Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s question comes from Cherry Bombshell in New Zealand:

“Hi Sydni,

Firstly, I’d like to say that I think you are an inspiration – love your work and a huge fan of your blog.

I have a question… I’m a newbie to burlesque – did some classes, entered a competition and won – now have my first official gig lined up and another competition to look forward to.

I am buzzing with wonderful ideas for shows, but there is one thing that I find tricky – the costume.

I get stuck because for weeks I will be trying to find a costume that will work with my idea (New Zealand resources are extremely limited), then by the time I have it sussed my costume, the gig deadline is looming and I have to rush to put together a routine, but I’m finding it really hard, dare I say it, almost impossible to plan a routine with an imaginary dress/costume on.

 I keep researching my favorite US performers and they all have exquisite costumes.

I am juggling a full-time job running my own business as well as a blog and in my downtime am trying to build a burlesque performance career. I have trouble deciding which order to do things in – do you think of an idea, find a costume, then plan the routine? Do you have any tips or contacts for sourcing costumes?

Thank you in advance for your tips.

x
Cherry Bombshell”

Hi Cherry,

First off, congratulations on winning your competition! I’m sure that was very exciting- and inspiring for you! After a triumph like a big show or a win, the ideas start swimming in one’s head, buzzing about, begging to be made. There’s nothing like trying to top yourself, it keeps us going, that’s for sure.

Your question is a good one, and one that a few readers have asked me to address. I hope that this helps you with your deadline-I apologize for the later reply as I am juggling this writing thing with performing and preparations for performance travel.

It’s wonderful to hear that you’ve been doing your research, looking at the costumes of your favorite performers. I think it’s a great way to begin your journey with your new act, so long as you have an idea of what you’d like to create, keeping in mind your resources. Looking at other mediums are great too- old movies, art, nature, fashion and photographs can help to shape your new fancy.

That being said- burlesque is an investment. Of time and of money. Since the dawn of burlesque, queens and headliners have been investing their hard earned money into their acts to make something unique and original. If you’ve checked out the book: Pretty Things by Sarra Manning, you can see in original receipts that they were investing hundreds of dollars (a mini fortune by today’s standards) in their beautiful gowns and skirts.

The most inexpensive way to make a costume is to do it yourself. If you have any crafty or sewing bones in your body, it’s in your best interest to start experimenting. I myself am intending on going to fashion school in the Spring (barring any big performance tours and engagements) to be able to create the costumes that have been swimming in my head for the last couple of years. I want complete creative control. A good instance of a performer with complete creative control of her costumes is Catherine D’Lish. She has an excellent list of people that can make the things that she doesn’t have time to create (like a corset for instance), and then makes costume separates like giant skirts, outrageous feather pieces, appliques, and rhinestone embellishments (among other things) to make her art her own.

If there’s something you’re envisioning, a good thing to remember is that somewhere out in the world is somebody who knows how to make it. Even better, they’re probably online, unless they’ve been living under a rock. You might have to make a ton of inquiries, but it’s possible to have shoes specially made for you, or even specialized rhinestone jewelry. So you’re in luck!

Whatever you do, make sure that the costume fits and flatters you. If you are a performer that wears corsets, you need to INVEST. A badly made or boned corset looks cheap, no matter how many sparkly bits you put on it. Same with dresses, simply buying off the rack rarely does the trick in this game, and it can make a performer look like they’re going to prom instead of being a performer meant for a big grand show. Take your time and figure out exactly what your costume needs and then do some pricing. Invest in a good tailor to work with your ready-made pieces. Contact costumers in your city and beyond, get price quotes, and in most performers cases, start saving. Why premier an act in two weeks with a poorly made costume, when in 2 or 3 months you’ll have something that really works and LASTS.

I’m a big fan of rhinestones (and hey-who isn’t in this business) but I do think they’re the cherry on top, not the frosting or the batter of your burlesque cupcake. Make sure the costume fits, flatters and does what you need to do on stage before you go putting $500 and more worth of stones on it. I’ve seen performers hit the stage with nary a sparkle on their costume and still look stunning because they’ve picked their pieces well. What’s even sadder is knowing that there are sparkly bits sitting in your closet that you don’t use anymore because it wasn’t made well. That’s when it’s time to get some tweezers and start picking those flashy puppies off one costume to apply to your new and better one. It’s time consuming, annoying, and your fingers will ACHE.

Sequins are a great alternative for bling. There’s a lot of sequin dress makers to be found online, you really need to get your fingers to do the walking on your computer to find a company that can provide what you need. Beads are another, you can get some great beads online, and books that covers all of the basics you need to know to make something fun.

