses.

By: Divertida Devotchka

Congratulations on the recent publishing of your book, The Burlesque Handbook! Care to share briefly how this book came to pass?

I had been producing handouts for classes for years, and also selling a 50-page ebook. I tried a couple of times to sell the handbook as a coffee table book, because that’s what everyone seemed to expect, since I was also a photographer. Then my agent, Brandi Bowles, and I came up with the idea of a portable, affordable handbook, and my editor Rakesh Satyal at HarperCollins picked it up. He had been to the Slipper Room and knew that it wasn’t just a “How to Strip for Your Man” type of book–although I’d love to do one of those too–and let me describe the way we’ve been doing burlesque in the independent scene.

You left home at 18 to become a stripper in an Atlanta strip club, and you state in your book that you were “disappointed by the lack of glamour” and that you found that working in such clubs was “high in drama but lacking in theater.” Burlesque was obviously the cure for your lack of glamour and theater. Tell us about that first experience when you made that discovery.

Coney Island, baby! Bambi the Mermaid took me to see shows at Coney Island and The Blue Angel. I also saw The World Famous Pontani Sisters at Marion’s Restaurant on the Bowery. Then I went to Exotic World, and it all came together! But as I say in my  book, I was always seeing burlesque and performance art from the 1970s on…there’s a whole lot more to that story!

You mention the Muppets as one of your influences and inspirations. I’d love to hear more about that.

Oh, the Muppets backstage, who wouldn’t want to be in showbiz after seeing that? Also, the way they could mix smart humor with childish wonder. And the way they’d do tons of production to set up a one-liner. Of course the Muppets were influenced by burlesque and vaudeville humor, so it’s sort of a circular reference!

In your book you also state that “burlesque history is full of genius and passion and playfulness and dirty-mindedness combined with a willingness to do darn near anything to get applause.” I love that description and it made me wonder, what do you consider to be the most ridiculous things you have done for applause?

Leaving out some of the really filthy stuff, probably the most ridiculous thing I’ve done is Godzilla. I worked on that tail for months. And the giant head has Swarovski eyes.

Performers know that the occasional minor wardrobe malfunction is virtually inevitable. Do you have any suggestions on how to recover gracefully when one’s clothing gets stuck and doesn’t come off as planned (or when there’s a major prop failure or a popped pastie?)

Laugh, don’t cry! Use your showmanship to keep the audience entertained. Don’t let them get tense or upset on your behalf. Play it off, and if possible, call everyone up onstage to help you out of your costume! [Regarding] lost pasties–it’s a blessing, not a curse, but protect the venue’s interest and cover up if you need to.

You made a very good point in your book when you said, “Burlesque is prone to archetypes and zeitgeist…your chances of doing something that hasn’t been thought of before are slim.” Please explain more about this philosophy.

Thousands of people have been doing burlesque for decades. It takes a little research to know if what you’re doing is really new. I’d rather see people just follow their hearts and do what they love than strain to avoid doing an act with a theme others may have used. There have been tons of evil nurse acts, but you might do the best evil nurse act ever! Cleverness is awesome, but it isn’t enough to entertain an audience if they can’t see your bright idea. I’d rather see a common idea executed brilliantly than a unique idea executed poorly. I think it’s important for performers to put execution above ideas. In any field, it’s more fun to think up brilliant ideas than to do the work to bring them to reality–inspiration is a gift! Naturally, the best combination is originality and hard work. If you’re a real artist, you’ll probably enjoy the work as well.

What other projects and events are you currently looking forward to?

I’m excited to teach all over the world! I’m currently working with disabled performers, including Liz Carr, to develop burlesque numbers for the DaDaFest in Liverpool this winter. I’m also working with Keep-A-Breast and The Young Survivors Coalition to do burlesque programs for cancer patients and survivors who often feel alienated from their bodies after diagnosis and treatment.

Related links:

http://www.youtube.com/watch?v=KErbRm0eVHI

http://www.dadafest2010.co.uk/home/

http://www.keep-a-breast.org/

Anything you’d like to add?

I hope everyone who wants to try burlesque will just do it! There is nothing at all to stop you from having the time of your life among some of the most loving and joyous performers in the world.

Dirty Martini talks Texans, the Moisture Festival, straight men, and about her first Burlesque show.

Interview: Divertida Devotchka

Q: You’re featured in Immodesty Blaize’s documentary “Burlesque Undressed.” What was your reaction when you were informed you’d be included in the project?

