Thursday, July 31, 2008

Dick Zigun, Burlesque Impresario

I've been conducting a series of interviews with Dick Zigun, and I'm going to give you just a taste of what we've been discussing. If you're a fan of New York burlesque, you might find the timeline interesting; if you're not a fan, you may at least finally understand why New York Burlesque is so far from being simply recreationist.

Mermaid Parade 2002
Above: Dick leading the 2002 Mermaid Parade. Photo by me.

Dick attended Bennington and earned his MFA from Yale. I won't go into his entire biography here, but a sense of his academic background is useful when considering what he does now as the Artistic Director of Coney Island USA, which he formed as a not-for-profit in 1980. The organization has since then been successfully executing their stated mission: "The purpose of Coney Island USA is to defend the honor of American popular art forms through innovative exhibitions and performances.
The distinct mission of Coney Island USA is to operate a multi-arts center offering museum and theater programming, thereby leading the cultural revival of a downtrodden but historic landmark neighborhood. Through an imaginative and innovative approach combining the performing and visual arts, Coney Island USA seeks to revitalize the community from which it takes its name, attracting international recognition and visitors while providing low-cost services to a mass, working class New York City audience, including the young and the old, the art and the family oriented. Coney Island USA interprets the past and experiments with the future of American popular culture and offers a growing panoply of arts events and exhibitions rooted in the traditions of P.T. Barnum, vaudeville and Coney Island itself."
From About Coney Island USA.

Dick is a passionate supporter of burlesque, sideshow, and the art of the tattoo. His influence on the development of burlesque as we now experience it in New York is unmistakable.

Burlesque Show
Above: The sign at the Sideshow on Friday nights. Photo by me.
In 1981, the New York Times ran an article about the legacy of Mayor Fiorello La Guardia. La Guardia was a compelling person in many ways, but among burlesque aficianadoes he is best known for closing down burlesque houses in the late 1930s. [If you are interested in this story, the NYT website has a spectacular archive. Do a search for burlesque and you'll find articles dating back a century and a half. I've bought many of them, so if you're considering whether one is worth paying to read, email me about it and I'll let you know. One of my favorites, from 1955, is titled "Burlesque Plan Grinds to a Halt." Buy that one.]

Shortly after running the article, the Times published a letter (available in full from the archives I directed you to above) from none other than the sole surviving Minsky, brother Morton, who suggested, "While you are lauding La Guardia's virtues, I think you should remember his lack of foresight in closing the Minsky Theaters. He used autocratic powers...The burlesque industry lacked funds to fight for its constitutional rights."

Shortly after that, the Franklin Furnace Archive published a letter from Dick D. Zigun, who said he longed for a modern version of burlesque: "Can't anyone else imagine a new burlesque theatre, one with its consciousness raised? ... Why not insist on a performance wild and wonderful enough to include a novelty hermaphrodite act? Why don't we challenge and entertain our fantasies as much your theatre did in your time? We need you back, Mr. Minsky. ... Nudity is a powerful theatrical device -- it need not exploit its performers."

I am not going to reproduce the letter in full here, but you get the idea--the burlesque Zigun describes is indeed the burlesque he helped to create.

Message in Coney Island
Above: Every Friday night during the Season, the Sideshow clears the stage of its props and turns the sideshow stage and dressing room over to the Burlesque at the Beach performers. Photo by me.

Dick told me that in winter of 1974, in his junior year at Bennington, he did a two-month internship at the American Place Theater in Times Square. He became a big fan of the Melody, which he describes as the last of the traditional strip joints without lap dances or champagne rooms. This later moved to Tribeca, where the recently closed Collective UnConscious was housed. Later the Babydoll and the Blue Angel opened in the same area.

Coney Island
Above: A Coney A-Go-Go poster in the Coney Island Museum, featuring an image of Billie Madley. Photo by me.