On-line shopping can be extremely rewarding if you make the time to search. I searched for hours upon hours until I found a site that had the right stay-up stockings in my color that were long enough for my 35″ gams. Sometimes you order something and it doesn’t workout, do research, look at online reviews of businesses and know that sometimes it really is too good to be true (I’m looking at you $50 steel-boned corsets!).

You want things to last so that you can hone your act for years and add to the costume without necessarily having to replace or repair major parts. Re-soleing your shoes is a necessity, but buying a new corset every 6 months doesn’t have to be if you go to a  reputable maker like Mechantes or Dark Garden (the mother of all beautiful corsets). There are also performers that make gorgeous corsets and costumes, facebook is an amazing way to source them. Ask in burlesque groups for names, and I’m sure you’ll get some answers.

As for creating an act choreography-wise, you should be all about your music FIRST. For my process, I’m moved by music before I’m moved by a costume. I also take into account that if I’m planning to have a corset in my act that it will change the quality of my movements (I even have an old corset that I practice with so that I can make sure a bit of choreography will work with the act). I have a tinge of synesthesia (I see colors when I hear music), so when I hear a piece of music I just know that the costume has to be a deep wine color and not green (for instance) and I go from there. Music will tell you what you need to do. It will tell you if you need a big gown, a boa, a fringe belt, a panel skirt, short gloves or long. It will tell you if you need a slit in your gown because the bass deems a big strut necessary. When you listen to the music, if you’ve picked a piece of music that’s dynamic enough- you’ll hear parts that would be perfect to unlace a corset or take a glove off one finger at a time, etc.

There’s not much more disappointing for me than to see a costume that doesn’t match with the music. A sultry piece to me doesn’t say ruffles, for instance, so if I see a ton of crinoline dancing to Night Train, I feel that the vision of movement that could have been expressed in the song isn’t coming to fruition.

The burlesque act is about the sum of it’s parts, not just about an epic piece of music or a bangin’ dress. The movement quality with the body, character of the movements, expressions on the face of the performer, costume and the music must all align to make something truly transporting.

Remember that not every act needs a corset, or a gown, or gloves or anything you’ve seen before. You have a blank slate- have fun with it!

Everybody’s path to a fantastic act is different, and over time you might find that your process changes. More often for me I’m moved by music first, but when I was primarily a neo-burlesque performer I was inspired by a concept and went in search of music to match my artistic vision.

Whatever way you choose to go though, don’t rush your process, and write your ideas down. Something that may not work for you now might work later down the line as you have more ideas and more experience. Each part of the process is important- make sure not to cut corners on your costume to pump something out quicker than it should, don’t worry- the audience will be there when it’s ready.

xo

Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s question comes from the Luvely Rae in New York City! 

“Hi Sydni,

I would be interested in hearing your thoughts on “free shows”. More and more producers in my neighborhood (New York City) are offering “free” burlesque shows. I recently had a customer ask why I haven’t considered going this route, which I went into a 15 minute discourse on how a “free” show is never really free and even though most of those producers are getting a cut of the bar to cover performer pay, I think audiences should understand that performers aren’t performing for free and should be paid. After all you don’t go to the movies or to a Broadway show and expect to get in for free.  What are your thoughts? Do free shows help the community by making the art for accessible to audiences or hurt the industry. I once heard a performer say in an interview that “the girls just do it for fun.” That it wasn’t about the money. I disagree with that statement, but so many times I hear new performers chatting about a show “that’s good experience”.  Should audiences expect to pay to see burlesque?

Kisses,

The Luvely Rae”

Hi The Luvely Rae!

Oy. So very “Oy vey”. The short answer about what I think about a free show is that I don’t think a show should ever be free. I do think it hurts the industry. Burlesque is an art, full of gorgeous and talented artists, not an exhibition of exhibitionist people just “doing it for fun”. However, I know that there are exceptions to my distrust of “free shows”- such as fundraisers where guests come and bid on auction items and a performer entertains during intermission, birthday parties in rented out venues, and corporate events.

A problem with a free show is the implication that we as a performer are performing for free or that the value of our performance is less because it is a free show. Have you asked the producers of those “free” shows if they have more patrons at their show vs. shows that do charge? Are they paying the performers a comparable fee to other shows?  The value in charging a fee for a show is that a customer gets an implied value from paying the set amount.

When I go to a $5 show vs. a $15 dollar show, I am assuming that the $15 dollar show be better produced with (hopefully) better performers. Though this sometimes isn’t true- for instance, lots of newbie shows pop up here in Seattle charging $15 dollars creating a situation here where better produced shows that have stronger more experienced talent that also charge $15 are all on the same playing field.  This is creating a weird scene here where audiences don’t know what they’re getting anymore. (A whole other bag of bananas, but I digress- since I know that people can charge WHATEVER they like despite anyone else’s feelings. Buyer beware.)