Immodesty approached me about participating in her film when I performed in her show the year before at Koko nightclub in London. It was a fabulous show and I love her so I was more than happy to be interviewed for the film at the Burlesque Hall of Fame weekend the following year. Unfortunately the amazing footage from that show wasn’t able to be used in her documentary and I wasn’t able to perform in the show that all of the wonderful footage was pulled from due to my shoot schedule for the French film “Tournee” which will premiere at Cannes in May, but luckily it was used for my documentary Dirty Martini and the New Burlesque which will screen at the Dallas film festival in April. I’m really thrilled that the footage will be used as it was a very professional shoot and I was devastated that I wasn’t able to perform in her show last May because that was even better looking! I hate to have to pass up any opportunity to work with Immodesty.

Q: You’ll be performing in Dallas on March 20th for the U.S. premier of the aforementioned film. Do you think Dallas is ready for Dirty?

Every city I’ve gone to all over the world has been very warm and receptive to my performance and made me feel extremely welcome and I’ve heard that Texans have big hearts so I’m excited to perform there. I was in Austin a couple of years ago and had a great experience there and loved it so I suspect I will feel right at home.

Q: Do you have any other film projects in the works?

I have two short films out currently touring the film festivals, one a short format documentary by Iban del Campo and a beautiful silent film by Steven Dirkes called the Object. I worked with French actor Mathieu Amalric for a film that will premiere this May in Cannes called Tournee and Dirty Martini and the New Burlesque by Gary Beeber will be having its first screening at the Moisture Festival in Seattle March 29th. I’ll be there with Burlesque Undressed on the 23rd as well. It’s been really fun planning Immodesty’s U.S. release along with my film too.

Q: You were recently voted the top fan favorite in the 21st Century Pinups Burlesque Top 50. How does that make you feel? What was your reaction when you heard the news?

I was very surprised to be voted number one and honored because of the company in the top 20 alone! It must have been a very tight vote indeed. I’m a big fan of Catherine D’Lish and Michelle L’Amour and Immodesty and Julie Atlas Muz and Dita and and and….. so you can only imagine how incredible it is to have such wonderful fans to vote me in there too! I feel very lucky indeed.

Q: The Lagerfeld photos in the V Magazine size issue are absolutely out-of-this-world! In a recent interview you mentioned that you didn’t know it was going to be a plus-size issue when you agreed to do it. Had you known that going into it, would you still have agreed to do the shoot? Do you feel like knowing that beforehand would have altered your perception, preparation or behavior going into it?

Well…. It’s not like you tell Karl Lagerfeld and V Magazine you couldn’t possibly come to Paris and shoot at the House of Chanel! It was an incredible experience and I felt shocked that Steven Gan and Steven Chaiken at V thought of me for the editorial. I suppose the whole thing made more sense when I found out a month later that it would be a magazine devoted to all body types. I think it’s a shame that people only think of it as a plus size issue when there are really all types of women represented. Actually, come to think of it there aren’t all types of women in it. People were complaining that I am obese and some of the other models were as well, but I didn’t see anyone over a size 16 in any of the shoots. Considering that the average size for women in the U.S. is currently a size 14, there seems to be a disconnect in the fashion world. Big surprise there. My goal for what I’m doing in burlesque is to have women with womanly features represented properly in today’s hyper-controlled media. I believe that this is a big step for me and my mission statement!

Q: You’ve mentioned that you seek inspiration in drag queens and burlesque legends of the past. Care to elaborate on this?

When I moved to New York City, I went to drag shows at least once a week. I really loved the spirited and improvisational nature of the performances and the fact that they were edgy and interesting. Burlesque never really died in New York. Kitten Natividad performed at Show World in her own burlesque review in the 80’s, Ann Magnusson hosted a Vaudeville night featuring burlesque themed material and Jackie 60 in the early 90’s kept the spirit alive. Drag Queens in NY like International Chrysis and Candice Cayne kept that sexualized uber glamour alive for us and we should all be praying to them like the goddesses they are! They in turn – along with the Something Weird Video reels of old burlesque that I studied before creating my own burlesque routines – inspired me to be the glamour-crazed performer I am today.

Q: You were inspiration in the neo-burlesque revival, especially in New York. What have you noticed about the changes in the neo-burlesque scene in the past ten years? Any patterns you notice in different parts of the country?

