Miss Indigo Blue very warmly accepting her trophy at BHOF 2011 (POC Photo)

As the great glittering exodus that is Burlesque Hall Of Fame 2012 draws near (this Thursday, May 31 to be precise), as Reigning Queen Miss Indigo Blue prepares to deliver her farewell number at Saturday night’s 22nd Annual Tournament of Tease (what could she possibly have planned?), and as temperatures and hemlines continue to rise in Las Vegas, it seems only fitting to take a look back at where we’ve been.

The article that follows was written last winter at the request of our good friends at 21^st Century Burlesque for their 2011/2012 print edition, which will be back on sale soon and can be ordered HERE. Editor-in-Chief Holli-Mae Johnson asked me to write an article summarizing Seattle burlesque’s year in review. In reflecting on what had been accomplished- culminating in Seattle’s strong showing at BHOF 2011 and Indigo’s win- I got to thinking about the many, many individuals that have played a part in Seattle’s burlesque history. Indigo’s particularly well-deserved win was truly a victory for each and every one of those innovators, as well as for those that perform, participate, and give our love week after week to the ever-changing, diverse, and most of all, loving community that is Seattle burlesque.

Shared here in partnership with 21^st Century Burlesque (with historical assistance from Miss Indigo Blue and The Swedish Housewife) is a look back at what happened before last year’s BHOF. We dedicate this piece, in fond farewell, to Reigning Queen of Burlesque 2011, Miss Indigo Blue:

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Exceptional is the word that categorically describes 2011 in Seattle burlesque. Undeniably, the biggest and most public accomplishment was the widespread representation of Seattle performers that graced the stage or were otherwise involved with the Burlesque Hall of Fame & 54^th Annual Reunion in Las Vegas. The names are a laundry list of those we know and love here at home: Lily Verlaine (Winner of “2nd Runner Up: Reigning Queen of Burlesque”), Iva Handfull (nominated for “Best Debut”), Randi Rascal (nominated for “Best Debut”), Waxie Moon, and Inga Ingénue (both Waxie and Inga performed in the “Movers, Shakers, & Innovators” showcase). The Swedish Housewife, who resides in Seattle, returned to producing the “Titans of Tease” showcase, an event she started and has diligently developed since 2004, with one break in 2010. This year’s Reunion Showcase was a wild ride- featuring Joan Arline [since this writing, Joan passed away on October 16, 2011 at the age of 78], Marinka, Seattle’s Catherine D’Lish (two time winner, “Miss Exotic World”), “Legend of the Year” Barbara Yung, and Kitten Natividad and Haji in a tribute to Tura Satana.

Not to mention the Reigning Queen. No performer, teacher, or ecdysiast entrepreneur is more revered than our very own Twirly Girl, Miss Indigo Blue- who was crowned “Reigning Queen of Burlesque 2011″. Indigo took home a tiara and a three-foot tall trophy for her win, and was awarded a second trophy for “Most Classic”. In the words of Jo Weldon just after Indigo’s title was announced: “When Indigo wins, everybody wins.”

And it’s true. It would be hard to imagine Seattle as the burlesque mecca it is today without the blood, sweat, and tears of Miss Indigo Blue. She was one of the first- alongside pioneering performers and producers Tamara the Trapeze Lady and The Swedish Housewife- to establish the roots of a burlesque community in Seattle. Originally from Berkeley, Indigo moved to Seattle in 1989. By 1994, she was hooked on the transgressive, erotic shows that Tamara the Trapeze Lady was producing with Fallen Women Follies. Paula the Swedish Housewife was mounting regular burlesque shows under the bold moniker This “IS” Burlesque! And by 2002, Indigo Blue- who was already performing in these shows- started her own burlesque and queer cabaret called BurlyQ. The troupe frequently appeared in Fallen Women Follies and This “IS” Burlesque!

Tamara, later succeeded by Paula, began producing shows focused on burlesque at the Pink Door, including Indigo and some of the earliest solo acts by Lily Verlaine. (Incidentally, the Pink Door is still going strong today, curated by Sydni Deveraux).

In those days Indigo’s acts leaned towards provocative satire, but she found a real voice for her femme identity primarily in traditional, classic stripteases. As Fallen Women Follies continued to sell out, Indigo and Tamara experimented with an informal class on the history of women’s erotic dance. By 2003, Indigo and fellow BurlyQ member Sheu Sheu Le Haure began teaching four-week workshops on the principles employed in their troupe. “People were telling us, ‘this is amazing, we want to know how to do this,’” Indigo explained.

Soon the workshops expanded to six weeks and Miss Indigo Blue’s Academy of Burlesque was born. Out of the first graduating class came The Von Foxies, who won “Best Troupe” at 2007’s Exotic World Pageant- as the Burlesque Hall of Fame was commonly referred to at that time. (Seattle’s Heavenly Spies took home “Best Duo” the same year). The Academy has been going strong ever since, having expanded to 101 and 202 classes, boylesque, and a handful of dance and stripping classes both personally and professionally focused. More importantly, the Academy grew to be one of the essential touchstones of a thriving, close-knit community.

Meanwhile in the early 2000s, a second wave of innovative troupes such as Gun St. Girls and the diverse collective called the Queen Bees were capturing the imaginations of adventurous Seattle audiences. The work of all these troupes seeded the ground for Kitten LaRue and Fanny N. Flames, who came to Seattle from the influential Shim Sham Revue in New Orleans. Using classic disciplines learned from Wild Cherry and other Legends, Kitten went on to form The Atomic Bombshells, who became the most successful troupe in Seattle to date. Early on, the Bombshells hired newcomer Lily Verlaine. The singularly talented Lily brought a unique artistry to her work, elevating her later solo creations to the level of burlesque as high art. Each producer paved the way for the next- dynamic, driven women happy to collaborate creatively or to make room for one another’s authentic visions.

Fast forward to 2011. Seattle burlesque’s third wave is blazing a glittering trail. Never has it been so evident that our community is nationwide- worldwide even. In March, Sinner Saint Burlesque, which sprang from the popular Burning Hearts Burlesque show The Bedroom Club, launched a successful three-week residency in London, accompanying photographer Greg Holloway’s phenomenal Electric Burlesque exhibit. Paris Original and The Luminous Pariah followed with a boylesque residency in London in July. [Since this writing, both the ladies and gentlemen have returned for repeat performances in London]. In April, Inga Ingénue won the “Miss Viva Las Vegas” title; back home she became the newest member of The Atomic Bombshells. Iva Handfull has been a featured guest at festivals such as Atlanta, Las Vegas, Dallas, and New Orleans.