As I sit here, I asked my sweet husband whether he would go to a free burlesque show, and he said that he would not. When I asked him to keep chatting about it, he said that he would assume one or all of these things:

a) that the performers were inexperienced and wanted to get on the stage no matter what they were doing to the pay situation in any given community.

b) the bar is fucking the performers over, expecting to collect all of their money from the bar and not giving the performers the money they’re due, and he wouldn’t want to support that.

c) the performers don’t ever expect to be paid.

d) the bar is just using the performers as a promotional tool instead of featuring the performers.

If the performers are very well known in the community and performing for a charity event we support, we both agree that it would seem like a good value to go to the “free” show and donate to the charity while enjoying the show. We’ve both gone to a “free” event with performances that were sub par and we viewed the charity as not understanding the value of investing in a good performance in order to have better fund raising capabilities.

When people see something high class, and pay high class dollars for it, the implied value is created. If people see a high class show for absolutely free the value of the performance is diminished psychologically in the eyes of the average person, which could effect how future shows pay due to supply and demand and what audiences are willing to pay. A free show might expose some new people to the art form, but at what price to how we’re able to make money for our art in the future?

Also considering that burlesque is an art dealing in sex, it makes things incredibly tricky. As someone who supports the idea of happy, healthy sex workers in the world, I think that women should value themselves more and charge accordingly. If an audience member could even comprehend just how much it takes to put on an act (which is only slightly implied in the ticket price) with costuming, time rehearsing, music editing, makeup, gym time, transportation, etc., maybe a free show wouldn’t be so dangerous. However, they don’t. Many think that we just pop over to a store, pick out a costume, prance around on stage (because if they’re good they make it look easy) all because we have an exhibitionist streak that needs to be expressed.

Until people value art more, and sex in art more, burlesque should ALWAYS charge, in my opinion, (charities and special events aside so long as they’re very well produced). Also performers should always charge a comparable fee to their talent. This way, if venues really want good talent, they will find a way to afford it. More performers would potentially be able to make a reasonable living instead of choosing rhinestones over eating lunch.

I wonder if free shows would exist if we all had a fee that we ALWAYS charged, no matter what….

I was once in a show that charged $2. Seriously. It was only a couple of years ago and it was with some ridiculous talent- we were a bit horrified because what we were bringing to their stage is definitely worth more than $2 to any person who is even merely interested in burlesque. If you think about it that way, some might think twice about performing in a “free show”.

There’s my food for thought! Thank you for writing in!

xo
Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s question comes from an anonymous person and place (to protect their troupe) 

“ My troupe likes to booze it up and I’m not much of a drinker. I don’t mind that they drink, but I do mind that they’re so tipsy before and during shows and I worry about the impression they make on people that come backstage that aren’t a part of the troupe. What do you suggest I could do about this? ”

Hi there,

When I was a wee burlesquer in a troupe years ago, we used to booze it up a lot too. In fact, it seemed to be a part of being in a troupe, you have shots, you have pre-show cocktails, mid-show libations, and a fan might buy you a delicious Manhattan during the intermission. I know that because we are a part of the nightlife, many people assume that this is the only way to be, but this is not true.

I’ll admit, in a younger incarnation of myself I went up on stage when I’d had more than my fair share of drink for the evening. Most of the time it went just fine, but as I got older and wiser I started to ask myself how much alcohol played a hinderance in my burlesque game. As a wiser performer and now producer of a show, I treat each gig as a job. This is my job. Most people don’t get to drink on the job, and let’s be really clear about 1 thing: Alcohol does not make you a better performer. Sure, it may un-inhibit you, but it would be more helpful to discover other tips and tools to do that before you impair parts of your body. Alcohol dehydrates you, and therefore your muscles are impaired. It messes with your balance and your ability to connect with the audience. It does not make us better looking or sexier. When I see a performer on their 3^rd and 4^th drink of “liquid courage” of the evening before intermission I wonder what they’re trying to help. Surely we all want to remember our performances, connect with audiences and grow as an entertainer…I would love to hear an argument about how it helps you. As I grew up, I realized that I want to keep my love of performing and my love of a good Manhattan separate, and that way I can thoroughly enjoy both.

As a producer I’ve dealt with many a drunk performer trying to talk business with me, and that, dear reader, turns me off to them. If you think that your troupe is dealing with nerves by drinking, you might want to sit them all down and talk with them about finding other ways to deal with it. It can only make you all stronger as a troupe, to be able to deal with stresses without substances.

In my troupe, eventually we took up a 2 drink rule: No more than 2 drinks until the show is done. That way there’s an amount of accountability for each other, each other’s property, and everyone is sober enough to deal with any drama or dilemmas with the show or the venue.