Yes, there are patterns but every place is different. I knew that in London and the UK it would become a big retro craze like Carnaby Street in the 60’s. When I performed in Paris for the first time I knew it would grow there too. I saw the very first new burlesque show in Paris’ Bastille district. Kitten on the Keys and I went to see Kisses Cause Trouble there and arrived too late because we were confused by the 24 hour clock. They ended up repeating the entire show just for us and their fans stayed to watch it again as well. That’s the spirit of New Burlesque- that punk rock DIY feeling! Burlesque will always have its high end shows and its more campy and experimental shows and it’s wonderful that there is room for all that self expression. I feel it’s very important for women to express their sexuality in a free and unencumbered way with no edicts from society or more particularly straight men.

Q: How rewarding is it to know that you are such an inspiration to women of all sizes? You’ve remarked before that “the power of possibility” is the most important result of burlesque’s influence on its female audience. Can you talk more about that power?

I would hope that I inspire ladies not to give up on their own power. I’m happy to be a role model for plus-sized ladies, but more than that I feel like the leader of a powerful revolution for women’s rights. What we do in burlesque in the 21st century is so much more than just glamour and beauty and a rhinestone leg show. I believe it also to be an important expression of female culture. People talk about the Amazonian tribe of myth, and well, I think we have that potential as well. Women are very powerful and taking away our power over our own reproduction and sexual expression is akin to castration. It keeps us down and powerless.

Q. Do you think Karl Lagerfeld knew what he was getting into when you first entered the room for your shoot? Was he able to match your energy and pace when trying to capture your images?

Lagerfeld is a very busy glamour puss! He was shooting his own film that day and my shoot was like a little side diversion. He was exhausted by the time he got to me because his day started at 7am. It’s not easy to be the most glamorous man in the world and have your day start at that hour. Our shoot started at 10pm right after the film wrapped for the day, but he gave me as much as I gave him. I adored him and everyone on that set. They treated me with respect and I had a wonderful time.

Q. You’ve said that there were several Coco Chanel look-alikes milling about the area during your shoot due to a movie being filmed. How crazy was that?

Everyone on set thought it was surreal seeing Jane Schmitt dressed as Chanel later in her life. She was the spitting image of Chanel herself! The film is posted to Youtube (and you can see it here http://www.youtube.com/watch?v=e3t_3fIWFlw). I loved the woman who played the Duchess of Windsor, Amanda Harlech; she was someone with an incredible aura. I had never heard of her, but when I met her I knew she was someone I wanted to get to know better. Apparently she is a confidant to Lagerfeld and John Galliano. I just thought she was an amazing person. Jane Schmitt was too and that’s why she was in the photos with me. It wasn’t planned, we just happened to be talking and getting along and Lagerfeld started shooting us. She was a little unsure at first, but I made her feel welcome and told her I wanted her in the photos. I’m glad one of them was chosen for the magazine. I thought it was a fun juxtaposition as I felt Chanel’s spirit pirouetting in her grave while I was posing on her stairwell!

Q. Would you say that in a way your size/shape has been a double-edged sword for you in the industry? I’ve seen remarks from you before that you feel like people always focus on that as opposed to your art/talent being the primary focus as it is with some of your contemporaries.

I do wish that people could not have prejudices, but that’s a tall order. I started performing burlesque routines because I felt that it put my dance training and body type in perspective, but some people can’t go on that journey with me due to their own ideas of what women should be. I hate that should word. I think it’s very dangerous.

Q. What the most fun experience you’ve had since embarking on your burlesque career? What has been your most challenging experience to date?

There are challenges in every career. Mine has been to keep myself motivated to make new work, but luckily I have had life changing experiences seeing what other performers have done within the burlesque medium and it keeps me inspired to make new and different pieces. The best experiences have been traveling and meeting new performers everywhere. The first time I heard backstage chatter about pasties and burlesque costumes with a mid-west accent was a fun and weird experience. Walking into old theaters and feeling the history in those buildings has been amazing too! I’ve met some incredible people because of burlesque, some very famous and some just regular folks and I’m always amazed at people’s generosity and fabulousness!

Dirty Martini will be performing with Perle Noire and the mighty Immodesty Blaize on March 20th at the Lakewood Theater, as well as answering questions about her role in the new film Burlesque Undressed. For more info on the show, please visit our Events page.