“Waxie Moon in Fallen Jewel”, a film completed this year by writer/director Wes Hurley, once again stars Miss(ter) Waxie Moon as well as a cast featuring many Seattle cabaret luminaries. “The film is maybe the first of its kind in integrating burlesque into its vocabulary the way that it does. The plot doesn’t have much to do with burlesque, but the film’s aesthetic, its sensibility, acting, narrative structure, movement, everything was drawn from the art of burlesque,” he explains. Wes also directed the award-winning documentary “Waxie Moon” in 2009.

As for Reigning Queen Miss Indigo Blue- mentor, minx, and friend of many in the community- what is she up to, as 2011 draws to a close? For starters, she’s wrapping up the year-end business of the biggest BurlyCon yet. The burlesque and social convention she began with Jo Weldon became a non-profit this year. At the moment, Indigo says she is considering how she will make the next seven months of her title meaningful. 2011 was a pivotal year for her personally, as well as professionally. Just before last spring’s Viva Las Vegas, Indigo suffered a back injury. While recuperating, she realized it was time to not only reclaim her physical strength, but to reconnect with her roots in the art of dance. Upon recovery, she immersed herself in classes, including a life-changing month-long dance intensive in Brazil. Indigo’s current inspiration, one that coincides with her lifelong burlesque passion, is an interest in ancestry and heritage- primarily, the history and heritage of burlesque. “Burlesque is a major discipline,” she says. “And the body is the instrument.”

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It’s been a beautiful year- thank you to Reigning Queen of Burlesque, Miss Exotic World 2011 Miss Indigo Blue, for representing Seattle on the world stage in 2011. Well done!!!

Miss Indigo Blue (Photo by Don Spiro, 2011)

Lily Verlaine (2nd Runner Up: Reigning Queen of Burlesque) with Indigo back in Seattle at the Cupcake Celebration honoring Seattle’s BHOF performers and Indigo’s title.

Loads of hot news flying with wild abandon off the presses in our sister city of Portland today…

First off, longtime BSP contributor and kindred spirit Rayleen Courtney has also recently chatted with Dita Von Teese.  Her preview of Strip Strip Hooray! was published today in the Portland Mercury. Here’s my favorite quote:

Preserving burlesque’s bountiful history is of great importance to Von Teese. She willfully takes on the task of defending what she feels is the attempted sanitization of burlesque by the mainstream media, stating that she finds “something very powerful and interesting in the confusion of elements—sensuality, elegance, playfulness, vulgarity, high fashion, sex, humor. I enjoy the challenge of making something taboo something chic.”

Click HERE to read the full preview.  Burlesque: Strip Strip Hooray! visits the Aladdin Theater, 3017 SE Milwaukie, Sun May 27 & Mon May 28, 7 pm, $35-60 , get tickets HERE.

Also in PDX (with a special helping hand from SinnSavvy Productions):

“Catherine D’Lish is on her way through Portland in the cast of Dita Von Teese’s Strip Strip Hooray! tour, and will be spending two evenings tantalizing from the stage at the Aladdin Theater. But for a small group of lucky burlesquers, she will also be leading a day workshop– encompassing facets both of movement AND costuming! If you’ve ever marveled at Catherine’s hypnotic onstage fluidity, or drooled over the incomparable costumes she has created for herself and for Dita Von Teese, do not miss this opportunity to learn from her right here in Portland!”

Registration is limited to fifteen students– so do not delay in reserving your spot. Do so by sending an e-mail to rayleen.courtney@sinnsavvyproductions.com

Monday, May 28 2012 / 11:00am until 12:30pm

Catherine D’Lish (Photo by POC)

Finally, though far from Portland- at Liberty London, in fact- this is the crème de la crème of photos taken earlier this month at the launch of Dita’s perfume at the Great Marlborough Street department store:

Dita and a bevy of handsome attendants at her perfume launch at Liberty, London, May 1, 2012 (Photo by James McCauley)

The launch and celebratory dinner were dressed to the nines by Fiona Leahy Design.  Why yes, those are carefully chosen vintage compacts and cigarette cases as placeholders and favors on the table.  Please visit Fiona Leahy’s blog for more exquisitely detailed photos from the celebration:

Fiona Leahy Design (www.fionaleahy.com)

It *is* Dita Von Teese week here at BSP, after all.

The one and only: Dita Von Teese (Photo by Albert Sanchez)

- by Jessica Price

In April I had the unparalleled pleasure of speaking with Dita Von Teese about her upcoming West Coast tour, her dazzling co-stars, the merits of dressage, and the peculiar momentum one needs when wearing a gown encrusted with Swarovski crystals. Those who follow Dita’s career closely may already have a sense of her audacious spirit and industriousness, but she also maintains an unfailing sense of community. What struck me most about talking with Dita was the connection she maintains with not only the burlesque community at large, but with the purest aspect of her career- live performance. Charming and quick to laugh, she makes no secret of her self-made glamour or her roots in strip and fetish modeling. Dita possesses a lightness balanced with an admirable, unshakeable sense of self. All this, and she’s beautiful, too.

(Photo by Albert Sanchez)

BSP: First off, congrats on your West Coast tour! Can you tell us a little about how Burlesque: Strip Strip Hooray! originated?

Dita Von Teese: Thank you!  Well, I’ve been wanting to do a full length revue for a while now, because I’ve spent a lot of time guest starring- at the Crazy Horse in Paris, or in a few different shows in Europe–and I get hired a lot for private events and things like that- but for a while I’ve really wanted to do my own show where people can come to see me [laughs], and get a chance to see all my biggest production numbers in one show.  There’s something different when it’s an audience of fans, real fans. It’s different- a different feeling, a different vibe.

BSP: I was going to ask you about that actually. In doing live burlesque, as opposed to photoshoots or fashion shows, do you find that you have to call on a different part of your personality and switch gears a little?

Dita: Oh for sure, definitely. I guess it always depends on your mood but I always just feel like it’s what I’m really meant to do. It’s fun doing photoshoots, but not really all the time. Sometimes it’s a little like I’d really like to be doing my real job, you know….probably like actors that don’t want to sit there and do interviews all day; they’d like to go act and do what they do– what they’re supposed to be doing– instead of just talking about what they do. So, you know… photoshoots can be very glamorous and really exciting and creative, but for me there’s nothing that I like doing more than performing these shows that I’ve spent so much time and energy and money creating. It’s like baring my heart and soul up there and it’s a lot different than a photoshoot or someone else’s vision of what they want me to do.

BSP: Has the show evolved since the southern & LA dates you did in 2011?

Dita: Yes, in the past we’ve done a few different dates, and we were really trying to find the perfect combination of support talent- between making sure that every act is a showstopper and every act is really wonderful- but also people that are really great together. I like working with really wonderful people that are easy to work with and fun, and people that I admire. I think it was about really refining the cast to make a really great, diverse line up. I wanted to feel like people can watch the show and see someone that maybe they can relate to a little bit. So that was important to me. For this show we have the support of Live Nation, and it’s been really great to have them behind us to figure out how we can make this big production a success, and at the same time try to keep the ticket prices attainable. (Because you know, our ticket prices start at $35.00- and it’s a lot of show for $35.00!) It’s not easy to do this.  So this show is really the fleshed out version. The perfected version of what you saw before.

