Thursday, January 31, 2008


'So, if you are tired of being typed out or typecast, the burlesque scene is ready and willing for you to be anything and everything you have always wanted to be. Take your talents, your gimmicks, and your most outrageous and fantastic ideas, and floor 'em at a burlesque revue near you!'

Burlesque Is Alive and Well And Playing in New York
By Raven Snook
Publication: BackStage
Date: Friday, July 27 2001


I'm sooooo happy that burlesque is STILL alive and well seven years later.I am so very, very, very lucky. I have to find it amusing that there are simultaneously so many articles claiming 1) that burlesque is dead or 2) that someone's bringing it back.

Wednesday, January 30, 2008

Event News: Burlesque on Film and in the Flesh

If I could be in two places at once, I'd be going to this! I was just sent this announcement (lots more details and other films to be shown on the site):

At the
6712 Hollywood Blvd
Los Angeles, CA 90028
Friday, February 15 -- 7:30 PM LIVE BURLESQUE + SCREENING
LIVE BURLESQUE SHOW (Approx. 45 min.)
The Bonnie Delight Burlesque Revue kicks off the evening with sexy old-fashioned fun starring emcee/funnyman Shecky Greenblatt (Scott Whitesell), sultry dancer Miss Lola Lee, crooner Charlie Singer (Hal Cartrett), a cavalcade of other performers, and the star of our show -- the delightful Bonnie, Miss Bonnie Delight!
Next on the same bill

(1962, Warner Bros., 149 min.). Directed by Mervyn Le Roy.
Natalie Wood lights up the screen as stripper Gypsy Rose Lee in this splendid Jule Styne/Stephen Sondheim/Arthur Laurents musical. The show-stopping Rosalind Russell stars as Wood's domineering stage mother, with Karl Malden as Russell's long-suffering boyfriend. "Entertaining screen version of bittersweet Broadway musical about the ultimate stage mother Mama Rose and her daughters Baby June and Gypsy Rose Lee." - Leonard Maltin

The movie Gypsy came out the year I was born, and, as it has for so many other performers, inspired some of my passion for burlesque! I'd LOVE to see it on a big screen.

Friday, January 25, 2008

Interview: The Porcelain Twinz

The Porcelain Twinz are a spectacular pair of performers. They are not part of the burlesque circuit that is such a big part of my life these days, but they've carved their own niche at the Box. I first saw them on the cover of Penthouse, kneeling gorgeously at the feet of a spike-heeled leather domme, and later doing a hypnotic leg show in the movie "Autofocus." Over time I became particularly interested in them because they were unique, intense, beautiful, creative, and entrepreneurial. They produce their own music and have written their own book, "Our Life in the Sex Industry." When Rose Wood told me they were performing at the The Box with her, I was thrilled to go see them perform and to meet them. They work every element of being twins onstage, using vivid, distinctive choreography and powerful music while they work their incredible mirror image to its best possible advantage. I often hear new performers say that they're going to "bust out of the classic mode," and while for them I'd recommend checking out Rose, Velocity Chyalld, or Julie Atlas Muz, I would also love for those who have a taste for the darker side of burlesque to get their eyes onto the Twinz for some additional inspiration. While a single performer can't imitate the visual impact their twindom has, their ability to weave strip-joint style stripping, burlesque tease, fetish costumes, and performance art aesthetics all into a single performance is a lesson in how to successfully break all the rules. They are inconoclasts of both the sex industry and the theatre, and they more than live up to the hype. And they are darling in person. I feel very honored to have gotten to interview Heather and Amber.

The Porcelain Twinz
All photos courtesy the Porcelain Twinz.

What is your interpretation of burlesque?
For us burlesque has to capture elements of classic burlesque, otherwise it is not burlesque; however, we like to turn the volume up and take it to the next level and we don’t categorize ourselves as classic burlesque but as “Fetish-burlesque.”
There has always been somewhat of an evolution in Burlesque. It began in the 1900’s as more of a comedy/variety show, with skits and sketch acts, and just a little bit of strip tease, but the popularity of the strip tease aspect of burlesque being so taboo for the time, it eventually took over and became what burlesque is known for today. We think burlesque is what burlesque is, and that is old style, classic strip tease dance performance. The burlesque community today is amazing in keeping to the time period, and celebrating the true art of being a burlesque performer. We do not follow the traditional format of burlesque, though we do take many elements from traditional burlesque strip tease and make it our own. We mix it with elements of fetish play, intending to create another evolution burlesque in the 21st century. Some of our shows are classic burlesque with a hint of fetishism sprinkled on top, and other parts of our shows are just pure fetish performance art cabaret theater. We coined the term fetish-burlesque as our genre of entertainment because of this. Our performance art cabaret theater/fetish burlesque has a very parallel line to some of the old burlesque routines, in that they both are based in creating beautiful, erotic dance routines with themes that may tell a story or make a point to the audience to get them thinking, whether it be a political point, or just exposing them to a world that they otherwise would know nothing about.