He created the Mermaid Parade in 1983 in 1985 moved into the building on the corner of 12th Street and Surf Avenue. In 1986 he joined forces with Wild Girl (Erica Peterson), a WFMU DJ who was into hotrods and riot grrrls. She was doing events in NJ called Go-Go-Ramas, which were not topless. They began to do Wild Girl's Go-Go-Rama in the building in Coney Island. We started experiementing, just several "powerful women dacing all at once." They tried it with a live rock band, and had some solo acts including belly dancers and other variety performers. When Wild Girl departed they began dong Coney-A-Go-Go about 1989, around the time Otter was doing Trip and Go Naked at the Pyramid Club and, Dick says, then as now, "Everybody was influencing everybody else." And the Blue Angel came along, which at first was primarily a lap dance party and developed over time as a burlesque show composed of solo stripteasers and variety artists. In the early 1990s, Ami Goodheart was involved in producing Dutch Wiesman's, which nurtured performers such as Angie Pontani, who has been producing shows at Coney Island for several years.

Dick Zigun's 50th Birthday
Dick Zigun's 50th Birthday
Above: Julie and Bambi at Dick's 50th Birthday Party, 2003. Photos by me.

When I interviewed Fredini, who has been producing Burlesque at the Beach with Bambi the Mermaid since the 1990s, he described performers circulating from the Blue Angel, Trip and Go Naked, fetish clubs, drag bars, the sideshow, the circus, and other not-obviously-burlesque venues. In the late 1990s/early 2000a I was performing at Click N Drag, "an amalgamation of art, fashion and performance consistently blending computer-age references with a theatrical sensibility, sexual ambiguity and a strict dress code, rigidly enforced on the famous and the up-and-coming equally"), as well as occasionally go-going at Squeezebox, where I met World Famous *BOB*, and at Coney Island High, the Blue Angel and at Burlesque at the Beach, while many other regular Coney Island performers were also appearing in the VaVaVoom Room and The Red Vixen.

So it's no exaggeration to say that Dick Zigun was at the root of the burlesque revival that is currently in such high gear, and it should be no surprise that New York Burlesque bears such a distinct Coney Island imprint.

Outside the Sideshow
Dick at the Sideshow Entrance. Photo by me.

There's more to come, since Dick has an entire manifesto! The more you listen to him talk about burlesque and his vision for it, the more you love that burlesque--and the more you love Dick Zigun.

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Wednesday, July 30, 2008

"Stars Who Played Strippers," on Entertainment Weekly

There was a piece about actors stripping in films on
Photo Gallery of Stars Who Played Strippers
It includes one of the scenes I show in my "Exotic Dance in Contemporary Film" lecture, Diane Lane in Big Town, and a lot of others I considered including but left out in the interest of keeping the lecture focused.

Demi Moore in Striptease. Whatever was wrong with this movie, I have to say that both the stage dancing and the table dancing (when Burt Reynolds kept talking to her while she was dancing) were incredibly accurate about what stripping looked like in the clubs where I worked in the 80s and 90s. I toured, so I saw a lot of clubs, and this is very much what I remember:

Entertainment Weekly couldn't include them all, obviously. Not pictured in the EW gallery:
Christopher Walken in Pennies from Heaven
Michael Ontkean in Slap Shot
Valerie Perrine in Lenny
Lolita Davidovich in Blaze
Brigitte Bardot in Mademoiselle Strip Tease
Joanne Woodward in The Stripper
Pamela Anderson in Barb Wire

Care to add to the list?

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Burlesque Without Striptease

In recent news, claims have been made that Prince Charles was shocked to find that burlesque dancer Dita Von Teese actually strips (this story actually isn't true); that Representative Pete Sessions was was surprised to learn that the burlesque dancers at Forty Deuce take off their clothes (although this party did happen, I suspect he was not truly all that surprised); and that pole dancing is synonymous with burlesque. Whatever you make of all this, it's interesting that the idea of burlesque without stripping is so available in popular culture that people are suggesting that it could be surprising that burlesque performers are stripping.

In a New York Times article, Dita Von Teese said the biggest misconception about burlesque is "that it’s about dancing around in hot pants with feather boas. Burlesque was about the striptease. The stars of burlesque took their clothes off, end of story, period."

People occasionally ask me if they can do burlesque without stripping; many of the classes I teach, such as fan-dancing and chair dancing, do not involve stripping within the class. I see no reason why people should not take those elements outside of the striptease and incorporate them into their own sensual or exotic dances.