BSP: You’ve worked with every one of your co-stars previously. Although the eight of you are very different (some classic, some comic, some racy), the common thread seems to be a fearlessness and confidence, traits which you possess yourself. Can you explain how you chose your cast for this tour, and why these performers appealed to you?

Dita: Well, I’m really excited to have added to the cast Catherine D’Lish, who is one of my closest friends, if not my very closest friend. Not only is she a wonderful performer and a close friend of mine, but a lot of people remember that we used to do a lot of shows together. Even the first time I did my martini glass act it was part of a duo act between me and Catherine, where she was in a giant champagne glass and I was in the martini. So we’ve been partnering up for a long time and also she’s responsible for three of the four costumes that I wear in the show. We’ve always worked together on a lot of these shows. I’m really proud to have her in the cast now.

Dirty Martini, who is a legend in the burlesque scene and a major star in her own right, for me really represents the beauty of voluptuousness and brings the house down every single time. And we also have Perle Noire, who is an astonishing energy. I’ve never seen anyone with this much energy in burlesque. She just brings a really special quality to the show that I love. We have Selene Luna who a lot of people know is also a great comedienne that does a really wonderful show. She’s amazing.

We have a girl named Lada. Lada is one of the great stars of the Crazy Horse in Paris, and I came to know her from working at the Crazy Horse, and I just thought she was one of the best, most amazing women I’d ever seen in my life…an incredible dancer and an amazing beauty. We are lucky to have her there to represent the Parisian cabaret Crazy Horse. We have a wonderful boylesque performer named Monsieur Romeo who I’m just crazy about, he’s also French. (Well, Lada is not French; she’s Russian, in fact, but representing Crazy Horse Paris). Monsieur Romeo- for me, his act is one of the chicest boylesque shows I’ve ever seen. I’m really happy to have him in the show.

And Murray! I couldn’t do this show without Murray Hill. First of all Murray and I have a great chemistry. He took me out on a date in New York recently [laughs]. Murray kills it; Murray slays the audience. People can’t stop talking about Murray Hill after they see him. What I love is that he brings that classic, comedic burlesque thing into a new dimension that is great now. Because some of that comedy, if we were just doing a replica of a burlesque show from back in the old days, it wouldn’t be right, or the same. It wouldn’t bring the kind of laughs that Murray gets. That’s what I think is great about this burlesque show – it’s not a replica and nobody has ever seen a burlesque show like this before, ever. I can guarantee it.

BSP: I’m really excited- for people who follow burlesque, all of these people are legends.

Dita: Yes, it’s a great cast.

BSP: Recently I saw footage of you performing your martini glass number on a tiny stage at Top of the Standard for Valentine’s Day in New York. Your acts are so grand and your props so magnificent, it amazed me to see you in such a tiny space…

Dita: Oh yes, that was a tough one, believe me. [laughs]

BSP: Do you enjoy the freedom that working with larger theaters provides, in terms of act selection?

Dita: YES. I can’t tell you the kind of panic that goes through my mind when I’m put on a box or a little tiny stage. First of all my main thing is my costumes are so heavy with crystal that if I don’t have somewhere to walk, it becomes dangerous [laughs]. It’s hard to understand, but the momentum is a really special thing – I need that momentum and a place to go to carry the weight of these costumes. So, when I’m put in a small space, it becomes a whole different element of physical difficulty. But then in the end, I watch the video and I think, ‘oh, the lighting was pretty….OK I’m all right with it’…

BSP: People seemed to love seeing you up close and personal, and you got to splash them a little with the water…

Dita: It kind of drives me crazy when people just watch everything through their telephone screens. I wish people could just enjoy the moment because when I see a show that I’m really into, I want to just drink it in with my eyes.

BSP: It never looks the same through a tiny phone screen…

Dita: It never looks good! It never looks the same.

BSP: You started in burlesque in 1992, and presumably you started pin-up and fetish modeling about the same time, and you were drawn to these things from an early age. Regarding your early forays into burlesque, how did you develop your acts, and where? (I ask because as a follower of your career, it seems as though you just appeared, born mastering burlesque, and I often wonder how you got started and really found your footing as such a uniquely skilled performer).

Dita: The reason people think I ‘appeared’ is because I started creating my shows in the strip club scene- so that’s one reason- and in the LA underground. But really, for years I did my show in strip clubs and I even headlined strip clubs and as you can imagine, they don’t have cameras in strip clubs. So, that’s really how I started developing my show.

BSP: Do you mean feature dancing?

Dita: Yes, but even before that like in 1992 when I first started working in a strip club, that’s when I started playing with the feather fans and doing those shows. But then as years went on, when I was appearing in Playboy a lot and a lot of the men’s magazines- that’s when I started headlining strip clubs in America. And also I was headlining fetish events like Torture Garden and that sort of thing.

BSP: The reactions must have been a little odd at the strip clubs to the kinds of acts you were doing…

Dita: Yes, there were definitely times when people did not understand what I was doing and why I was wearing so many clothes in a strip club when all these girls were walking out in bikinis and I would walk out in a full outfit. I was up against a whole different kind of challenge then. There’s a part of me too that every once in a while I just think- especially when I do these big shows and there’s a lots of press there and people are reviewing the show or photographing the show, I think ‘oh god can I just go back to the strip club where it was free and fun and easy and everyone was just watching with their eyes and not their phone’, and not reporting on it? I love that freeness. [laughs]  Not that I want to go back and do clubs or shows in clubs because the strip clubs have changed a lot in the past twenty years, I have to say. In my opinion, there is a huge shift in exploiting a lot of the dancers more than they used to when I started working there. When I started working there I used to get paid by the hour and now the dancers are paying. I don’t agree with all that.

BSP: Yes it’s definitely weighted in the club’s favor…

Dita: …yeah, I mean good for them, smart on them, but I when I started I used to get a check for my hours put in, I used to get roses on my birthday [laughs] and a cake. It’s just shocking to me that it’s so different.

BSP: Did you ever imagine that burlesque and your days in the strip clubs and modeling would lead you where it has, opening so many doors for you creatively and professionally?

Dita:  No, no, not at all. In fact I always remember I felt even when I was taking pin-up pictures originally I thought I was ‘preserving memories of back when I used to be skinny and pretty’ [laughs]. That’s what I thought when I was 22 years old. If I were my 22 year old self and I went back in time and said ‘hey, your body is going to look better than it ever did – when you’re 39- and you’re going to be famous and you’re going to trademark this Dita Von Teese name around the world that you came up with when you were drinking Ciscos in the strip bar’ – I would have never believed myself. Really I feel like part of my success is that all along I’ve just really enjoyed the doing part of what I do. I was never seeking fame. I was never seeking to have any of this. I wanted recognition and wanted people to see my show and like it, I wanted people to like what I do, but I never would have thought I would be operating on this scale. It never even crossed my mind that burlesque would become what it is today.