You use the term "performance art" to describe some of your numbers. What does that mean to you?
For us performance art is still a form of creative dance, but it is not burlesque as much as it is usually our more obscure, weird, and bizarre shows. We always mix fetish into our performance art. Fetish is the root of everything for us.

The Porcelain Twinz

What was the first act you put together that you felt really achieved some of your performance goals?
It was a show we choreographed in 1997 and performed in Portland Oregon at a bar called Berbati’s Pan where they hosted an event once a month called “Fetish Night.” We called ourselves “Twin Suicide,” and did a very raw fetish/strip dance routine,. We wore long, tight, black velvet skirts with long slits up the sides to reveal our legs, and velvet tie halter tops, silver arm bands, bracelets, and necklaces, and black pointed boots with stockings. Our hair was cropped into matching short A-line bobs and bleached blonde. We breathed some fire in this first routine, danced around together like a couple of slinky snakes to our carefully chosen music, and threw buckets of glitter all over ourselves, which made the stage like an ice skating rink.. At the time it felt fabulous, and amazing, and did capture a very magical moment. This was a very raw and unpolished beginning of what would become our fetish-burlesque cabaret shows.
Another act that began to define what we were about to do with our performance art was our, “Anarchy Cheerleader Fire show.” We took elements of fire dancing and mixed it with our strip style routine. We outfitted ourselves with authentic red black & white cheerleading uniforms onto which we hand sewed some anarchy patches, and brought it all together with an awesome set of pom-poms. We worked out the show by first choreographing a routine with a set of fire juggling torches, which we would swing (not juggle) to Marilyn Manson’s, “The Beautiful People,” and then ended our show with a strip tease and our pom-poms.

The Porcelain Twinz

What was it like to put these first shows together?
It was very daunting and a lot of work. It was a bit overwhelming at times, and still very raw. There was no real format to follow, because we were working to create our own thing, and making it up as we went along. At the time there was nothing like what we were doing in the scene, so we really only had a couple of outlets where we could perform this type of art. It didn’t really belong in a strip club, and it didn’t really fit into the bar scene. Fetish Nights were the only outlets that we had to truly perform at in the beginning. It wasn’t until, “Dante’s Sunday Sinferno Cabaret,” opened in 2000 that we would have a place to perform our fetish-burlesque shows at on a weekly basis.

How did people respond?
The response to our shows was absolutely amazing. People were getting it and wanting to see more. This type of support really inspired us to keep moving forward and creating new shows, which we did. Each new show that we created seemed to take on a life of its own, and to get bigger and better than the last.

You say in one of your interviews that you rely more on dancing and choreography than on large props. Do you have dance training?
The school of stripping. We really learned to move as strippers and became in tune with our bodies. We developed our own movement and style. It just happened naturally. As children we were always dancing, choreographing and making up dance routines. We always loved to dance, but never had the opportunity to have training. When we became strippers we developed our sensuality, style, and movement. Strip clubs are the only training we have ever had we give all other credit to infused knowledge from the other side and past lives.

Do you ever work with outside choreographers?
Never. We like to march to the beat of our own drum and when we create a show it is very spiritual and divine. We have our own creative process that we go through when constructing a new piece. Bringing in another energy just doesn’t work for how we create, and is unnecessary.

And do you ever think about large props you might incorporate?
We have a few shows that we need large props for that we haven’t brought to fruition, but they will come alive in the near future.

You seem to really embrace being in or having been in the sex industry. Do you consider that an unusual focus for performance artists, or are there other performance artists who have some of the same focus who've inspired you?
We take pride in being in the sex industry, because it is an industry where only the strong survive. If you can get through being in the sex industry without it chewing you up and spitting you out, then you are going to be able to handle anything in life. Being in the industry has changed our whole perspective on everything in our lives. It made us really strong and we are proud that we have made it through that stage.

