Happy Friday! I try to make your tips positive rather than negative, that is “dos” instead of “don’ts”. This one, I just couldn’t figure out how to do it…
Never fly Spirit Airlines.
Mercifully, I’m not speaking from personal experience, but I’ve had a remarkable number of friends and loved ones swear off the airline. I know they’re often the cheapest option, but it’s not worth it if you’re constantly inconvenienced.
The complaints I’ve heard ranged from minor — the price wasn’t *that* low once you paid for all the necessary “extras” or the the seats are really uncomfortable — to major ones like seats resold, reservations vanishing, canceled flights with no rebooking for days, &c. And throughout it all the constant thread of poor or non-existent customer service.
When I flew to Atlanta last month (yes, there’s a missive on that trip in the works), I noticed that all the delayed or cancelled flights on the departures board were Spirit. And there were a lot of them. No other carrier had canceled a flight at that time.
So, to put a positive spin on this tip, what should you do instead?
I’m not going to recommend a specific airline, but you should pick one that works well for you, like it flies non-stop to places you often go or has perks you need (like a free checked bag). Fly it whenever you travel and watch your miles add up! If you can maximize your miles (without paying more), do so. I used to have my hotel loyalty program linked to my airline miles, so when I bought an plane ticket I got hotel points and vice versa. (I was so sad when they discontinued that!). Sometimes it’s worth it not to go for the absolute cheapest option to be sure you’ll get to your destination as planned or that someone can help you out when plans go awry.
No airline is perfect, but you can find one that’s better than Spirit!
Happy Friday! Last week we had a pastie-making workshop for our apprentices and it put me in the mind of this tip:
When encrusting your pasties with rhinestones, use a metallic base fabric for extra sparkle.
I made this pastie with gold lamé under all those gold rhinestones. It’s barely noticeable between the stones, but you get more *GOLD* impact than if it were a non-metallic background.
It’s a very sad day in the burlesque world. Last night, we lost one of our Legends, Satan’s Angel, The Devil’s Own Mistress, Queen of the Fire Tassels. She was a force of nature and an inspiration to many performers.
I was fortunate enough to meet her a couple of times, most notably at The Great Burlesque Expo in 2008, where she impressed everyone by twirling her fire tassels. “Tatas Flambé”, she called them. Now, she’d been told the venue didn’t allow fire, but that was Angel — she did exactly what she wanted, damn the consequences. Her energy on stage belied her age and years of hard living. I still have not seen anyone work a duster like she did.
Despite her intimidating stage presence, she was quite approachable. She spoke her mind, bluntly and completely unfiltered, and if you were smart, you listened.
Today I want to share some wise words from Mr. Scratch, from when we first learned that Angel was ill:
If you are in the world of burlesque, figure out the legend who is closest to you (I don’t mean geographically; the one who speaks to you as a performer) and reach out to them. Listen to them; learn from them.
We did not invent Burlesque. We inherited it. We cannot keep its flame alive if we do not know what that flame is.
Our Legends are a precious link to our history, and a dwindling resource. Cherish them.
I know this is the missive you’ve been waiting for — all about the House of Knyle graduation show at Burlesque Bingo!
I was extremely grateful for this opportunity, not only to share a stage with all the women I’d gotten to know through Egypt’s program, but I can’t imagine otherwise performing in one of Audrey DeLuxe’s shows.
The venue was Harvell’s in Long Beach. Lili VonSchtupp had given me some advance info like that the dressing room was good but narrow and that the stage was carpeted and a couple steps up, which allayed a little of my nervousness. The space has a great speakeasy vibe and I can see why there’s a lot of burlesque there.
I was the first to arrive. Scratch volunteered to do whatever was needed and that turned out to be running the follow spot. All the other ladies were staying with and therefore traveling with Egypt. I kind of regretted missing out of the bonding time (and more, as it turned out), but I’m not sorry I chose to spend time with Kitten Natividad. Our Legends are so important. When everyone else arrived they briefed me on the plan for the curtain call and after, whihc they had worked on the night before at Egypt’s. That did have me a little nervous because improvisation dance is not my strength.