BSP: It’s remarkable, especially in your case – you’re definitely the most successful burlesque performer in modern times. It’s remarkable what you’ve accomplished; it’s amazing that you’ve gone along the ride while maintaining so much of your genuineness and niceness. I mean you have a public persona and you’re on Twitter and whatnot…

Dita: Yes… [laughs]

BSP: …but you always seem to do just enough to help people relate to you, but not so much where you give up too much of your personality and personal life. That must be difficult…

Dita: It’s not always easy…

BSP: You have been a longtime advocate in the fight against HIV and AIDS. Can you tell us a bit about your work in support of the gay community?

Dita: I think the first time I really had a chance was when MAC Cosmetics approached me to be a MAC Viva Glam spokesperson. They’ve had a lot of spokespeople over the years, and some people just appear in the ad and collect the check and then others of us work really hard to get the word out and do the real ground work to make a difference. I took it on as my personal mission to really do the work and do everything I could to sell that lipstick- which has made 200 million dollars for the fight against AIDS. It’s just a really wonderful charity. I really believe in it, and there are not a lot of charities that really put their money where their mouth is. I was proud to be part of it. Through MAC Viva Glam, I also became involved with amfAR [American Foundation for AIDS Research] quite a bit, and would offer myself up to them anytime I could as well, to perform at their fundraisers. Any time that I do something that I can put some of the money to charity I usually send it over in amfAR’s direction. It’s just really been important to me. I feel like there are a lot of people that are afraid to talk about these things.

For me, my particular message when I was working with MAC- they call me honorary spokesperson because I still like to step in and do the work and speak for the charity whenever they invite me to – my message has always been about safe sex. That it’s sexy to insist on it. I carry condoms with me. I’ve got condoms in a pretty box next to my bed; I keep them in my purse. I think it’s sexy to do that and to not be afraid to insist on it, and to even admit that you like sex or that you’re ready for sex. So, that was part of my motivation. I think a lot of women don’t really understand that they need to protect themselves and this is not ‘a gay man’s disease’ and everyone has to be aware of it.

BSP: The LGBT communities have really embraced burlesque and striptease, both in Seattle and elsewhere I’m sure. What do you think of the intersection of burlesque and drag in terms of performing gender and sexuality in a very over-the-top manner?

Dita: I can definitely agree there are parallels and I’ve even seen some really great burlesque-drag shows. I think it’s really great. We’ve had a few drag performers in my revue before, too. So, I think they’re very relative and I always kind of refer to my drag as ‘my drag’, as in ‘I’ve got to get on my drag today’. We all have our own drag, as RuPaul says.

BSP: You were the first guest star in history at the Crazy Horse in Paris. Is the perception of burlesque and striptease different in Europe than it is in America?

Dita: I think definitely the Crazy Horse is its own thing, first of all. I don’t consider the Crazy Horse a burlesque show. Although in my opinion, I felt it was the closest thing to the kind of super-stylized strip tease that I really like, but they’re not about the strip. They’re more about the glorification of woman, the beauty of the nude. For me, it’s different than a burlesque show, but it’s special in its own right. Yes, I think there is definitely a difference. The Crazy Horse is a fully nude cabaret of the highest order and the highest beauty of women, and the most elegant and sophisticated, talented dancers. I know so many stories from working there and talking to journalists and talking to people that love the Crazy Horse– there are so many stories about boys being brought there by their parents to see their first naked girl, when they’re fifteen or sixteen….they’re [the dancers are] completely nude, you know? It’s hard to imagine that could happen in America.

BSP: How do your acts usually originate, and how do you choose the music?

Dita: Now I make a lot of music with a really great guy named Chuck Henry and we come up with a lot of ideas and sometimes we take inspiration from modern pop songs- I can’t even say that they’re ‘pop songs’- but modern music, and turn them into striptease songs. It’s one of my favorite things, to think of new ways to make interesting music. The music is a big part of it. I almost always make original music for my shows now.

BSP: Congrats also on your beautiful Von Follies show at the L’Oreal Melbourne Fashion Festival last month. The collection and models were beautiful, it was great. You’ve been hard at work developing a fragrance, a capsule apparel collection, as well the lingerie line available (for now) only overseas. I hear you’re also working on a new book- a guide to eccentric beauty. When can we look forward to seeing some of your projects in the US?

Dita: We’re working on that and in fact I think we’re going to be fortunate enough to be able to sell the perfume on the tour at the merchandise booth. There are a lot of things you have to do before you can bring these projects to other countries so… we’re doing the work for that, and my book comes out this fall with HarperCollins. It’s a step-by-step guide to how I create glamour. I do my own hair and makeup for almost all my photoshoots, for red carpet events, for my shows- I’m a self-created person. So, I’m really breaking it down and telling people exactly how I do it. That comes out this fall with HarperCollins.

BSP: I’m always impressed when I read that you don’t use a stylist, that you do everything yourself – it makes me want to try a little harder!

Dita: I feel like I’ve got to stand for something and that’s what I stand for: ‘anybody can do it’!

BSP:  Aside from these worldwide projects, what are you taking on personally these days? I think I read that you’ve started dressage lessons?

Dita: I just started taking dressage lessons because I really wanted to do something that has nothing to do with burlesque, and nothing to do with my career, and nothing to do with maintaining my body in a way that’s about my show. I just really wanted to do something that was outside my comfort zone. So I started taking dressage lessons, and I really like it because it requires total focus, it’s something I’m a little bit afraid of, and lastly… I like the clothes.

BSP: Yes, exactly- it’s perfect for you, with the clothes…

Dita: Oh there’s no living with me in those riding pants and those high boots; I can’t be controlled. When I leave my riding lesson, I’m just so fired up and I feel so powerful and sexy! [laughs]

BSP: Definitely in need of something to whip…even regular arena riding can be physically demanding. My sweetie was disappointed to learn in my riding I didn’t get to wear the clothes…

Dita: It’s intense! You gotta do it though. [laughs]

BSP: Well, that’s all I have for you…It was a real pleasure talking to you, Dita!  Thanks for speaking with me and on a personal note- you are a truly inspirational success story and I admire your strength and beauty, inside and out.

Dita: Likewise. Thank you, thank you so much!

BSP: See you in Seattle!

Dita: See you then!

*****

Tickets for Seattle’s Burlesque: Strip Strip Hooray! shows can be found HERE. For tickets to Strip Strip Hooray! in other cities, click HERE.