Tell me a little bit about your experiences with the Box. Does that feel like an extension of the sex industry, or a move outside of it? Do you think the audiences are similar?
There is no comparison between the Sex Industry and The Box. They are two totally different beasts. The Box is a brilliant beautiful decadent theater. It is a fantastic outlet for us to perform our shows to then amazing highest caliber. We have an amazing stage, amazing lighting and a captive audience. To have these elements in a strip club is few and far in between. A theater like The Box is really a dream come true for avant guard performers like us! What is really great is that we are still performing the same shows for The Box that we were performing in strip clubs, but now we just have the correct tools to capture us in our best light, so in regard to moving outside of the sex industry, the only thing that has changed for us are the stages and the audience and we don’t have to hustle customers for their money--which is a nice change. We always hated the hustle in the clubs. We don’t miss that element.

What burlesque performances have you gotten to see in New York that you particularly liked?
We love The Bitter Poet and Miss Saturn, two New York artists who are absolutely fabulous. Our favorite Box performers would be Reggie Watts, The James Gang, Narcissister, and Rose.

The Porcelain Twinz
The Twinz with Big Indian and Narcisster.

You are also writers and musicians. Do you do multimedia performances, and if not, would you like to?
We have yet to perform our music live, but we will be soon enough. Our music will be it’s own thing separate from our fetish-burlesque shows, but we do look forward to a new creative outlet, and there will be some performance art based elements mixed in with it. It is still in the making, so we will see what transpires. We are also filmmakers with a feature film in development. Our goal is to saturate the masses!

I'm very impressed by you not only as artists, but also as entrepreneurs. You have kind of performance empire that I love. Do you want to talk briefly about the business of being the Porcelain Twinz?
We have learned a lot through trial and error, but we have developed a really good business sense and have really big dreams for our future as the Porcelain Twinz. We will be expanding into many other media outlets in the future. We are really just getting started!

What do you like best about the city of New York???
The Subway. It fucking rules. We are still enamored by how easy it is to get from point A to point B. Also it’s New York the city you see in the movies. It’s a bit surreal to look out our living room window and see the Empire State building and the Chrysler building glowing in the night. Wow it feels like we have finally arrived!!….almost!!!

Wednesday, January 23, 2008

Video Post: Trixie Little and the Evil Hate Monkey

I just found one of my favorite burlesque numbers on youtube!

Book Review: Tassels and Emeralds

Seattle has some kickass burlesque. Every time I go I see incredible, gorgeous shows full of fantastic ideas, brilliant costumes, and fierce dancing. If you aren't lucky enough to catch the scene, however, know that you are still some good bit of lucky, because in addition to having amazing performers, Seattle has its own amazing chronicler of the Seattle burlesque scene, Chris Blakeley.

Back in the Day...
A Polaroid of Chris with Babette LaFave, Paula the Swedish Housewife, Miss Indigo Blue, and Tamara the Trapeze Lady.

He's taken thousands of photos at hundreds of shows, and has published is own book, the beautiful and substantial Tassels and Emeralds: A journey through Seattle Burlesque.

It features descriptions and delicious photos of many of the performers I love, including Miss Indigo Blue, Paula the Swedish Housewife, Babette La Fave, Waxie Moon, the astonishing Atomic Bombshells, and the beloved Von Foxies, and too many more spectacular performers to list here. The book leaves no doubt in your mind that Seattle is one of THE cities for burlesque!

The book is a charming physical object, beautifully printed with black backgrounds and white text, and just the right size at 7.5" X 7.5" to distinguish itself from other coffee table books. Once you pick it up, you won't be willing to let it go without lingering over every gorgeous page!

The book's website

Wednesday, January 16, 2008

Picture Post: Tigger!

Tigger is a fabulous speaker, Shakespearean actor, and a librarian, as well a fre-quent co-conspirator with Julie Atlas Muz. He's also one of the most charismatic and entertaining performers in burlesque, with a clear aesthetic and highly developed numbers. He's a lot of fun to photograph!

Tigger at Coney Island.
Tigger at the Slipper Room, NYC
Tigger at Starshine Burlesque.
Tigger at the Slipper Room.
Backstage at the Sensuous Woman
Ian Harvie, Me, Margaret Cho, and Tigger Backstage at The Sensuous Woman.

