Upcoming shows (including a festival!)

I know I resolved to not do multiple shows a week, but the virtual format has given me flexibility to where I can even be in two places at once!  The best part is that you don't have to necessarily choose, as some shows offer an on-demand option.  Anyway, here's where you can get me doing my thing.

Tomorrow night on CUNextTV, I return to the Encore drag show.  This time I'm debuting a new (censored) burlesque number in celebration of certain tropes and the movie Burlesque (which isn't really burlesque but that's another story).  Encore! presents Burlesque starts 9:30 PM CST and the cover is $10.

Now if you prefer geek to glam, catch Ruby's Burlesque Cartoons Show on November 21 at 8 PM CST.  Purchase a $10 ticket at www.rubytix.com and get a link to the Google Meet.   Use my special code "ROSE" to get 10% off!

The show will also be available on demand for the following week, which is good to know because the Identities and Expressions virtual trans and non-binary festival is also November 20 and 21!  The shows start 9 PM CST, and I will be performing the second night.  However, your ticket, which is a donation between $5 and $30 to the crowdcast link, will get you in for both nights.

When to End an Act: a Contemplation on Problematic Faves

This post isn't about the final note or move of an burlesque routine (although my teacher Ginger Valentine had some things to say about fade outs in music).  Rather I want to talk about an act's longevity and when it's time for them to stay in the closet permanently.  Burlesque acts don't live for eternity— at least in the form they started with.  They evolve, or they retire.  Some acts do become a signature and live in people's minds, but there comes a point where a performer decides to move on.

Sorry James Dean, I still don't
know what to do with you.
Photo by Mr. Photopix

 

Sometimes we don't have a choice.  A costume no longer fits, or a prop breaks.  You can always alter and repair, just as you can modify the narrative or perspective of a routine that isn't working the way you had envisioned.  I have a couple of numbers that are on the backburner because they were created before I started doing drag, and I'm wondering if Tony Fo-Hawk could do more with them.  I haven't exactly found the answers or the motivation to figure out how to improve them so they'll sit in the closet. 

Other times we are forced to make a decision about the act.  Burlesque is supposed to be provocative, but sometimes we get blinded by privilege.  Although I haven't experienced being called out for a burlesque act, I do know what's it's like to be guilty of cultural appropriation and not realize it until later.  I made the decision to stop coming up with my own steampunk versions of yukatas because I'm not Japanese.  People may think that I'm being too harsh on myself, but it's a decision I made based on feedback from Japanese people and research.  We're told that we have to take criticisms about our performance so what's to keep us from considering criticism about contributing to oppression.

Nowadays, we have to look even closer at whether we are indirectly complicit in oppression through promoting a problematic individual.  One example—the one who inspired this post—is J.K. Rowling and the world of Harry Potter.  It's easy to say that fandom has outgrown the creator, but until Harry Potter becomes public domain a la Cthulhu (although let's not forget how horrible Lovecraft was), we have to remember that Rowling remains associated with and profiting off the character and his world.  Even if she doesn't see a dime from nerdlesque shows or we actually have a trans Harry, we are still getting people excited about her creation.  Some of them will go to the latest Fantastic Beasts movie or buy a set of Harry Potter books to give to a family member who's just started to read.  This is why I'm retiring Cho Chang for now even if she was created out of criticism for Rowling's racially insensitive portrayal.  Let's find another fantasy series (preferably by a trans writer) to get excited about.

Holiday at Hogwarts is a nice way to end Cho Chang's run
(for now).  Maybe she'll come back some day...
Photo by Saraphimart.

You might be asking if I'm going to do the same for Kaylee Frye or Mantis since Joss Whedon and James Gunn are problematic people who are still making lots of money (and I know Gunn apologized for his offensive posts, but I have issues with his treatment of Nicole Perlman).  Neither of them have a similar place in our cultural zeitgeist.  Firefly is long finished even though there are comics, and I don't hear people rave about it as much as I did in college.  Guardians of the Galaxy has a life beyond the movies, as I reveal with my transformation into Mantis' earlier incarnation.  I also feel like those acts are more explicit in their critiques, which happened to be the artistic choice I made.