West Coast Tour May 2012- www.dita.net

Just a few nights away from rePRODUCTION: A Burlesque Benefit for NARAL Pro-Choice Washington,  Madeline and Jessica of BSP questioned two of the event’s producers on the method and meaning behind the show’s second installment.   No one can explain the show’s urgency and importance better than the ladies themselves.  What follows is our Q&A with Heidi Von Haught and Wiggy Stardust:

BSP:  How do you perceive that the climate regarding women’s rights has changed between now and the last rePRODUCTION?

Heidi: With the upcoming election, the political discussion about reproductive rights has taken a really serious turn since our last show. The Republican primaries have led to a lot of right wing people discussing their opinions in public forums, so I think the reality of the right wing position on these issues is more visible right now. In the last several months there have been numerous legislative changes or proposals across the country that effect everyone who wants to have sex, not just women. That is part of what has been so frustrating about this discussion. People continue to think of birth control and abortion as women’s issues and women’s right. Takes two to tango.

Wiggy: As Heidi said, since it is an election year, reproductive rights have really been center stage politically; I think because they are such divisive issues and motivate people to side with one candidate or another. All of the legislation that has been proposed and passed in the past 9 months since our last show (good timing, eh ladies?) has been really upsetting, from withdrawing federal funding for organizations like Planned Parenthood, which provide full-spectrum healthcare and education (not just reproductive healthcare or abortions, as is the common misconception), particularly to low income men and women; to requiring trans-vaginal ultrasounds before one can have an abortion; to allowing pharmacists, doctors, and other medical providers to deny women access to contraceptives based on their personal/religious beliefs or to make medical decisions based on what is best for a fetus rather than what might save a woman’s life (I’m thinking about doctors that will refuse cancer treatment for pregnant women, even if it means the woman and the baby may die if she is left untreated). As with the last show, and even more so over the past few months since the last installation of rePRODUCTION, I feel very much that women’s rights and ability to choose for ourselves is under fire, and I am outraged.

BSP: How did you arrive at your cast for this show, and the particular acts that will be featured this time around?

Heidi: For this show, we wanted to include more men because we want to emphasize that these are not “women’s issues.” So we have included Man Johnson, Billy Corazon, Sir Eddie Van Glam and Ernie Von Schmaltz. We also invited Velvet Ice, one of our local legends! Velvet was a burlesque performer in San Francisco in the 60s and is a phenomenal performer. We wanted her to be involved in the show because she is older than us and can add a unique perspective on the issue. She will be tantalizing us with a number on the power of menopause.

Wiggy: We actually set the date partially based on when Nasty Canasta was planning to visit Seattle, and since Paula the Swedish Housewife and I have been having many discussions around the dinner table about the “War on Women” and following many feminist activists from around the world on twitter, when I told her we would be producing a second show, she asked if we still needed someone to host the show. I’m really excited to have her on the bill since I admire her so, both as a performer/producer and as a politically active individual. I feel really honored that she will be joining us.

BSP: How has the political landscape either emphasized or de-emphasized the war on women?

Heidi: It’s shocking and frightening to me that we are having a conversation about our rights to birth control or the morality of it. I never thought in a million years this would be a discussion in my lifetime. It’s bad enough that the condoms in drug stores are kept behind lock and key. But again, this isn’t really a war on women. The media just frames it that way. Men have a very vested interest in a woman’s ability to access birth control or get an abortion.

Wiggy: I think it is a trend in politics to bring up divisive social issues in election years, such as abortion/reproductive rights and gay marriage. These are issues that affect everyone, but what one decides to do about who you have intercourse with and whether or not you are doing it for procreation or recreation are none of anybody else’s business. Why have all the anti-freedom of assembly and anti-freedom of speech bits of legislation that were being proposed and passed this winter been de-emphasized?

Unlike Heidi, I do think there is a veritable war on women going on. Yes, men also suffer, and have a vested interest in birth control/contraceptives, but we are disproportionately affected by legislation affecting not only reproductive rights, but bills related to cutting funding for programs such as unemployment, food stamps, welfare, etc. We make less money even though we go to university. We are made to feel shame for being female, for being sexually active and educated about it.

BSP: What does progress look like? Do you feel that progress is being made?

Heidi: I’m not sure. I talked to my mother the other day, who is a middle of the road Democrat married to a Republican.  She said that, in her opinion, Roe V Wade was safe and that it is only a small but vocal minority of people who are interested in outlawing abortion. Honestly, I still don’t know. I hope she’s right. To me though, we have a long way to go before I feel real progress is being made. We live in a country where everything about sex and reproductive rights is back-asswards. I want comprehensive, medically accurate sex education in school for everyone; simple, inexpensive access to birth control without shaming tactics; and safe access to abortion and information about it. Adults should be given the education and opportunity to make their own decisions about whether they have children and why they have sex. And man, I haven’t even begun talking about the slut-shaming or the way our culture responds to sexual assault. Ugh.

Wiggy: Le sigh. I think progress is people being informed, enraged, and actively working to protect their rights. The one good thing about all of the horrifying laws being proposed and passed, and all of the highly offensive things being said by members of the Religious Right/Moral Majority is that it has resulted in an outcry from women all across the country. I hope that women are motivated to vote, protest, and take matters into their own hands should anyone take away our ability to choose. I feel horrible that I grew up taking it all for granted and thinking that the work women did in the 70s was unshakeable. The more I learn about what is going on across the country, the more I realize that there is a long way to go towards equality.

BSP: Can you tell us a little about the discussion panel that will be a part of rePRODUCTION?

Heidi: This is a new feature! We decided we wanted to add this panel because we wanted to give people information about resources available in the community and concrete actions people can take to protect their rights. Our panel includes representatives from Legal Voice, The CAIR Project, Babeland, SexTalk Radio, NARAL Pro-Choice Washington and Seattle Clinic Defense. These organizations protect our rights in a number of ways, through grassroots activism, financial assistance, education, lobbying and more. We are really excited to see how it goes!

Wggy: I am so excited about the panel! We definitely wanted to have a more educational/informative aspect to the show, since it is an election year and there have also been a variety of activist movements going on globally, namely with decolonize/Occupy in the States. When we did the show in August, some of the feedback I heard from audience members was that they had no idea some of the things NARAL was working on, such as fighting Crisis Pregnancy Centers, werehappening, so it seemed like a good idea to create a space to allow people to learn more about what the current political landscape looks like and to give themthe chance to speak with activists who are approaching the legislation and climate surrounding reproductive rights in a variety of ways, from direct action/protest (Seattle Clinic Defense, which has ties to Occupy Seattle’s Gender Equality Caucus), to lawsuits that protect women’s rights (Legal Voice), to abortion resource hotlines (The CAIR Project), and of course, NARAL itself, which does education and lobbying, and works through the political system to reform it. We wanted to make the space for discussion and for our audience members to find out how to get involved, and to use the burlesque show as a fundraiser and opportunity to generate dialogue through art, humor, and glamour. All of the numbers are politically charged and will tie in nicely to the post-show discussion.