Tigger on MySpace

Monday, January 7, 2008

Interview: Kalani Kokonuts

There are some people outside of New York that I've met as a result of being involved with Tease-O-Rama and Exotic World that make me particularly grateful for the community of burlesque, and Kalani Kokonuts of Las Vegas is one of them. She is one of the most charming, warm, and gracious people you could ever wish to meet, as well as a spectacular performer and a rather astonishing beauty. When I began this blog she was one of the first people I interviewed, but due to a few unfinished details my post got put off till now.

Kalani Takes the Stage at MEW 2006. Photo by Jo Weldon.

How did you get interested in burlesque?
I was stripping underage in a topless biker bar in Alaska, when I first saw a ''feature entertainer.'' Features are week long acts that are booked to perform about 3-4 shows a night. They usually have centerfold credits or they can be porn actresses. Week after week the club would book different acts. Some were good, some were not so good. It seemed very glamorous to me. So I watched the features every night and learned. When I turned 21 I decide that if I wanted to perform and improve I would have to move where I thought the best performers were. I packed all my costumes into the back of my truck, I had six trunks and that was all that would fit. So I left everything else. Then I drove from Alaska to Las Vegas. Where I learned to perform real burlesque at the'' World Famous Palomino Club''. By then burlesque was on it's last leg and a year later the owner died, so I went on the road as a ''feature entertainer''. I never really cared for feature entertaining, some of the venues were sketchy and mob owned.

Where did your stage name come from?
My stage name Kalani Kokonuts was a nickname my sister gave me. She also calls me K-nuts or Special K. I don't particularly care for it, but I never thought of anything better.

Kalani in the dressing room at Tease-O-Rama. Photo by Amanda Brooks.

What does burlesque mean to you?
Burlesque is the way I express my art. I am very shy by nature, so I have I this conflict between the desire to reach an audience and the desire to be secretive and esoteric.

Do you travel to perform?
Yes, I do often travel for shows, I rarely update the schedule on my site though...I'm lazy.

Who inspires you most, and why?
I am not so inspired by performers as much as I am inspired by music. When I hear music I see images of how I could create an act. Music moves me, frees my mind and distracts my conscious thoughts so I can create from a higher place.

What is your favorite aspect of burlesque as it is now?
I love the variety in burlesque. Please give me more variety!

What would you like to do or see next in burlesque?
Honestly, I would like to see more commitment, and more production quality. Great acts need great costumes. I know that costumes are expensive. For that reason I only create one show a year. It is better to have 3-5 amazing costumes than 20 mediocre ones.

How do you go about creating a show?
Okay, this is my method for creating shows. I set the intention that I would like to create a new act. Then I send that intention out into the universe. I ask creator or God for an idea that is spiritual beautiful and powerful. All I do now is wait. It usually takes about a week or less for something to hit me suddenly. I load up my Ipod with potential music and then I space out at the gym or get stoned. If my mind is empty and my body is engaged I get more ideas than I could possibly ever create. After I flesh out the idea in my head, and make sure that the idea is possible, I start to draw out what the costume might look like. I research resources online, then I start. It is important to stay focused and on task, or you never finish the act. In my opinion it's all about the music or song that you choose. Everything else is secondary. You must get the audience's attention in less than five seconds. If I haven't given you goose bumps or had your complete undivided attention, I have failed. Myself and the audience.

Kalani onstage in Las Vegas, 2007. Photo by Mike Albov.

You did one of the most spectacular productions I've ever seen in or out of burlesque at MEW 2007. How much of that is your property is yours? How do you transport it? Who made the costume and props, and where did you learn to twirl fans like that? Can you tell I'm amazed?
Thank you so much! I started to put that show together right after MEW '06. The Japanese Taiko drummers are a local drumming troupe which I had booked seven months in advance. They needed the time to learn the song and choreography. Everything else is mine including the snowmaker. If I am booked to perform the full show, first I have to book my drummers. Then the very large Odaiko drum must be transported by a moving truck earlier on the day of the show. The Odaiko drum is extremely expensive and weighs one ton, so it must be moved by seven or eight people. Of course the drums belong to the drummers. As far as the costume is concerned, it was made by Imagination Costume in Las Vegas. It took them nine months to complete. I drew out exactly what I wanted and how it would be removed. I also perform that same show to different music where I do Mulan or Kung Fu fighting fans. It is very fast and dynamic. I trained with a Kung Fu master from Hawaii for almost a year to perform the fighting fans. Though I prefer the softer version I did at MEW '07. Twirling fans is easy, stick your finger in the slat, and twirl; I swear that's it. You just have to use a professional fan.