Ultimately each of us has our own line to draw over where we can split artist with creation.  And it can move.  As a producer, I have to not only look at my acts but others as well.  I have to think about the message the show broadcasts, and yes, I do think about whether you have music from a problematic artist or are extolling a character of questionable morals.  Sometimes it's harmless fun, but just as the rule (guideline? ideal?) of comedy is to "punch up", I'd rather we all promote and pay homage to the marginalized voices who deserve just as much, or even more, recognition as our "problematic faves".

On the subject of my Original Kaylee number, the quarantine version of it is available in the on-demand recording of Magical Girl Burlesque presents: Comic Con-solation Prize.  Sent producer Betty Brash $10 in one of the ways below with "MGB Con" in the subject to receive the video link:
Cash app - $BettyBrash
PayPal - bettybrashburlesque@gmail.com
Venmo - @BettyBrash

Upcoming show: Magical Girl Burlesque

 I've got some posts in the works, but I wanted to promote my next show.  It's inspired by all the conventions that we've had to miss during the pandemic so expect fantastic nerdlesque and some bonus content in between.

Click here for tickets to the Zoom premiere.  Sales end at 8 AM EDT (and show starts at 8 PM EDT), but you can rent it for later on Vimeo OR Venmo @bettybrash all the way up to an hour before the show to get the password.  Hope to see you for the show!

Upcoming show: Encore! presents American Idiot

 If there was something to reignite my creative spark, it would an American Idiot-themed show.  Tony Fo-Hawk and I have joined forced to create a new collaboration (if it can be called that ^_~) for Encore!, a musical drag revue. 

The show goes live on Tuesday September 1, 8 PM CDT on C U Next TV.  There is a $10 suggested cover (payment information will be available on the stream), and tipping is encouraged.

 Hosted by Nitrix Oxide
Produced by Cassi

Starring:
Jimmy Diamond
Martin Vore
Herman Wishes
Luke Modelo
Scroto T. Bagginz
Peter Fromage
Tony Fo-Hawk/Hana Li
Degrassi Knoll
Marius the Faerie Bear
Salem Moon
Vera
Jenni Del Rio

Back when the world was our oyster

“One’s destination is never a place, but a new way of seeing things.” – Henry Miller

We're entering the 5th month of this pandemic (based on my schedule and location), and I'm almost back to working full-time in lab.  My performing career remains mostly in stasis although I'll have some exciting news at the end of this post.  Since I had traveled and was actually struggling to stay on top of many events prior to lockdown, I haven't gone stir-crazy.  There was disappointment at the cancellation of a trip.  It wasn't burlesque/drag-related, but I was keeping the possibility of a new gig open, especially with new contacts in that area.

Honey Moonpie and I brought
video game realness.

It's these missed opportunities and connections that I mourn.  Of course, I enjoy venturing out to new locations, but I'm also not great at traveling.  Adapting to new places stresses me out so I had avoided many out-of-town gigs for a while, especially if my partner or a friend could not accompany me.

 

With the exception of BHoF, which was carefully planned with a friend, my travel was contained in Texas in my early performing years (I can't believe I just typed this, but 2014 seems so far away).  I got lucky that Helena Isis got booked in the 2016 Oni-con show and I knew Honey Moonpie as well.  Even if I had to fly solo, I was used to the trip with Dallas, and Kiki Maroon had arranged everything wonderflly to get the cast and crew to Galveston without a hitch.  I wound up rooming with Red Snapper, whom I had seen perform but had never met, and she later moved to Dallas so that was a nice connection made.

In 2018, I finally took the big leap to apply for a cross-country gig when I saw a casting call I could not ignore.  Plus I was tired of all the FOMO and the dry spell I was experiencing at that point.  Cherie Sweetbottom's Wronged By Whedon show was perfect for my style of nerdlesque.  I already had my Black Widow act that was dedicated to all the ways her character had been wronged by various people involved in the MCU.  Since I could submit a second act, I brainstormed something I could do for Firefly, a series I love but also resent for the utter appropriation of Chinese culture.  I learned that Kaylee Frye was originally supposed to be a Chinese character, and that's where my "Original Kaylee" act was born. 