Perle Noire (Photo by Kaylin Idora)

“I saw her performance on a video, and I immediately wanted to have her be a part of the show.” - Dita Von Teese, on her first impression of Perle Noire.

Paul O’Connell and I caught up with New Orleans-based performer Perle Noire just as the first few dates of Dita’s Burlesque: Strip Strip Hooray! variety show were kicking off in sunny California. While on the road, Perle took a little time to reflect on the whirlwind adventure that burlesque has taken her on- which seems to be a commonality between all the Strip Strip Hooray performers, including Dita herself (that interview will appear on BSP and in Seattle Gay News this Friday). Burlesque has been an incredible, electrifying wave that Perle- like many performers- never imagined she would be carried away on. Perle’s exuberant, impassioned style and boundless energy have taken her far- and it looks to us like she’s just getting started.

Perle is a revelation on stage, and we can hardly wait to see her perform with Strip Strip Hooray in Seattle and Portland.

We started off our chat with Perle discussing a mutual friend, Portland’s Charlotte Treuse (who will be appearing with Perle’s beloved Bustout Burlesque May 26 in New Orleans, while Perle is on tour)…

BSP: Hi Perle! So you’ve worked with Charlotte Treuse on a few costumes now- how did you meet and end up collaborating?

Perle Noire: I met Charlotte in New Orleans. She was performing with The Travel Channel’s Top Burlesque show pick Bustout Burlesque. We had an instant connection. I invited her to my home for a party. My good friend and famous photographer Kaylin Idora told me that Charlotte was an amazing costume designer. And the rest is herstory. My costume is so pretty. My act is inspired by the African Goddess, Oshun. Charlotte made a beautiful flame cape and classic panel skirt inspired costume. Everyone should hire her!

BSP: How did you end up in New Orleans from Dallas?

Perle: I moved to New Orleans by accident. My high school sweetheart and I decided to date again, and I didn’t move back home. Our relationship didn’t last but I started on my journey to becoming a full time burlesque artist.

BSP: What were your feelings about being named Queen of Burlesque at the first New Orleans Burlesque Festival?

Perle: I was in shock. I didn’t expect to win. I just wanted to dance and prove to myself that I could turn out a good routine. I performed a few months before and the performance was a disaster. I performed with all of my heart and soul that night. It was a truly amazing night.

Perle Noire (Photo by Kaylin Idora)

BSP: You are an extremely physical performer- not shy at all, super confident and in control of the room. You dance with such wild, joyful abandon- more so than just about anyone I’ve ever seen. How do you prepare to unleash this kind of energy? Where does it come from? (You make me want to just dance in front of my mirror stark naked and go streaking through my apartment…)

Perle: *Blushing*. I have to stretch for about two or three hours before a show. I’m in such pain if I forget. My energy comes from love and passion. Dancing and the stage have always been there for me. I had an interesting childhood. It was rough. The only nice thing people said about me was that I was a great performer. I’ve always used the stage to escape my reality. The stage is the only thing that never let me down.

BSP: Have you ever lost a pastie or other costume bits during your gyrations?

Perle: Losing a pastie is my middle name. The crowd loves it but I always feel bad for the producer or venue. Every venue or city has different laws and I don’t want anyone to get in trouble.

Perle Noire (Photo by Kaylin Idora)

BSP: You have a very unique chemistry with the live bands you’ve worked with- most notably The Bustout Burlesque Jazz Band, in your role as a one of the stars of Bustout Burlesque. You seem to connect with music deeply and it adds a very primal dimension to your burlesque- it feels like real, no-bones-about-it striptease. Do you prefer working with live bands to using pre-recorded music?

Perle: I really enjoy working with a band. It feels free and genuine. I love feeding off the band’s energy and creating a moment that isn’t planned. Of course, a show takes a lot of hard work and planning, but I feel that the most memorable moments aren’t planned. It’s such a wonderful high.

BSP: Do you envision the act first, and let it mold itself to the music? Or is it the other way around?

Perle: I envision the act, and it can take 2- 12 months to find the right song. I have to find the perfect audio recording and a great live version. Then I try out different versions of the choreography. It’s a very long process.

BSP: You are appearing with Dita Von Teese’s Burlesque: Strip Strip Hooray! tour. I noticed that all the performers Dita chose share the same fearlessness and confidence, although you are all very different. How did you meet Dita and come to be involved in this tour? (I know you’ve shared a stage with her before….)

Perle: Dita told me that she asked her fans who she should feature in her New Orleans show and most of her fans suggested that she check out my youtube videos. She said that when she saw my videos she knew immediately that she wanted to work with me. I feel so lucky. I know she could pick any burlesque dancer in the world.

Perle Noire (Photo credit pending)

BSP: How did you get started in burlesque?

Perle: I started doing burlesque in 2003. I was featured in a burlesque musical called “Backstage at Da Fonky B”, a Burlesque Musical. The show went on tour and it was an amazing experience. I performed in New Orleans, NYC, and at the Montreal Fringe Fest. After that I started to perform with Bustout Burlesque. And look at me now- I’m on tour with Dita Von Teese. If I’m dreaming, please don’t wake me.

BSP: What have been some of your own performance highlights and/or most memorable ones for you?

Perle: I have too many to name. I will give you a short list:

Performing a Burlesque musical at the NYC and Montreal Fringe Fest
Performing at the legendary House of Blues in New Orleans
Winning Best Debut at the Burlesque Hall of Fame
Winning Second Runner Up at the Burlesque Hall of Fame
Performing in London with Immodesty Blaize
Walking around Josephine Baker’s castle with Kalani Kokonuts and Immodesty Blaize
Winning the Queen of Burlesque title in NOLA
Performing with every Burlesque Queen in the world including Dita Von Teese.

BSP: What are your thoughts on the future of burlesque?

Perle: I pray that burlesque will continue to inspire people. Burlesque is one of the oldest forms of theater. I hope people and artists remember that. Burlesque saved my life and I pray that the art form will continue to evolve.

Here’s a little of what you might get to see in a city near you soon…if you’re lucky:

And in a mind-blowing display of physicality and pure FUN, check out “Perle Noire, the Black Pearl vs. The Sourpuss”- (don’t miss the final two minutes, whatever you do).

Visit Perle Noire the Black Pearl at: www.perlenoireburlesque.biz, and get tickets for Seattle’s Burlesque: Strip Strip Hooray! shows HERE. For tickets to Strip Strip Hooray! in other cities, click HERE.

As for Jamie, she was recently profiled by King 5 in a short featurette touching on both her design career and the nature of her relationship with burlesque. Catch the clip OVER HERE, with special appearances by Iva Handfull, Kylie Koyote, and members of the Atomic Bombshells.