To be clear: Our scene is alcohol-filled, and I do love a rowdy, alcohol filled audience. It’s their job to enjoy themselves, because they’re out on the town. You are at work, and though you are there to enjoy yourself too (hopefully), your job is to entertain. At one time I’m sure I loved the boozy backstage, but performing sober-with ALL of my faculties to an un-inhibited crowd certainly does more to get my rocks off when I’m entertaining. I also love waking up in the morning with a clear head and heart with what I did on stage. It shouldn’t take 2 shots to get a performer up on stage. They should be able to get up there all on their own.

I’m sure it’s a bit embarrassing to have someone walk backstage to witness your buzzed troupe mates. It certainly doesn’t make you all look like strong, ferocious women. Impart this to them- how one of you behaves during a show reflects on you all, even backstage.

If you think that 1 or more of your troupe mates have a serious alcohol problem consider a conversation, an intervention or perhaps some tough love. At some times in a troupe’s life, a moderator might be needed in order to get some healthy changes made. You need a strong web of women to make a troupe run like a well-oiled machine. Make sure that they understand this.

Of course they might not be receptive to your concerns, and this is their right too. People can choose any way they want to participate in this community, but remember that you have a choice on whether that particular troupe is right for you.

Best of luck!

xo
Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s question comes from Brittany H.

” Dear Sydni,

Ever since I saw my first show in October, I’ve fallen down the rabbit hole into that glitter wonderland that is burlesque.  Eventually I’d love to perform in a show when I have more experience.  I guess my question would be how to break into my first show.  I’ve been told some shows require an audition and some a video.  What would be the best option? 

Yours truly,
Brittany H.”

Hi Brittany,

Thanks for writing in! It seems the answer is pretty clear- you need to audition. Audition as many times as you need to, and the good news is, auditions do nothing but give you more experience, no matter if you are chosen for the job. If you have access to a video camera, start filming your act (rent some dance studio time), get a good edit of it, and send it to shows in your area requesting an audition. If you have some good nerve about you, ask them for constructive criticism. No time to learn like the present to evolve as a performer, and feedback can only assist to make you stronger. While you’re waiting to break into your first show, check out classes that offer a newbie showcases at the end of their series, and find other new performers in your area and ask them how they’re going about things.

Since you’re just starting out, really- newbie showcases and amateur burlesque contests are your best option. Also ask a couple of established performers in your area if they can point you in the right direction of a show or two, and work from the ground up. Offer to stage kitten, sell raffle tickets, and merch and really get the hang of a show before asking to put something on their stage.

No matter what, even if you don’t get on the stage as soon as you want, remember that this should be fun. It can be a lot of hard work, but it’s fun too!

Happy New Year!

xo
Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s question comes from D. Xavier:

” What advise can you give a guy thats trying to break into the burlesque scene?”

Hi D. Xavier!

Congratulations on wanting to join the ranks of some of the sexiest men on the planet. I’ve been in wonderment of many of the boylesque sensations performing all over the world, and here in Seattle, Washington, you wouldn’t believe the scene here- it’s dripping of wonderful testosterone. We have, to name just a few, Waxie Moon, The’Luminous Pariah, Paris Original and frequent traveller from Portland, Russell Bruner.

To answer your question, I would advise a lot of research to begin with. There are a lot of ways to break into the boylesque community, and it’s very entwined with the burlesque community, all over the globe. If you don’t know of any boylesque performers in your area, I would ask a lady in the scene to introduce you to a few, and then you need to get cracking! Take burlesque classes, as a lot of the principles are the same- the art of striptease needs no gender, just a lot of sexual energy and a good sense of humor. Write inquiry emails to boylesque stars all over the nation and if there’s a man dancing in your area, why don’t you ask him for lessons or, if you hit it off very well- some mentoring?

Boylesque isn’t all that new, it’s just emerging more as time goes on and the burlesque (all gender identifications and types) scene gets bigger and bigger. You’ll find if you continue your quest and go to festivals that there are more boylesque figures that you can shake your *ahem* at!

Most importantly, you need to get your own style, pick a name that best reflects you, and work hard. Work on movement, character, getting your costumes to appropriately reflect your persona, and then get out there. Perhaps start by asking to help out with a show as a stage hand, get to know your fellow strippers, and also see if there are some newbie showcases in your area or surrounding areas. Whatever you decide to do, be humble, be kind and ask a lot of questions.

It’s an emerging part of our burlesque history and there are a lot of boylesque stars that love to talk about the art. If you have a chance, you should check out Tigger! (he teaches!) the first ever King of Boylesque 2006 (with the Burlesque Hall of Fame www.burlesquehall.com)

Here’s some of my favorite boylesque moments that are found on YouTube:

Best of luck to you!

xo
Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s question comes from a performing friend who would like to remain anonymous: 

Hey Sydni,

I would like to remain anonymous.
I haven’t been performing nearly as much this year because most of the shows in (withheld to protect) won’t pay me my rate.