Original Kaylee
Photo by Ryan Gerbino

Despite having both acts accepted, I was nervous about joining a show where I knew nobody.  On top of that, I might have had the worst traveling experience ever since the Jerkface-in-DC cancelled my first flight and delayed my second, which led to me arriving 12 hours later than planned.  However, Cherie and Danny Cavalier's hospitality was top-notch, and the reception of both of my numbers, particularly Original Kaylee, was so good.  I had the loveliest time with my fellow socially aware Whedon fans backstage and after the show.  My experience in D.C. taught me that I should travel more, as it reinvigorated my desire to perform and create.

Nashville was another fantastic trip with much credit to producers Gogo Incognito and Miss Jenna Beth and hostess Luvina Ladyplace.  I also stepped out of my comfort zone to inquire about a photoshoot in a cabin with La Photographie.  While it wasn't the easiest experience with me getting up at 6 AM the day after a show and driving an hour (or two?) out to Mt. Juliet, it wound up being a cool experience.  The connections I made in Nashville made me realize how small the world is, as Luvina did a convention with a former on-line friend I made on an anime fansite and castmate Pixie Danger was on King of the Nerds with a guy I went on a date with in college.  Maybe there should be a Six Degrees of Hana Li.

Of course, out-of-town gigs aren't always possible with the time and financial restrictions we might have.  I had to decline a festival spot after I couldn't make travel plans work.  I am fortunate enough to have vacation leave and savings, but there are thrifty ways to go about traveling.  Plus most producers are willing to help with transportation and housing if they can't cover your trip to their city.  It's good to see how burlesque is different in other places, and for me, I've found that I meet people better in a setting that isn't as hectic as a festival.

Cabin Fever shoot by La Photographie
(www.laphotographieboudoir.com)

Right now, traveling isn't as feasible, and most shows have yet to resume.  It sucks, but the world has opened up in a different way, as more virtual productions are forming.  I could do another post about those (and probably will).  Even though there isn't the excitement of being in a new venue and making new friends in person, the world has opened up.  It's up to producers to take advantage of new faces and truly diversify their shows, just as it's up to performers to snag the opportunities to branch out. 

I've started to do that, and I would like to end with an announcement of my return to the "stage" with Ellie Quinn presents: You're Gonna Need a Bigger Couch.  The show premieres on August 21 8 PM DST with the video being available on demand for a week.  There will also be a Zoom meet-and-greet with the cast for VIP ticket holders.  Click here to buy your ticket.

Accountability and Apologies: On Being a Better Ally

Updated 7/3/20 to include Nox Falls

Originally I was going to share Raven Rose's now-open letter to her former troupe Foul Play Cabaret on my personal Facebook.  Then I remembered her comments on her Instagram, "I wanted the accountability and apology to be as public as the erasure and denial was so that any progressive strides made by their brand could be rooted in integrity and we could move forward AS a community, FOR our community."  Parts of her experience resonated with me, as I've talked about negative group interactions myself in a previous post, but I have also been on the other side.  Therefore I am taking this time to hold myself accountable in perpetuating the oppression faced by black burlesque performers.

To Lyric Laveau, I apologize for assuming that you were on hiatus and leaving you out of my list of Black performers initially.  Assumptions are not something producers should be making, and I will remember to consider you for future shows.

To Donna Denise, I apologize for not taking steps to clarify our initial interaction as part of a acting workshop and not being intimidation.  Although we were in the middle of a theatre exercise, I still made the poor decision to slink away.  My choice to portray fear reinforced negative stereotypes thrust upon black women.   Moreover I didn’t talk to you afterwards and left you with the emotional labor of clearing the air.  I'm glad you gave me the chance to come clean, and now I understand how even fictional emotions can be hurtful.

To Fat Bottom Cabaret, I apologize for not standing up to my troupemates when they insulted you behind your backs after the San Antonio Burlesque Festival.  Y'all deserved to win Best Troupe, and I was too afraid of getting kicked out since some of the blame lied with me for our loss.  I should have left the group rather than participate in the bitter trash talking that happened afterward.

To Ms. Liquid, I apologize for all the times I left you with messes on-stage to clean-up.  While it is the duty of Tease's stage manager and stage kitten to be in charge of clearing the stage, I've realized harmful stereotypes our production may be accidentally reinforcing when the only Black woman is doing all the cleaning and running around.  As a producer, I promise to do better in assisting you and to continue to cast more Black performers (yourself included because you do deserve a break).