Unfortunately, the fifth installment of Miss Indigo Blue’s “Queen’s Edict” series (filmed on location in Austin by POC and co-starring Ray Gunn) has been unceremoniously yanked from youtube. Thankfully #4 is still up and running:

Indigo Blue's winning act at BHOF 2011, in custom couture gown created by local designer Danial Webster (POC Photo)

Lily Verlaine onstage at BHOF 2011 in the Stargazer Gown, by Danial Webster (POC Photo)

Inga Ingenue in a gown by Danial Webster (Photo by Shena Lee); Please visit Inga at www.bluevelvetburlesque.com)

Some mid-week eye candy for performers dreaming of custom costuming (or for “normal” folk such as myself that love to ogle beautiful garments): the Stargazer Gown, which was worn by Lily Verlaine for her performance at BHOF 2011, is currently on display at Retail Therapy (905 E. Pike, Seattle). The gown was custom made by designer Danial Webster, who in addition to his super-sexy underwear line, has worked with many a stage performer including Reigning Queen of Burlesque Miss Indigo Blue for her title-winning performance and Inga Ingenue, Miss Viva Las Vegas 2011. This year Danial has been hard at work with Minneapolis performer Ophelia Flame, who will wear a Danial Webster Design when she competes for the title Miss Exotic World 2012, Queen of Burlesque at BHOF weekend. A few months ago Danial invited me to his studio for a sneak peek at Ophelia’s gown; I won’t give away any spoilers, but I can confirm it is stunning. The artistry and detail of their collaboration is astonishing- just wait and see.

If you’d like to contact Danial about his custom gowns, please visit:

Danial Webster Design: danial@dwdesignonline.com
General Design Portfolio www.dwdesignonline.com
Danial Webster Underwear dwdesign.myshopify.com

Now through BHOF weekend, 20% of Danial’s online underwear sales are going to the Burlesque Hall of Fame 2012 Legends Challenge. You can pick up handmade undies for a special man in your life while you support the Burlesque Legends- check out the styles available HERE.

If you can’t make it to Retail Therapy, this breathtaking video filmed by Actor/Writer/Director Shawn Telford shows Lily and the Stargazer Gown in action:

Madeline Rider and Wiggy Stardust of FAUXDUST (POC Photo)

“…where heat breeds plots, lusts and intrigues; to the vast and savage eastern lands; all the way to the frozen north, where an 800-foot wall of ice protects the kingdom from the dark forces that lie beyond. Kings and queens, knights and renegades, liars, lords and honest men…all will play the ‘Game of Thrones.” – HBO.com, Game of Thrones

A setup like this is positively teeming with possibilities for a live performance re-purposing. Seattle production duo FAUXDUST aim to shine a light on author George R.R. Martin’s incredibly complex characters with the launch of inaugural show Stark Naked: A Nerdlesque Tribute to A Game of Thrones in conjunction with Theatre Off Jackson this summer.

For a new production team, FAUXDUST partners Wiggy Stardust and Madeline Rider boast some enviable experience. Most know Wiggy as a burlesque performer and accomplished digital artist; she also interned with producer/performer The Swedish Housewife on the Wild Herring cabarets as well as on the epic rocklesque show House of Thee UnHoly at the Triple Door.

Madeline, a longtime contributor here at Burlesque Seattle Press, is known for her thoughtful sociopolitical critiques and feminist sensibilities. She has also worked with some heavy-hitters behind the scenes: first as a production intern for Miss Indigo Blue during her Blue Moon and Dark Side of the Moon cabarets, then as personal assistant to Lily Verlaine. Later Madeline transitioned to the role of production assistant for Lily Verlaine Presents during the 2010-2011 productions of Through the Looking Glass, 2010’s twenty-six show run of Land of the Sweets, Nightcap, and L’Edition Francaise.

Having worked behind the scenes with such accomplished company (and on such a grand scale), it stands to reason the ladies of FAUXDUST have picked up a few tricks along the way- not the least of which is dreaming big. As for why they wanted to tackle such an over-the-top concept as their first endeavor, the producers say via their Facebook page:

“Our first production comes in the form of Stark Naked: A Nerdlesque Tribute to the Game of Thrones. For those unfamiliar with Game of Thrones, it is the first in a series of high fantasy novels from author George R.R. Martin, also released in 2011 as an HBO mini-series. Originally written as a three-act storyline loosely based on the plot of Game of Thrones, Wiggy and Madeline have refined their ideas into several essential character acts giving their performers the artistic freedom to work from their own fantastical inspiration. More parody than adaptation, Stark Naked exaggerates the already over-the-top elements of high fantasy by staging displays of burlesque, music, and variety. We aim to marry the worlds of literature, music, and performance in an accessible yet tawdry spectacle of epic proportions with room for future expansion.”

A call for act submissions (which incidentally, is open to Seattle, Olympia, Portland, and all reasonable points Northwest) is currently open through May 15, 2012. Partial details are below; view the listing with requirements and other technical information on Facebook OVER HERE.

FAUXDUST PRESENTS:
Stark Naked: A Nerdlesque Tribute to the Game of Thrones
Produced in conjunction with Theatre Off Jackson

CALL FOR PERFORMERS:

Danaerys Stormborn, eat your heart out! Madeline Rider and Wiggy Stardust of FAUXDUST, a production company whose aim is to create fantastic collaborations between performance, digital, and musical artists without compromising on vision nor artist compensation, are hungry like the (dire)wolf for cast and crew for their debut production, Stark Naked, premiering at and produced in conjunction with Theatre Off Jackson in July 2012.

In search of: George R. R. Martin devotees, HBO’s Game of Thrones junkies, fantasy novel fans, a burlesque khalasar, swarthy swordsmen and women, singer-songwriters of ice and fire, and artists of all varieties! We are also seeking pick-up artists, crew members, and volunteers.

More parody than adaptation, Stark Naked exaggerates the already over-the-top elements of high fantasy by staging displays of burlesque, music, and variety. We aim to marry the worlds of literature, music, and performance in an accessible yet tawdry spectacle of epic proportions with room for future expansion. Stark Naked will be a burlesque poptacular, and we invite artists of all persuasions to submit act ideas that weirwood rock you.

Due to the limited number of female characters in Game of Thrones, we are particularly interested in performers– male, female, and anything in between–who would like to embody some of the male characters from the A Song of Ice and Fire series.

We also encourage performers from our neighboring cities of Olympia and Portland to submit their act ideas. We want Stark Naked to serve as a stepping stone for future cross-community collaborations. Geek-lust knows no boundaries! Arrangements can and will be made regarding housing and travel options for out of town performers.