In previous blogs you’ve written about NOT performing for anything less than your rate for several reasons.

I find myself performing less and less because I refuse to be paid $25.
I’m kind of at a cross road between not performing hardly at all because no one  will pay me my rate or performing for WAY less than I deserve because if I don’t, I rarely get to let my caged burlesque animal out. I’m not really finding any middle ground.
I realize the economy is bad but my rate is not outrageous.

What do you think?

Thanks,

Anonymous

Hi Anonymous,

It’s a shitty situation you’re in, lady, and I can tell you that many of the ladies over here in Seattle share the same issue.

I think perhaps, I would prescribe some research:

1. Have you compared your rate to others in your area that are at your performance level?
2. Have you asked whether these performers often perform for less than their set rate? 3. How often are they performing?
If they have…
4. Have you asked them whether they are aware that it’s undercutting and hurting a communities capability for increasing the working wage within your performance level?
5. Has anyone told you that you’re asking for too much or that your rate was unreasonable? I’m assuming that you have already, but it’s good to ask.
6. Have you asked flat out “Why won’t you pay me my rate”?

The answers from these questions might be able to help you find your next step. Some possible steps are 1) Lowering your rate if you really want to perform (not recommended) 2) Changing your communities mind about pay rates 3) only performing in shows that will pay you your rate 4) Going to another community to perform/ Getting out onto a bigger scene/ Widening your burlesque pool.

I would suggest a combination of 2-4, personally, with of course, a healthy dose of hard work. No one can argue with your wage if you’re entertaining, well-behaved and polished, though this still might mean that you’re not getting the gigs, which is a bigger indication of a problem with your community. It’s possible that really, they just can’t afford you. Which also means that if your rate is as “reasonable” as you say, it sounds like they might need help understanding why their pay rate should increase. Of course, this might not be a possibility- perhaps they are simply working within the budget their venue allows for them, or they just don’t have their business right.

Some performers and producers (especially venues) just don’t get it. The idea of performance economics can leave them frustrated. It takes money to make money, but many are trying to circumvent that. Some don’t understand or care about community or taking a moral high road, taking into consideration that their actions (especially when it comes to money and being entertaining) really do effect others.

You have to already know that you’r occurrence of gigs might decrease as your wage goes up, all over the country. Thing is- is we’re in a world that wants everything awesome for LESS money. Rarely does the common person consider quality in relation to money spent, and a venue owner or producer often is thinking of their bottom line.

Conversely, a performer who is simply attention seeking and doesn’t care about what their actions in a community has to do with anyone else, will consistently perform for a lot less than those at their level (or sometimes even free). I wish more performers behaved like you, holding out, waiting for someone to court you, as you (and we all) deserve.

If everyone started charging around the same decent money at your level, quality would then really start to matter to a producer/venue. I talk about this often with my students. I tell them to do all their research, decide on a number that they aren’t willing to go below, decide if their wage is undercutting anyone, and then stick to their guns. It would mean that eventually in an ideal world, get what you pay for. I don’t like it when I hear of a $200 performer taking a $50 gig. Why train a venue/producer that it’s acceptable? It’s not. When I am asked to perform for less than my wage, I thank them for asking and clearly state to them that they haven’t met my rate, and suggest some performers that are at the level that they can afford. That way they understand what they’re getting, I can pass along a trustworthy referral, and another performer actually gets paid their wage. It’s pretty groovy. Eventually if and when they can afford you and they see it worth it to invest, they will.

I don’t know your level of involvement in your local community, but it’s good to also start conversations with producers and performers that you often work with about money. If it’s not being talked about, it should. $25 is not acceptable, no matter where you are. Performing for free is a danger to the entire business. There are too many women willing to take their tops off in a packed  bar for a shot of well rum, I don’t want to be associated with them.

Change doesn’t happen by having issue, change happens by taking action and having ideas for a solution. This means maybe you need to start a revolution where you are in the world- it’s constantly happening up here in Seattle and we aren’t resting on our laurels anytime soon. Many of us up here are starting to treat our business much like a circus arts or special theater arts person would, infusing more perceived “worth”. That way a producer knows how to deal with us, and they can understand the many levels that exist within our art. The influx of new performers and producers means that there needs to be a constant education to them and those who hold the money about quality over quantity.

I wish you luck in dealing with this really challenging situation.

xo
Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s questions come from two ladies who seem to have something in common!