To Vylette Vivacious and Helena Isis, I apologize for not being a friend when you needed an ally and not a producer.  I was taught to maintain a level of professionalism when it comes to producing, and I had extended it to our panels at All-con.  However, sometimes I hide behind that wall when I'm not ready to deal with difficult questions.  I am still not sure how to navigate the trick boundary between producer, fellow performer, and friend, but I know that I can give more honest feedback and let y'all speak more when we do our diversity panels. 

To Nox Falls, I apologize for believing the rumors against you and trying to keep my distance until a friend shared the truth.  I'm also sorry for forgetting about the slander and for being complicit in the racist presumption that Black people are guilty. (For everyone who would like to know Nox's story, please read their statement: part one and part two.)

In the past, I brushed off my actions as "accidental" or "complicated".  The reality is that they still reinforce racist ideas.  Too often producers are quick to say that we are looking for "quality" and "professionalism", but we must ask ourselves what we mean by that when we pass on Black performers.  Yes there are individuals of all race who aren't a good fit for a particular or are actually problematic, but I am wondering if we are too quick to dismiss someone when we can resolve the issue or offer them advice on how to improve.  Even if I don't have all the answers, I know I can do better as a producer and an ally.

That's why I've decided to be transparent about past mistakes and future goals.  Prior to quarantine, I had been focused on myself, out of frustration and exhaustion.  Although taking care of oneself is important, I can use my privilege to help elevate Black voices.  I'm going to continue to seek out Black performers and Black instructors and to support POC shows.  I hope my fellow non-Black burlesque performers and producers can do the same.  There's a lot of work to be done.

Black Burlesque, Dance, Drag, and Pole Performers and Instructors

My performing life is taking a backseat to current events.  I am still taking classes because dancing is a form of self-care.  However, I am making more an effort to choose black instructors, just I make sure my shows have POC (and that my all-POC shows include a range of skin color).  I am using my information to compile a list of black burlesque, drag, and pole performers and teachers I know.  Give them your money and support.  Listen to what they have to say.

Burlesque
AphFro'Disia
Bebe Bardot - performer, instructor (burlesque, rollerskating, shake dancing)
Black Battie
Caramel Knowledge
Charlie Sharp - performer, instructor (flexibility and twerking), boa maker
Cherry Antoinette - performer, instructor (burlesque)
Dahlia Derringer
Donna Denise
Elle Ay'Elle
Helena Isis
Honey Cocoa Bourdeauxx - performer, producer (Bourbon and Bourdeaux), instructor (burlesque)
Jeez Loueez - performer, producer (Jeezy's Juke Joint), instructor (twerking)
Lady Lola LeStrange - performer, producer (The Midnight Menagerie)
Lyric Laveau (singer)
Ms. Liquid
Nox Falls - performer, producer (Dark Diamonds Burlesque)
Onyx Fury
Perle Noire - performer, producer (The Noire Pageant), instructor (burlesque and healing)
Raven Rose - performer, producer (The Raven's Nest), costume maker 
Rosie Lipps - performer, producer (Playhouse Productions)
Ru Dubois - performer, accessory maker
Symoan Noire
Tulla Moore - performer, producer (Glitterbomb)
Vylette Vivacious

Dance
Janicka A. Arthur - instructor (ballet)
Neon Fury - performer
Ronnie Skyy Mikyles - performer

Drag
Blackberri
Damien Dupree
Delikate Doll
Kylee O'Hara Fatale - performer, producer (Tuesday Tease and The Queer Off)
Ozzy O-Star
Randy D'Hardness
Rocky Tacoma
Sissy 2.0 Pop

Pole
Amy Henderson - performer, instructor (pole)
Cassie D - instuctor (pole)
Femi Nin9 - instructor (flexibility and pole)

Upcoming shows: The G Spot and QueeranTease!!