However, what I love about burlesque is that it takes the element of clothing removal and incorporates it into dance and/or story-telling. It makes the everyday act of removing clothing into a theatrical event. This is part of what makes burlesque so special.

For me, the art of striptease is an art unto itself, one that ought to be revered for the effect and the connotations it has, and for its uniqueness to burlesque. I believe in striptease as an art form in its own right, outside of the variety and other elements that make modern burlesque so engrossing.

Perhaps the definition of burlesque is changing yet again, as it has several times over the centuries. Aristophanes may not have expected Lydia Thompson; Lydia may not have expected Lili St. Cyr; and Lili may not have expected Julie Atlas Muz.

As much as I hate definitions, I'm a teacher and I have to give them sometimes. Plus, I have to describe what I do for a living not only to reporters and people making documentaries, but to people who hire me.

I like lots of types of dancing and other variety entertainment in burlesque shows. But for me, if NO ONE takes anything off, it's a bit gentrified--and possibly even a bit insulting to the ladies who did burlesque in the mid 20th century.

What do you think? IS the definition of burlesque changing (or if you prefer, has it already changed)? Does burlesque now mean any sexy moves, style, or clothing that make a reference to exotic dance? And if so, does that change your level of interest in it?

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Monday, July 28, 2008

BurlyCon 2008

I'm on board with Miss Indigo Blue for this one! Obviously, I don't use this blog to promote every gig I have, but this is something else.

june25 182
Above: Me n Indigo in NYC for Cabaret Yokohama


Last Chance To Get Your Tickets to BurlyCon 2008 for the AMAZINGINGLY LOW PRICE of only $55!
That's right--you have only until midnight on July 31st to get this special discount rate to BurlyCon 2008. Save over $50 by reserving your ticket to BurlyCon TODAY!


BurlyCon 2008 features Speakers and Special Guests - Panels and Workshops - Merchants and Vendors - Photographers and Vendors - Performers of Yesterday and Today.

With Our 2008 Guests of Honor
*Toni Elling*
*Miss Astrid*
*Laura Herbert*

Along with some of the most respected names in Burlesque from all over the country, coming together to celebrate our diverse and vibrant Burlesque community.

For more information and to buy your tickets go to our website.

See you all there.


Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Wednesday, July 23, 2008

Bizarre Magazine Burlesque Hall of Fame Pix

The lovely Kate Hodges (deputy editor of Bizarre magazine) just sent me a link to their online article about the Burlesque Hall of Fame weekend, with gorgeous pictures by Neville Elder:

Bizarre's Burlesque Hall of Fame gallery. All the way from Vegas, baby!

There are a few pix of me in there, doing my Sherry Britton tribute number. There are also a couple of great shots of Tempest Storm, whose story has been everywhere the past week or so, and many more delicious stars and audience members. There's also a pretty spectacular piece on Dita Von Teese, with lots of awesome photos.

Just so THIS post won't be without photos, here are a few pix of encounters I had during the BHOF weekend:

Greeting Lily Burana
Greeting Lily Burana
Tura Satana taking a picture of me at breakfast
Tura Satana Taking My Picture
Me with Rosie Bitts, who I met at the unbelievable, amazing, astonishing burlesque retreat (and there's another one coming up!!!), the Diamond Minx, and Holiday O'Hara.
Rosie, Me, Minx, Holiday

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Wednesday, July 16, 2008

Catherine D'Lish

Kelly DiNardo just posted this video of Catherine D'Lish in her blog, and I'd never seen this clip before. As a rule I wouldn't copy post the same video, but in this case I just have to say, Play it again!

Catherine D'Lish and the Royal Crown Revue

Now you know why everyone who's ever seen Ms. D'Lish perform gets a little dreamy-eyed at the mere mention of her name. I mean!!!

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Monday, July 14, 2008

Interview: Baby Doe

Although I missed the first Tease-o-rama convention (I was in San Francisco for the Sex Workers' Film Fest, where Erochica Bamboo performed), I did make it to perform in TOR 2002 and I am very fortunate to know Baby Doe, one of the true pioneers of the burlesque community. I love the way she and Alison Fensterstock and Alan Parowski have worked to enable the burlesque community, and what amazing resources they've provided for it. Baby Doe has a beautiful, generous, fun-loving spirit that's irresistible onstage and off, and I'm happy to have an opportunity to present this interview with her!