“Hey Miss Sydni,

First off I just want to say that I have been soaking up all your advice and admiring all that you do since I met you at the Vancouver burlesque fest this past May Since I’m such a tall girl myself im glad I can have a Glamazon like you to look up to in the burlesque community.

Now here is my question. How do you (or how did you) deal with and talk to family members that STRONGLY opposed to your choice to become an burlesque entertainer? I’ve hit that road block already so early in my burlesque life, that I’m already discouraged. I have fallen so madly in love with burlesque that I wish my family would understand and try to see my point of view. I feel like I am Juliette and that burlesque is my Romeo. Forbidden love *le sigh*

Warmly,
Coconut”

and

Hello Mrs. Deveraux,

 I am a very big fan of vintage 40′s and 50′s everything!  Which lead me into the world of burlesque and I have been taken in by it’s beauty, grace and freedom.  So much so I want to be a performer, I have gone so far as to connect w/ the burlesque community in my area, find and attend shows and even find classes to start working on the craft.  However I was raised in a religious household that would not be too fond of that career choice.  Do you have any advice or could provide some clarity to my situation?  I really would appreciate any input, thank you.

B.Merri

Hi ladies,

I wanted to thank you both for writing in, and within a day of each other even(!) asking a very similar question. I chose to group you two together for a couple of reasons, one being so that you know that you are certainly not alone in your conundrum.

When I was just going into college I told my mom that I wanted to be a alternative nude pinup model on the internet. You can guess her initial response. I was raised pretty liberal, by loving, hippie-ish lesbian moms and a dad who seems to hear the Shaft soundtrack whenever he walks around. Needless to say, my childhood might have been very different from yours.

However, I think our parent’s worries are probably very similar at the root of it all, which is usually having to do with our personal safety (physical and emotional) and also having to do with their generation’s beliefs around body and body image. Coconut, have you asked your family what exactly they don’t like about your desire to be in burlesque? And B.Merri- have you talked with your family at all about burlesque and it’s existence in your life, even to the admission that you attend shows? Before you get to ahead of yourself calling it a career (most of us aren’t career girls at this), please know that there’s not a lot of money in this. This is for love of the art, B.Merri- for the simple pleasure of having fun on stage while being (hopefully) very entertaining. This is a craft that takes a lot of time, money, sweat and sometimes tears, it’s rarely just a shimmy, a smile and a pretty dress.

I think it’s time to get honest with your parents, have a real, adult conversation with them about what their concerns are, and then take the time to address them. It might not all happen in one conversation. Not only will you be doing your parents a favor by talking with them about their concerns, but you’ll also be doing some good work discovering why you want so badly to perform burlesque. Start doing your research, write the lists of pro’s and con’s and really think about your parent’s concerns, since you both seem concerned about your family’s approval.

A long time ago, actors were seen as lower than low, like prostitutes of the entertainment world. In a lot of ways, people haven’t changed in their thoughts about performing arts, and certainly about arts that include a sexual nature. Burlesque, like all other types of art is baring it all. Your body, your mind, your agenda, all of these things. You will be subjecting yourself to other peoples opinions about you, constantly. You need to remember in your conversations that most likely your family is not happy about considering your sexual nature or your desire to show the world your sexual nature. I would certainly think that it might be in direct opposition to a lot of religions. Regardless of beliefs though- it was my biggest hurdle with my mother. You need to get real with what you think about sex, body image, artistic integrity, everything. Start reading. Start writing.

Now, since ultimately your decision to be in burlesque is your decision because I am assuming that you both are adults, I also feel the need to play devil’s advocate: who cares what your family thinks? You have only one life to live in this body of yours to do whatever you want with it. And at the end of the day, at the end of your life (one day) will you regret not testing your burlesque dreams?

I suggest that you need to sit down and ask yourself the hard questions about WHY this is something that is calling you. Because you might need to share those things with those you love. Is it because you see it as naughty and indulgent? Is it for the glamour? The sense of community you have seen expressed? If you can’t take your families disappointment, are there other ways that you can participate in the community without removing your clothes that you’d feel satisfied with? Do you have another talent to share?

Even after I was a naked lady on the internet, my mother was incredibly wary of my performing burlesque (she once called them “provocative acts”) on live stages in front of men. What worked for my mother was coming to a show that I  was not in, and later coming to a show that I was in. Throughout the process, I talked to her about her concerns about my safety, and her concerns about how other people (she learned that audiences were more than just the male heterosexual gaze) saw me naked. It’s an ongoing process-I perform on bigger and bigger stages all over the world and I still have to talk with my mom about things that might make her uncomfortable when I’m on stage.

No matter your decision I would recommend never lying to those you love. Living in a lie just plain sucks. I really do believe that you give up part of yourself when you can’t fully express all of your emotions. Even if you’re disappointed in your families disapproval, or your relationship changes, you can at least say that you were honest.