My hiatus is about to come to an end.  First I'll be on The G Spot on Cabin Fever Live Stream.  We'll be chatting about an upcoming performance and answering any questions so please join us and ask away!  Check out the graphic below for the Twitch link or search "Cabin Fever Live Stream"

 

The show I'll be talking about is the QueeranTease!! on-line show.  The live premiere is on May 23, 8 PM Central Time.  However, your donation (for the show "ticket") will give you a link that lets you watch whenever.  To donate, send an amount of your choice ($10 suggested) to our producer with a note that it's for the show:

Venmo - Vivienne-Vermuth
PayPal - vforvermuth@gmail.com

Since I'm still working and getting my regular salary, I will be using the money I make from the show to tip my fellow performers and purchase goods and classes from them.  Similarly, my merch proceeds will go to charity to benefit organizations and individuals impacted by this pandemic so check out my Storenvy!

Keep dancing with viral challenges

Finding motivation to dance in the absence of shows and classes can be hard.  In this time of sheltering-in-place, performers and producers have found ways to provide on-line content.  Since I am still working and was on hiatus, I haven't done any of that.  However, I have wanted to utilize my time at home in some fashion that's related to drag or burlesque, as well as not sit at the computer all day.

In addition to taking classes, I started doing some challenges on-line.  Assorted athletes and dancers have done variations on the handstand, and since I have no means to do lyra or pole, I could at least work on my headstand (eventually handstand).  I haven't done too much, as I am trying to avoid injury and apartment damage, but I was able to figure out the doorway handstand.

View this post on Instagram

A post shared by Hana Li (@hanaliburlesque) on Mar 24, 2020 at 6:51pm PDT

Then a really fun challenge came my way.  The Asian diaspora burlesque and drag community was inspired by the #DontRushChallenge created by Toluwalase Asolo and her friends.  This required me to get into costume and make-up, something I hadn't done in a while.  However, as I was feeling disconnected from my local community, I thought this was a good way to feel like I was a part of something as a performer.  I wore my new Sean Burns tribute shirt from Props BMX as a nod to Tony Fo-Hawk who wasn't gonna be in it, and then I decided to change into Tuxedo Mask to represent nerdlesque and androgyny (plus he's an Asian character!).  The Totoro fan added more nerdiness although that wasn't originally intended.  I actually broke a wooden hand fan in a failed attempt at throwing and catching.
Viva Lamore did a wonderful job of editing 32 clips, and Filipina DJ/percussionist/vocalist Gingee provided the music.  Miss Catwings compiled all the names and links of the performers below:
Temera T'Tease
Miss Catwings
Ruby Corvette
Agent Wednesday
Joyen Santos
Misty Lotus
Viva Lamore
Kaajel Patel
Bea Lissima
Miso Honey
Diamondback Annie
Marianne Cheesecake
Black Orchid
Jaeda Mei
Juniper Lai
ChiChi Roniz
Hana Li
Alisa Evelyn
Siomai Moore
Mx Tzo
Miso Pretty
Flux Inqueerior
Minx Arcana
Lilly SnatchDragon
Elsie Marley
Jason Kwan Music
Phoenix A'Blaze
Orchid Mei
Wang Newton
Coco Ono
Bessie Snow
Calamity Chang "The Asian Sexsation"

Lastly I wanted to share an earlier on-line challenge I did when I was trying to find ways to reignite my creative spark. Snowboarder Stale Sandbech called upon his followers to create videos inspired by his innovative edit StaleLINES, which has him doing one line (the snowboarding equivalent of a section of choreography) in many locations edited to make one transformative sequence. I was super inspired by his and the filmer Spenny's creativity so I wondered if I could do a dance version. Unfortunately I didn't have a filmer following me so I did different costumes instead of locations. (Music by Marquis of Vaudeville)


It was hard to condense everything to less than a minute. On the flipside, I learned so much about transitions and creating different moods. I want to revisit this challenge again, and this quarantine provides a good opportunity...

2019 in photos

I'm using this time of shelter-in-place to catch up on blog posts although I do still have to work (just mostly at home instead of the lab).  Therefore, updates aren't going as fast as I'd like.  Nevertheless, I'm slowly reorganizing my priorities and getting back into writing and dancing.

This year I decided to stop using Tumblr.  It was a time suck, and the new censorship rules meant most performers were leaving the platform.  When I finally made the announcement, I realized I was in the middle of my year-end recap so this is the last Tumblr year-in-review you'll get: part 1 and part 2. 