Baby Doe at Tease-o-rama 2002
Above: Baby Doe at Tease-O-Rama, 2002. Photo by me.

Tell us a bit about The Devil-Ettes and how they came to be, and what they’re like now. I always love to see The Devil-Ettes working and playing at events!
When I did that first show with The Devil-Ettes 10 years ago, I had no idea how the retro dance scene was going to change my life.
So the story goes like this. I was working at a little hipster restaurant in San Francisco and every year they put on a holiday talent show featuring all the amazing musicians, singers, and poets who worked at the restaurant. A group of us (who were NOT in a band or singers or writers) were totally jealous – what talent could we do?? Being that I am a “planner,” I convinced 12 co-workers to join me and we came up with a special holiday dance… a medley of 50’s, 60’s, and 70’s holiday tunes. We called ourselves the “Holiday Ho Ho Ho’s” and wore all black outfits with silver x-mas tree garland literally stapled onto the bottoms of our skirts! The response was incredible—people LOVED us! We were blown away, and lucky for us all those hipster bands were at the party too. Before we knew it, we were booked on two bills the following month.
Fast forward 6 months later and I suddenly found myself the Artistic Director of San Francisco’s first-ever, synchronized, go go dance troupe. We now had 18 awesome girls, real official costumes, matching go-go boots and a new name: The Devil-Ettes.
Our first big break was in Las Vegas at the wild garage rock showcase Las Vegas Grind. Because we were all fans of the 60s, we decided that we should make that our focus (besides, who doesn’t love a girl in go go boots??).
The Devil-ettes at Tease-o-rama 2007
The Grind was all about the music, but we got an incredible response. No one had ever seen anything like us. We did a lot of guerilla performances (storming the casino floor in vintage nighties at midnight to do a Pajama Party routine and showing up poolside to do a Synchronized Swim Routine!) and we knew we had stumbled upon something pretty magical.
I never had any plans to form a dance troupe and with no formal dance training I certainly NEVER figured I would end up leading a dance troupe! I think in some ways my lack of training is why The Devil-Ettes are so unique. I have always approached the troupe as a community of woman working together rather then as a dance group. There is so much camaraderie and we try to have as much fun off stage as we do on stage. Everyone has a voice in the troupe and everyone has value. It is not always easy to run a troupe like this but I have found that those who are committed to this crazy thing because they feel like they are part of a sister-hood. My main goal for the dance troupe way back when we started and today is for the members to have something they will remember and take with them throughout their lives.
Devilettes on the Bus
Photo by Chris Beyond ©2008.

Tell us a bit about your go-go classes, and about the effect of having children on your producing and performing.
In doing research on Go Go dancing it became apparent that 1960’s Go Go dancing was becoming a lost art form. People just aren’t doing The Frug and The Bug and The Watusi these days! I started teaching dance to kids for two reasons: 1) I was inspired by a 1960’s television show called Kiddie-A-Go-Go. I LOVED the energy of the kids dancing around and just having fun. And 2) I became a mom! I loved the idea of sharing one of my passions with my own kids. In 2006 I was able to see my dream show come to life: Pip Squeak A Go Go! It was a total labor of love and I even co-wrote the show’s theme song. The 1960’s style go go moves just make kids and adults happy. Teaching people to dance is something that brings me much joy. There is nothing quite like watching a room of people doin’ the monkey and ‘slipping’ on an invisible banana peel.

Tell us a bit about Tiki Oasis.

Photo from Scott Beale / Laughing Squid.

My husband Otto is a total tiki aficionado and back in 1995 he started a popular tiki zine called Tiki News. We used to throw fun little events like surf shows and tiki mug parties to promote the Zine around San Francisco and LA. We loved pulling together events and every year it seemed our events got bigger and bigger. We decided to combine our love of all things tiki with our love of throwing big parties to help the preservation of historical tiki locations across the country. In 2001 (the same year as the first ever Tease-O-Rama!) Otto and I started an event called Tiki Oasis to bring attention to a dying tiki hotel. The first event was small…. maybe 60 people tops. But now we have over 2,000 attendees and the list of events includes bands, burlesque dancers, vintage vinyl DJ’s, and over 40 tiki vendors over the course of 4 days. In some ways the Tiki scene reminds me a lot of the burlesque dancer scene in that it is a community of people so passionate to something they love!