Anything else you’d like to say?
Someone once told me that an ounce of presence is worth a pound of performance. With presence in place, everything else can be learned.

A brief clip of Kalani onstage at MEW 2007.
Kalani's Website
Kalani on MySpace

Saturday, January 5, 2008

News Post: Burlesque Documentary Short

'Katherine Fries, who graduated from the New York Film Academy, said she'd been looking for a story that touched her heart. "Then I read my mother's book," she said. '
Her documentary was based on mother's burlesque book.

Click above to buy Lillian's Book!

Friday, January 4, 2008

Miss Exotic World Pageant Announced!

The applications for the Miss Exotic World Pageant are up! Click here to get one.

Gigi Signing in Performers at Exotic World 2006
Gigi La Femme signing in performers at the Miss Exotic World Pageant in Las Vegas.

Click here for a little history of the Pageant.

Click here to see some youtube clips from Exotic World.

If you haven't been to the Burlesque Hall of Fame Striptease reunion that happens the Friday night before the Pageant, when all the legends of burlesque perform, you can't imagine how fierce and wonderful those ladies really are. I've been incredibly lucky to be a part of it!

Tempest Storm
Tempest Storm, Burlesque Hall of Famer, performing at Exotic World, 2004, in Helendale.

Thursday, January 3, 2008

Some Thoughts on Burlesque Costuming

Costuming plays a unique theatrical role in burlesque. It establishes the character and tone of a piece, but even more interesting to me is that the manner of its removal can dictate the entire choreography of a number. Elements that almost instantly call burlesque to mind, such as feather boas, opera length gloves, and of course pasties, combine in a way to make burlesque costuming distinctive and irresistible to fans of glamour. If you go to Atomic Todd in Las Vegas, you can see many of the amazing costumes from burlesque's golden era, collected by Dixie Evans.

Many burlesque performers really raise the bar when it comes to costuming. Dirty Martini works closely with David Quinn; Bambi the Mermaid and Bunny Love, among others, have elaborate costumes made by Garo Sparo. Although few of my costumes are very elaborate, I make most of them myself--probably the only aspect of costuming on which I raise the bar is in making tails, but I have yet to cover one with rhinestones.

Jo Zilla
Me in my Godzilla costume, for which I made lizard-print mittens, boot toppers, corset, and pasties, not to mention an articulated six-foot tail designed to strip off.

Bambi the Lobster
Bambi in the lobster costume I made for her. I like to make tails.

Lili St Cyr said that she sometimes enjoyed coming up with costumes even more than she enjoyed performing. Dita Von Teese, who is partially if not mainly responsible for the current association of burlesque costumes with corsets, says in her book: "Catherine has made me one dozen (and counting!) such jewel-encrusted costumes, using only the finest fabrics and drawing me perilously toward bankruptcy with every stitch. When I feel desperate about it, I remind myself that opulence is my signature...."

Dita performing at Erotica 2007--with a tail! Click image to view more at

Liz Goldwynn's book Pretty Things uses the costumes as a basis for a study of burlesque memorabilia, including the cash record book of Gussie Gross.

To give you a sense of how much work can go into these creations, here is Patricia Gorman making a costume for Bustout Burlesque. I love that she's using some beads provided by a burlesque performer of the 1950s. This clip is the first in a series of three, culminating with the dancer performing and modeling in the costume:

Bustout Burlesque, raising the bar in more ways than one:

Tuesday, January 1, 2008

The Travels of Miss Dirty Martini

I'm not much of a traveler; I'd even describe myself as being a bit provincial, keeping in mind that the province is New York City. In January 2007 I embarked on my first tour since 1994 when I was a feature dancer, heading out with the Sex Workers' Art Show to cover 33 cities in 35 days. Fortunately, I had one of my best and most-traveled friends with me, Miss Dirty Martini. I was doing a talking and teaching gig on the tour, while Dirty, Cono Snatch Zubobinskaya, and Bridget Irish, who split the tour with Julie Atlas Muz, provided the dance and burlesque. Dirty was a fantastic travel and hotel room partner. I also loved hearing her stories about all the places she's been, and I'm very excited that she agreed to be interviewed about what it's like to be a burlesque performer and world traveler.

Dirty tributes Zorita in Las Vegas at the Exotic World Striptease Reunion. Photo by Jo Weldon.