“Dream and give yourself permission to envision a You that you choose to be.”
-Joy Page

Whatever that may be, darlings, I wish you both luck on your journeys to find your freedom of expression.

xo

Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in burlesque some insight.

This week’s question comes from last weeks inquisitor Atlanta Summer, from Seattle WA: 

“As a hobbyist and a soloist (not a troupe member), I’d love to get in on shows that have “special guests” but I have no idea how to start, how to approach a producer (occasionally not even WHO to approach), how to be noticed and get on the performance radar. Do you have advice?”

This is ridiculously excellent question, and a hard one. I think it’s important to get your “business” right when approaching a producer or a show about your interest in working with them. Having video and photos are imperative, as well as a performance resume. When I was just beginning, I went to a lot of auditions, and after the audition was done, I would email those doing the session, thank them for their time and ask for any constructive criticism that they would be willing to impart to me. This is how I worked on growing my act and my skills as a performer. When I wouldn’t get called back (not everyone does all the time) I had to reach deep inside myself to know that not every show is right for me, and not every producer is going to want my style of performance for whatever reason. That’s why it’s important to contact all levels of shows you think might be possible for you and also to get some solid opinions from people you respect in the community. You might not like what you hear, you might be pleasantly surprised at the feedback, but it’s only information- the information is something you can leave or take but in my opinion it shouldn’t be simply ignored.

I will have to note that there seems to be a lot of coddling in the community when you ask for an opinion. Have your bullshit meter on. Everyone LOVES to be told their excellent and beautiful (and I do believe we all are in our own ways at many things) but not everyone will excel enough at this thing that is burlesque (or anything else for that matter) that will get them booked into the shows that they might desire to be a part of.

Re-evaluating your shows is key. Video yourself and take notes. Watch videos of those who inspire you- and take note of the differences, comparing is ok- so long as you don’t take it too far. Note stage presence, aesthetic, makeup application, costumes, movement, use of space, etc. to see what you can be working on until the next opportunity comes your way.

Approaching producers with confidence and respect is key. You’d be surprised by how many performers simply tell me to put them in their show, never even offering up information about themselves. To be honest, if someone tells me what to do (hey- I’m a Taurus) with my show and they aren’t my boss, I simply ignore them. I love getting requests from performers to perform in my show when it’s accompanied by a well worded email (spelling correct) that has a picture, a link to video and a bit about their accomplishments. A website is also great. Know what the producer books too. Always keep that in mind.

As for getting on radar, a lot of it is about being out there. Stage kittening, stage managing, volunteer shifts for festivals and big shows, all while working on your craft and putting out good video can help you as well. A lot of this is about applying for things and showing up, regardless of the outcome.

Many might not get into the shows they want, ever. Many will have to wait months, years even to be apart of the type of show they’ve only dreamed of. The key is just to work hard at it, (only if you want to of course) and to have as much fun as you can while you’re in the process.

xo
Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello world! It’s Stripper Talk time again! This is a place where I field questions and answer them to the best of my ability, hopefully giving anyone who’s interested in the world of burlesque some insight.

This week’s question comes from Atlanta Summer from my hometown, Seattle, WA:

” I’m a dedicated hobbyist. I love performing. I perform for my own pleasure and that of my audience. However, I have no aspirations to make it my full-time career that pays my bills; I have other goals in that department. This is something I do to scratch my creative itch, and I’m not really worried about a “living wage” for what I do.

Is there a place for me in performance art in the same shows with the professionals, the ones who ARE trying to make a living at it? Is my mere existence damaging to those professionals’ livelihoods?” 

Hi Atlanta,

To me, it seems that it’s the quality of performances that are out there that is affecting a seasoned and entertaining performer’s livelihood. There are too many shows that charge too much that are filled with sub par performers that are claiming to be the “best” in burlesque. There are too many people blowing smoke up each other’s sweet glittery behinds.

As a producer, it’s harder to get a venue to agree to my terms because of prior sub-par shows that have been featured in their venues. If there was more transparency by shows i.e. ”burgeoning burlesque” or “burlesque by new performers” or something like that, a lot of the issue would be diminished. However, there are too many performers that are putting on britches that are too big for them, and create too much hyperbole when they are promoting themselves. I think that all levels of burlesque should surely exist- the same as with music and any other art form. But there are too many newbies creating shows and not being honest about the level of performance that they are putting on stage. Also, newbies aren’t promoting the performers they love in their scenes as people that people should be going to see. New performers and those with a little bit more experience aren’t hiring “headliner” types to promote excellence in burlesque or to challenge themselves to become stronger performers.