How did you get interested in burlesque?
I have always loved retro stuff…. watching old movies, listening to music from days on gone, thrifting for vintage clothing. I guess burlesque just fit into that category.
The first time I ever saw anyone doing live burlesque was The Velvet Hammer. It must have been around 1997 at the Dionysus Demolition Derby in LA. I don’t remember all the specifics of the show other then it included a girl in a giant clam shell. BUT I do remember the spirit and energy of that gorgeous woman. I was struck by the confident air about them and they were all so exquisitely put together with gorgeous hairstyles, make-up and costumes. I had only seen performances like this in old movies – it was brilliant seeing how they were able to capture the essence of a certain time period so perfectly but with a modern twist.

How did the first Tease-O-Rama come about?
Because I am CRAZY! Well kinda. Back in 2000 there was only one burlesque e-mail list serve and it was quite active with performers. Everyone shared ideas on where to get costume pieces, where to find the perfect music, how to get sponsors for shows, how to book shows with each other and so forth. Alison Fensterstock, a writer from New Orleans, was pulling together an article for Atomic Magazine about the new burlesque scene. She had been in touch with all the burlesque dancers doing this style of dance. Alison brought up the idea of doing a group burlesque show as a way to build the burlesque community on the e-mail list serve. People were thrilled and ideas were flying left and right for the ultimate group show—one that was pulled together by the dancers and not some big-shot ‘producer’ who would use us to make lots of money for themselves (back then I actually thought people made money doing shows like this!). Everyone had IDEAS but no one seemed to know how to really pull it all together. I already had a few years of event producing under my belt with all the tiki stuff and The Devil-Ettes. I loved the idea of a group event produced BY women FOR the women of burlesque. I took the conversation off-line with Alison and decided to match my know-how with all her burlesque contacts and suddenly Tease-O-Rama was born! We booked every single act we knew of that was doing burlesque and decided to do it in Alison’s hometown of New Orleans. They already had a burlesque scene going PLUS I had never been to New Orleans before and I figured this was a good excuse to get out there! Alison and I produced the entire event over phone and e-mail. I tend to push for things to get big so before we knew it the event became a huge undertaking with 4 nights of shows and 2 days of convention classes. Oh how much we learned doing that first group event with soooo many dancers (I think we had over 80 performers on that bill). In retrospect we definitely screwed up on some things (we pissed some people off because we didn’t think to have things like chairs for a 5 hour mega show!). In 2002 Alan Parowski from LiftOff! became our co-producer. Today we can no longer invite EVERYONE doing burlesque to join us on stage but we are proud of what we produce and continue to try our best to hold true to our original vision of doing an event to bring dancers together as part of a community.

What events from that first TOR stand out in your mind?
Meeting so many amazing and talented people that I now call my friends. It sounds corny but it is true. Seeing The World Famous Pontani Sisters and all the NYC crew of talent, meeting and becoming friends with Dita and Catherine and Kellita and Luke and Laura and oh so many others AND just getting that many people in one room and on one stage. It was humid, it was too long of a show, it was chaos, but it was marvelous!

How did you meet Dixie Evans, and what is your relationship with the Burlesque Hall of Fame like now?
I meet Dixie at the first Tease-O-Rama. Way back in 2001 Alison and I agreed that we would also do what we could to support the museum with promotions at our shows and we even auctioned off a dress for the museum at the first Tease-O-Rama to raise money for the museum. We have continued a relationship with the Burlesque Hall of Fame and whatever role we can play in bringing the museum to life we are happy to do it.

What are some of the most memorable moments you’ve had in burlesque?
A zillion sleepless nights pulling together a massive show on top of running my own dance troupe, a family and a job? Ok that is not what you are looking for! Top 2 memories:
1. Crying side-stage in Los Angeles as Satan’s Angel danced for the first time in 20 years
2. Meeting some of the most inspiring and brilliantly talented women (ok and men too) on planet earth!