Please email all submissions and any inquiries to fauxdust.presents@gmail.com. Please include in your submission: general concept, music, approximate length, colors, prop and stage requirements, a brief performer bio, head shot, and performance shot if available. Act idea submissions are due by May 15th, 2012, so get kraken!

Dates:
Tentative rehearsal dates (Performers must be able to make at least two of the following dates): June 17, July 1, July 8, July 11
Dress rehearsal (required): July 12
Production dates: July 13-14

ACT IDEA SUBMISSION DEADLINE: MAY 15, 2012

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If you’d like to help in ways leaning more towards “patron” than performer, FAUXDUST is also accepting donations to help grease the wheels of such an ambitious production. The funds aren’t for profitability but for production, say the ladies. Aside from production and artist guarantees, money raised will go directly back to performers. FAUXDUST seeks to pay all performers a livable wage without skimping on the production itself or setting too high a ticket price.

In these days of rampant Kickstarter campaigns, with scads of fundraisers happening in theater, dance, visual arts, radio- it’s often hard to find motivation to give (and give some more). Burlesque is no exception. But for all these causes, the best motivation of all is simply a show of support. Support of artists, support of ideas- because without them, life would be far, far less fascinating. And absolutely far less fun.

Read more about FAUXDUST’s take on making things happen OVER HERE.

(This clip features in order: Mr. Gorgeous, Mod Carousel, Bastard Keith, Mahogany Storm, Dew Lily, Jonny Porkpie, the’Luminous Pariah, Paris Original, Go-Go Harder, Hot Toddy, Evil Hate Monkey, & Tigger!)

Congrats to all the boylesque performers, as well as to Thirsty Girl Productions and promoter Daniel Nardicio on a successful first year.

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This week’s featured performer from the upcoming Burlesque: Strip Strip Hooray! Tour is the one and only Dirty Martini.

Dirty Martini (Photo by Roxi D’Lite / Please visit www.roxidlite.com)

No one but Dirty (paired with country queen Dolly Parton) could make “God Bless the USA” such a finely nuanced statement piece. Here is Dirty Martini, performing at “The Missy & Leyla Show” (presented by Rhymes with Purple Productions as part of Glasgow Cabaret Festival). Who doesn’t love a scandalous ribbon dance?

For tickets for Seattle’s Burlesque: Strip Strip Hooray! shows HERE. For tickets to Strip Strip Hooray! in other cities, click HERE.

Jennie Lee The Bazoom Girl: the tassels that launched 1000 trips. (Flyer by Wiggy Stardust)

No arts community pulls together the way that burlesque does. Across the nation right now a series of Legends Challenge Benefits are under way, all designed to raise funds to bring their far-flung, tassel-twirling sisters back to the mothership- the Burlesque Hall of Fame Weekend in Las Vegas. Running continuously since 1957, Reunion attendance busts its bejeweled seams every year and truly means the world to the ladies from burlesque’s heyday that are able to be there. The Hall of Fame is still reaching women now in their 60s to 90s- ladies that had no idea anyone would remember their names, let alone treasure their twinkling histories and holler for them on stage. Miss Kitty Baby, just returned from Tease-O-Rama’s Legends Brunch in San Francisco, reports that when asked what their most cherished performance memories were, those in attendance confessed that the outpouring of love and friendship they felt performing for peers and friends at BHOF was without a doubt their most memorable achievement.

Seattle is sponsoring three Legends this year- meaning, offsetting the costs of travel and accommodations for Velvet Ice, Eartha Quake, and Di Alba, who was recently been located and will be performing at the upcoming Fringe & Feathers Benefit for the first time in 27 years. Now 66 years old, Di is beside herself with excitement to join the ‘modern exotic’ family headed to BHOF.

What a DISH. The Beautiful & Sexy Di Alba (which was actually her tagline in burlesque)

Two upcoming burlesque throwdowns are a part of the Legends Challenge:

Thursday, May 3, 2012: Fringe and Feathers ~ A Burlesque Hall Of Fame Legends Challenge Fundraiser @ the Jewel Box Theatre
http://fringeandfeathers.eventbrite.com/

Hosted by: Miss Kitty Baby
Starring: Legend ~ Di Alba

Tamara The Trapeze Lady
Kylie Koyote
Ginger Snapz
Evilyn Sin Claire
Iva Handfull
Vixen Valentine
Miss Fortune
Richard Longfellow
LuLu Bell

Wednesday, May 16, 2012: Midnight Menagerie Productions Presents A BHOF Legends Challenge Fundraiser @ the Jewel Box Theatre
http://midnightmenagerie.eventbrite.com/

Host by that Glamorous Gal with the Golden Gullet, Gams Galore
With Special Guests:
Boom Boom L’Roux
Whisper de Corvo
Beatrice Belladonna
Sir Eddie Van Glam
Stella D’Letto
Vixen Valentine
Miss Kitty Baby
Fosse Jack
Pidgeon Von Tramp
…and more

But first up, this Saturday one showcase is dedicated solely to fundraising for the preservation of burlesque’s rich history through the Burlesque Hall of Fame Museum Archiving Project.

Saturday, April 28: The Academy Benefit for the Burlesque Hall of Fame @ West Hall
https://www.brownpapertickets.com/event/239484

Reigning Queen of Burlesque 2011, Miss Indigo Blue, happens to be celebrating her birthday that night- and in appropriately regal, philanthropic fashion has arranged the very best in mostly naked entertainment to support the archival process:

Miss Indigo Blue, Reigning Queen of Burlesque ’11
Inga Ingénue, Miss Viva Las Vegas ’11
Lily Verlaine, 2nd Runner Up ’11
The Shanghai Pearl, Best Debut Competitor, 09
The Heavenly Spies, Best Duo 2007
Velvet Ice “The Sleaze with Ease”, Seattle’s Vintage Vixen
Heidi Von Haught, formerly of the Von Foxies, Best Troupe 2007
Elsa Von Schmaltz, formerly of the Von Foxies, Best Troupe 2007
Miss Kitty Baby
Vixen Valentine

So much love! So much talent! So many beautiful bodies. If that’s not enough to make you hot under the collar, I don’t know what is. If you’re feeling extra inspired, ticket packages are available to all three shows at a bargain rate- click HERE on the orange “Begin Order” icon to view the options.

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Also to be filed under Very Big Deals, this weekend (Friday April 27- Saturday April 28) NYC hosts the first ever New York Boylesque Festival, “celebrating the male performer and best of male burlesque”. The lineup is absolutely killer. Among other luminaries, the festival features our very own hometown honeys:

Trojan Original (Seattle)
The Luminous Pariah (Seattle)
Paris Original (Seattle)
and Mod Carousel (Seattle)

I ran into The Luminous Pariah a few days before his departure to the festival, and he told me he was extremely excited and honored to be a guest at such an important new event. The three performers will soon be off to London and beyond- check back for future postings on their adventures.

It's about time.