I’ve noticed that a lot of new shows are missing a “Headliner” type. Not only would the pull be greater to their show, and enhance their lineup, but it would also promote more community in burlesque. When I first started producing, I always featured a performer, whether it was Paula the Swedish Housewife, Inga Ingenue, Waxie Moon etc.

I’m sure that many a new producer would complain about shelling out the $$ to book a headliner, but it’s worth it. Save a little more, promote a little better, and you could have a great addition to your cast.

Headliners certainly happen in bigger shows and festivals. Catherine D’Lish, Dita Von Teese, Michelle L’Amour, Julie Atlas Muz, Dirty Martini and Angie Pontani, just naming a few, are headliners in shows that also feature strong talent that don’t necessarily have the star pull of those aforementioned.

Your existence is certainly NOT hurting their capabilities of making a decent wage- a lot of that should probably fall on their shoulders as well, with how they conduct their business, and how they promote themselves. I know for a fact that there is a major over-saturation of burlesque in Seattle- I personally find myself taking more gigs out of town, and seeing less offers to be in shows in town because most shows are run by new performers only working with new performers. I know that when I was just starting out, having a headliner like Miss Indigo Blue would rock my socks off. It puzzles me why more new producers aren’t taking the initiative to create a better show and pay respect to the performers that inspire them.

I know that if I could produce a show and bring in say, Roxi D’Lite (2010 Queen of Burlesque) I would jump at the chance (I’m working on it!). Many communities have an abundance of headlining-type performers right in their backyard. A grand opportunity.

It’s my opinion that a ton of new performers are simply striking out in the burlesque world without taking stock of what their community already has in place and what it could potentially need in another show. Many aren’t thinking about what their potentially poorly planned show might do to relations between venue and other burlesque shows that might want to do a show there. I’d love to see more responsibility put on producers and also for new performers to really take stock of their capabilities as a performer.

I hope that helps!

xo
Sydni Deveraux

Author of Stripper Talk, Sydni Deveraux

Hello there!

Welcome to my Stripper Talk series! I thought that it would be fun to get questions from other burlesquers around the world, and answer them, “Dear Abby” style.

This week’s question is from Bunny VanDoren , from Indianapolis, IN:

Dear Sydni,

I am fairly new to burlesque, one year under my belt, and I love it dearly!  I have been a long time performer, but as a clarinetist.  My background as a classically trained musician has been as surprisingly wonderful blessing for burlesque in terms of stage presence and musicality.  However I still recognize the need for having dance training to become a stronger overall performer.  I’d love to be able to take a regular dance class but it is unfortunately out of my budget at the moment.  I’ve seen tons of dance lessons online and on DVD, but didn’t know if that could work as an interim substitute until I could afford to face to face classes. What would you recommend for a budding performer in my position?

Thanks,
Bunny VanDoren
Indianapolis, IN

Hi Bunny,

There’s certainly been a lot of talk in the burly-Q community about what it takes to be show ready and many experienced performers (including myself) have been emphasizing the need for performers to continue their education with dance and theater classes. I applaud your desire to continue your experience! To answer your question, I would suggest popping into classes whenever you can, and consider saving up some pennies to get a private class from a performer or dance teacher that you respect. Another great option is trading time with a peer who has a skill that you’d like- perhaps prettier arms, a better walk, etc., and you can teach them some skill that you have, whether it’s costuming, musicality, or whatever.

There’s definitely some useful videos out there for burlesque movement and technique, Michelle L’Amour and Jo “Boobs” Wheldon both have DVD’s out that might interest you. Also watching other performers video and live shows can help to inspire your desire to learn a specific skill. I really think that anything you can get your hands on can work, so long as you ask whether a specific technique is something that works for your body and your style of performance when you’re choosing to implement it into your act. I think all types of dance and movement classes can be nothing but helpful because what they are doing is helping you to create your own movement vocabulary within your act. Body awareness, as you know is key in performance art, and classes can only help to raise your awareness of your body on stage.

Spending oodles of time in front of a mirror in your costumes and various states of undress is key. Since each costume piece highlights different parts of your body, playing with body positioning and movement with each piece is imperative to creating an interesting presentation that people will enjoy watching. I know that I personally spend a lot of time in the mirror naked with heels on. That way I get ever more comfortable in the nude, and I can really see what my body is doing.

I’d also throw in the suggestion that you start to film your self dancing, whether on stage or off, and really look at the things that you’d like to improve on and contact people with these things in mind. This may mean sending video to a peer you respect and getting constructive criticism of the things they think that you should consider working on.

This means that you really need to take the initiative in asking people for assistance. This can be scary, but worth it in developing your stage presence when you do put your act on stage. Be patient in your evolution and know that getting success in learning a new skill can take more time than you initially imagined.

I hope this can help!