What are your favorite aspects about the growth of the burlesque revival since then? Your least favorite?
It is wonderful to see the caliber of talent that has grown in the last few years. It seems that the acts have gotten more refined and seeing a polished act is just such a pleasure to watch!
Oh I do miss the golden days of years gone by when dancers had more time to get to know each other and work together to build a community of dancers. I do wish there was some way to inject that back into the scene again.

What’s going on with Tease-O-Rama now?
We are taking it on the road this year. We are touring through Seattle, Portland, Ashland and our full weekend event in San Francisco. We have a few exciting things happening … we have added performers from Cirque du Soleil Zumanity show, we have teamed up with Burlycon who will host all our daytime convention classes and we are creating a collectable Big Book of Burlesque program that we hope will serve as a guide for the burlesque aficionado! Although still very much a labor of love and a grassroots event I am so proud of how Tease-O-Rama has grown over the years and I can only imagine what will happen next!

Click here to read messages and discussion from TOR 2001.

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Sunday, July 13, 2008

Tempest Storm in the News

'If some might see all this as chasing after lost youth, she says she cares little. Younger dancers tell her she is an inspiration to them, and she has no reason not to believe them. "I feel good about myself. And I enjoy it," she says. "I have fun when I'm onstage, and the audience loves it. Nobody ever said it's time to give it up. Why stop?"'

80-year-old Vegas stripper still does it ‘classy’

Click the image above to buy Tempest's autobiography!

Thanks to the folks who sent me this link!

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Striptease Classes Bump N Grind to a Halt

Note--this post was expanded after its original publication.

"At 4:37 p.m. Thursday afternoon, Rachael Vint found a stop-work order on the door, a piece of paper threatening to put an end to her new business, not to mention ruining her evening...The stop-work order said the address was not zoned for a sexually oriented business, a presumption Vint doesn't agree with. "There's nothing dirty about what we do. This is a natural expression and a great way to exercise," she said.."

Bartlett halts opening of 'Strip To Fit' studio

I don't know that a sexually oriented business is "dirty," or that if it is (as Woody Allen might say, only if done right), that's not a "natural expression and a great way to exercise." But I do know that burlesque classes are sexy! I like adults-only spaces and activities. I hate the idea of a world where everything that isn't designed to accommodate kids is considered unhealthy or shameful and is subject to discriminatory legislation or taxation.

I'm so lax with tags for these posts that I can't find the post I put up several months ago about another burlesque teacher who was prevented from teaching, as I recall by the studio where she wanted to hold the classes.

I'm VERY lucky to have a private space in an actual burlesque club. Here's what part of it looks like after a class:

july2008 186

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Friday, July 11, 2008

Dita Von Teese on the cover of Bizarre Magazine

A friend of mine, Neville Elder, took pictures at the Burlesque Hall of Fame weekend last month for this issue--I saw the layout and it's GORGEOUS!

I haven't seen the issue yet, but I'm super excited about the Bearlesque feature, and I was consulted for "The Real Burlesque" story. I was asked to write part of it, but I was asked a week before the BHOF weekend and the article was due that week! We shall see...if you've read some of the autobioggraphies I recommend, you know there're scandals to relate!

As always, it's a thrill to have Dita represent. Both she and Exotic World have appeared in the pages of Bizarre multiple times. It's a very, very special magazine.

For more on this issue, which also includes lots of my Coney Island peeps, see:

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Thursday, July 10, 2008

US Burlesque in Italy!

The Uber-Lovable Kitten on the Keys posted these images of Cabaret New Burlesque in Italy, and gave me permission to use them here:

Click here to see more of them and to see larger versions!!

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Friday, July 4, 2008

Fireworks on the Floor


I took this photo while on the Sex Workers Art Show Tour. We stopped for gas, somewhere in Texas, at a place that had a fried chicken counter in the front and a long-closed strip joint in the rear. This carpet looks pretty much like most of the carpet in most of the strip joints where I worked in the 1980s.

Happy Fourth of July, Y'all!

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for

Wednesday, July 2, 2008

Robert Adler Burlesque Photography

I was originally directed to Robert Adler's site by my friend Daddy-O.

Posted by Jo Weldon, Headmistress of The New York School of Burlesque, for