Burlesque Bingo works thusly: On the floor perpendicular to the stage is a bingo board, like a very low runway. At the back of the stage is a number board (see photo). When the performer discards a costume piece, she tosses it onto the board on the floor. One of the Lucky Charms (Audrey’s adorable assistants; also see photo) turns on the light for the corresponding number on the big board and everyone marks their bingo cards accordingly. After the act is over, if no one has bingo, the Lucky Charms begin to disrobe and toss out their garments until bingo is achieved. The bingo winner then comes onto stage to claim their goodie bag of prizes. If more than one person has bingo, everyone gets a chance to roll a giant pink fuzzy die to see who claims the prize. It’s a lot of fun. It was also clear some audience members are all abut the bingo, while others are just there for the burlesque.
I wish I could do a blow by blow of the other acts, but I was more than nervous and rather in my own head most of the night, so I don’t recall a lot of the show. The line up, however, was:
Bebe Bardot
Lilac SaintClair
Dulce D’Jour
CoCo Rose
Crocodile Lightning
Nadia Lotte
Briq House
Mayo Lua de Frenchie
Mina Murray
Twirlisha Devine
Egypt Blaque Knyle
After we each did our acts, Egypt joined us on stage and presented each student with a certificate of completion.
After Egypt’s performance, we each came out in reverse order, still in our pasties, and improvised on stage for a few measures. Eventually we moved into our assigned places, arrayed around the runway, while Egypt performed again. By the end we were all over her. We wouldn’t let her leave the stage until we had presented her with our gift, a large engraved diamond.
I was very touched when Bebe Bardot, who had to race off to the airport immediately after the show, took a few moments to say some kind things about my books. I feel a kinship with this lovely lady — she’s also a scholar of burlesque history, a writer, and a classic sort of gal — so it meant a lot.
All right, I won’t make you wait any longer. Here’s my act:
What did I think? It’s still a little rough. I’m not happy with my facial expressions and I can see all the tension in my shoulders. Those shoes were giving me such trouble, especially with the turns and lunges, and you can see where I so gracefully stumble off the edge of the bingo stage near the end. However, I’m really happy with parts of it and I can see there’s some power there. I’ve since performed it three other times and it just keeps getting better as I’m more comfortable with it and I’m not stressing about trying to impress a mentor (and I got new shoes)
This act, probably more than any other one, had a lot of feedback from a lot of people. Egypt suggested the lunges after the turns (as well as other things). It was Ava’s idea that I start with the back panel draped in front. Originally I dropped to my knees for the floorwork, but Betty said “Can you drop into a plank? You do planks all the time.” Scratch came up with the belt remove. He also edited my music so there was a strong ending instead of a fade-out.
I’m so grateful to Egypt for giving me the opportunity to step out of my comfort zone, to perform in this great show, and to work with these amazing women.
Performance photo by Jason Kamimura Photography
Video by Cliesha
These writings and other creative projects are supported by my Patrons. Thank you so much! To become a Patron, go to my Patreon page.
It can be a nice change of pace to use music from lesser-known artists, particularly local ones. You’re exposing your audience or students to something new and it’s a song probably few other burlesquers are performing to. It’s usually easier to get permission to use the song, and if you need to pay for rights, you’ll know the artists are getting more of the money than if you deal with ASCAP. Also, you may have an opportunity to cross-promote.
A few years ago we had a lot of fun performing with local musician Samantha Farrell. She sang for one of our existing routines and Stella created an act to one her original songs. It was a great creative exchange.
For B.A.B.E.’s recent Chair Dance 201 class, I created the students’ choreography to “Voodoo You” by burlesque performer Melody Sweets. Enjoy this snippet!