Dirty, when did you first perform burlesque?
Before I was Dirty Martini, I traveled with Pink Inc. to Sarajevo in 1995/96. I had been pushing to do burlesque material with the troupe and I wanted to preserve burlesque as American dance history and as a living art form. We were invited to the International Winter Festival, and it was the first time people from other countries were able to perform in it since the war. I was especially excited to be a part of it because the Jose Limon Dance Company, which was the company I'd wanted to join when I was in high school and which I'd moved to New York to be near, was also in the Festival. And I did my first fan dance there.

Dirty Coast to Coast:
Photo by Don Spiro

When did you first perform as Dirty Martini?
At WOW Cafe in Tex and Trixie's Vaudeville. We had cardboard sets and it was so cute! I was able to do my fan dance without the Pink Inc. foam body suits. The reception was great! I had seen Ami Goodheart at Irving Plaza at one of ChiChi and Johnny's nights, with Hattie Hathaway reading from "Miss Manners." Ami did this production number with a fan dance and I met her and asked her what she called what she did, and she said she was a showgirl. I was so blown away by the idea of a showgirl in New York, outside of the Vegas world of showgirls. It opened my eyes. After that I performed regularly at the Red Vixen and the VaVaVoom Room in New York.

Where did you perform next as Dirty Martini?
I went to New Orleans for Tease-O-Rama in 2001 with World Famous *BOB*, Tigger, Julie Atlas Muz, and Kate Valentine. We made the drive in 27 hours, taking turns driving. I bought blue stretch velour jumpsuits for all of us, with silver flames up the legs. We looked great at gas stations, let me tell you. They were uncomfortable and so hard to get in and out of that I had to help *BOB* whenever we stopped to go to the bathroom, but we looked fabulous! And that TOR was the first time the VaVaVoom Room met the Velvet Hammer. I heard about TOR from Kate; I wasn't really online much at that time. Later that year I traveled to Exotic World.

Where else did you travel outside the US?
With Pink Inc. I traveled to Wales, I think in 2002, and I extended my travel to perform in London. I had an interesting time because, due to some legal technicality, I had to do the actual clothing removal offstage; I would dance, step off and take something off, then get back onstage. I don't remember there being a big burlesque scene there at the time. I wanted to go to the Whoopee Club, but it wasn't open the days I was there.

In the US I traveled to Nashville for Katy K's show. Katy had been one of John Sex's backup dancers, the Bodacious Ta-Tas. She wanted there to be a show in her town, and she trained dancers in her basement and then brought in me and *BOB* to have some experienced performers to represent.

After I won the Miss Exotic World title in 2004, I was booked to travel a lot as a headliner, and I used the opportunities to spread the word about the Museum.

I also did Paula's show in Seattle and performed with the Sissy Butch Brothers in Chicago. My friend Roger Bennington booked me to perform for his theater company in Salt Lake City and I got him to include Dee Milo in the show.

Dirty at The Immodest Tease Show in London- Haley Madden photo.

And how about 2007?
I've traveled so much this year! I went to London to perform with Immodesty Blaize, I did the Sex Workers' Art Show tour, I performed with Margaret Cho in Miami and Chicago as well as in New York, I did three months in Nantes France with Cabaret New Burlesque, I performed in Portugal for Halloween. *BOB* and I performed in Miami at a fundraiser for a 1930s mansion the community is restoring. I did my balloons and *BOB* did her "Martini Time" number.

The performers of Cabaret New Burlesque in the French countryside. Photo from Kitten on the Keys.

And how about 2008?
I'm going to San Francisco to perform with Cabaret Verdalet, then on the Sex Workers' Art Show Tour again, and then to London to perform with Immodesty Blaize again.

What would you say to new performers about traveling?
Hmmm...traveling is a skill that you have to hone over time. You learn how to pack and what to stock up on when you go overseas. For instance, they don't sell eyelash glue in France the way they do here, or Emergencee powders. During the Nantes gig I got flown back to New York for a day to shoot with Terry Richardson, and I took two hours to walk in full makeup and hair to get glue and Emergencee!

What are your three traveling essentials?
My hardcase Samsonite rolling luggage, Advil, and a travel pillow!

Dirty at the One Log Cabin, somewhere on the 2007 Sex Workers Art Show Tour.

See why Dirty gets booked all over the world:

Dirty on Myspace
Dirty's Website

Happy New Year!

If you'd like a little bubbly--or, rather, a big bubble--this video's for you!