Don't worry, I'll find something more suitable to replace it.  I'll make a separate post about my modeling endeavors from the past year, but you get a glimpse of some in my Instagram Best Nine (not all were taken in 2019):

I think I've covered enough of my thoughts about 2019 with my last two full-length posts, and I'll definitely share some of the happier memories in the near-future.  As Texas is still in quarantine through the middle of May, I should have the time.

Lastly, I want to announce a special livestream series Tuesday Tease is planning.  We know how our fans appreciate the sense of community and miss seeing their favorite performers, many of whom are in tight financial situations.  Therefore, we (namely Vivienne Vermuth) are bringing 2 hours of programming on our Facebook page every Tuesday starting this week.   You'll see a different side of performers as they host a workshop, give you a peak on how they get into face, or even do a long-form act.  Click here to join us every Tuesday from 7 PM to 9 PM!

Burlesque in a Time of Coronavirus

“Rest is not idleness, and to lie sometimes on the grass under the trees on a summer's day, listening to the murmur of water, or watching the clouds float across the blue sky, is by no means waste of time.” - Baron John Lubbock, The Use of Life

This was supposed to be a post about my return to the stage after taking a couple months off, but life has a funny way of letting you know when it's NOT time.  In this case, "funny" actually means "really awful for a lot of people". I'm sure the lasting effects of these cancelled events and struggles to find substitutes will reach me eventually, but let's rewind to before all of this, when I was on hiatus.

Burlesque Bushfire Benefit cast
Photo by Moore Lightworks

Early February, I made my way to Colorado for the Dew Tour.  Although this was a dream vacation in the mountains, I contemplated performing in a new city.  In the past, out-of-town gigs helped revitalize my passion for burlesque.  The opportunity popped up in the form of Warrior Wake Productions's Burlesque Bushfire Benefit: I couldn't resist performing for a good cause.  Georgia May Wake, the producer, loved "Black Glasses", an appropriate number to make my return with, and I planned my trip with an extra day in Denver to hang with my old buddy Tristan Von and do the show.  Being in the historic D&F Clocktower and getting ready next to Midnite Martini's BHoF trophy made the experience even cooler!  Everyone in the show was super nice, and although the show was a weekday, turn-out was great.  I'm glad we could help the relief efforts in Australia.


Coming home, I felt good, but work in the lab and behind the curtain started to pile up.  I was producing more shows than before, and while I have really come to enjoy producing, the responsibilities were becoming overwhelming.  I will also confess to being envious of performers who had more stage time.  My problem was that I couldn't do more shows lest I wind up in last year's situation.

As I tried to keep going at a reasonable pace, All-con crept up on me.  Out of frustration in scrambling to prepare for a con while still doing lab work and producing, I had wished that I had contracted the novel coronavirus that was starting to spread in the U.S. in order to take a true break (since apparently my mountain vacation wasn't enough).  A half-hearted wish was spoken into fruition somewhat.  I wound up being exposed second-hand.  I hung onto to the hope of still being able to debut my new act at Glitterbomb, but the responsible thing to do was to self-quarantine for 14 days.  No con (it was cancelled after the first day), no shows, no lyra or pole dancing, no other forms of socializing.

Only fake coughing here.
"So Long and Goodnight" - Mustache Envy: Gothic Prom
Photo by Cher Musico Photography

To be honest, I'm enjoying this extended break.  The hardest part initially was trying to workout without the lure of lyra or pole and my usual work day of running between labs.  Thankfully several performers have come up with on-line classes, giving me an opportunity to learn from people I normally don't get to.  The struggle has shifted to find the same level of motivation to rehearse and refine my existing acts.  There's no future show in sight to help me focus.  I have taken the time to clean and repair costumes so that's a step forward.  Really this is a sign to to reflect on what I want out of burlesque, especially without the producer angle distracting... and maybe to stop relying on the stress of a deadline to get me creating and working. 

How will I emerge from this pandemic?  I don't know, but I'm not ready to quit... yet.  I just have to figure out how to turn these smoldering coals of desire back into flames of passion in whatever new form they may take.  It's not an easy endeavor, but it's not a bad work-from-home activity either.

Please continue supporting your favorite performers.  The links to Glitterbomb and on-line classes are just a couple of ways you can contribute.  I'm doing fine so please help my comrades who are financially struggling.