http://www.thestranger.com/seattle/the-burlesque-shoah/Content?oid=4399613 Comments On: The Burlesque Shoah by Dan Savage en-us Copyright 2013 The Stranger. All rights reserved. This RSS file is offered to individuals, The Stranger readers, and non-commercial organizations only. Any commercial websites wishing to use this RSS file, please contact The Stranger. webmaster@thestranger.com (The Stranger Webmaster) Sat, 25 May 2013 00:00:01 -0700 Sat, 25 May 2013 07:15:00 -0700 Foundation http://blogs.law.harvard.edu/tech/rss Posted by Moxie LaBouche]]> Wed, 13 Feb 2013 19:42:59 -0800 The Stranger You cannot throw a tissue down in Seattle without hitting a "burlesque performer". I find BQ blasé anymore.
Frankly, it has become more of a Ego Boost than an Empowerment. Women in Burly-Q have become arrogant and in many cases unkind, playing high school games of who's most popular within their many cliques. The only ones in the audience are friends of the women in the show.
I have seen supposed Burly Hierarchy on Facebook's Burly Clubs- shred the likes of Dita Von Tease for the Sin of doing an Opium act, "How dare she? She's NOT Asian like me! OMG!" and the cruel treatment of out of towners, who have similar names to more famous performers, slicing them -up and down as if they, are the keepers of said performers reputations, all to look important to them and receive some sort of nod of "yeah, I had your back, how dare they use part of your name!
There are the so called, main stay performers, who serve up venom to newbies, as if to beckon "Look at Me, I am so fucking important, my opinion weighs so heavily, cuz I take off my clothes" . Well La De Da Snot Face McGraw!
The advent of Burly Con has turned burlesque into a quilting club. Women gathered around, Paying a lofty fee to posture- who has the most rhinestones on their costumes, who has the most feathers in their fans.... They have developed a class system, of who's most important, within their back biting "community" .
Somehow Burly-Q has become way less about a titillating art form, for which it was intended, and much more about who wear's the crown. Their reigning "queen" who had how many swipes before they finally handed her the crown to get rid her of yearly competing- over and over again... like 8 times? Can she not see how belittling that was?
The only true burlesque "Star" we have left is Tamara the Trapeze Lady. Who started the majority of this craft to begin with back in 1999. She still possesses grace and a fine tuned sense of Entertainment.
I agree with you Dan, it's is over saturated and on it's way out, all over again, just like burlesque in the 70's. Goodbye.
Posted by WhatYoNameIs]]> Sat, 19 Jan 2013 02:47:51 -0800 The Stranger
Dan's aim in this article is to see burlesque thrive and grow, not stagnate and disappear. And a bad show is a bad show, no matter who the performer is and/or what the art being performed is.

Take, for example, the singer/songwriter scene in America. It used to be fantastic: people writing and singing about things that mattered, and trying new things musically. Now? It's AAA radio-ready pop-folk mush, with little or no soul. Even the old-timers have lost their fire (except Tom Waits.. that guy is awesome!) The local 'folk societies' are the worst: they have no sense of what they're doing, and it's just a big old back-patting party when you see them together... and it's sooooooo boring! It makes me sad, as folk music doesn't have to be boring (pick up a Kingston Trio live album for the early 60's to see what I mean; I suggest "Live from the Hungry I")

Burlesque could go the same way: too much "you're awesome" and not enough "hey, here's something that didn't work but might if you try something different with it". Constructive criticism is not a bad thing, folks! But we live in a world of 'dare not criticize' and all that PC garbage; everybody's so afraid to offend someone else. Burlesque doesn't thrive in that mindset: it needs to be fun, irreverent, edgey, even at times offensive. And the crowd should feel free to be a little lewd themselves: this isn't the Disney Channel!
Posted by Slaritbartfast]]> Tue, 08 Jan 2013 14:43:18 -0800 The Stranger 1. Singer of a good, but loud band is so pissed off that people in the bar aren't paying attention to the music, that he throws a hissy fit and shouts into the mic for everyone to shut up because he's trying to play. He was met with a couple of "Fuck Yous" and a lot of people going somewhere else.
2. On a different night a soloist with a guitar is having a similar problem. His solution? He unplugged everything, dragged a chair into the middle of the room, stood on it and sang without amplification. He captivated the entire bar.

I'm a burlesque performer who has performed her art in people's homes, in a church, at a pre-school fundraiser, in bar/cabaret settings, in broadway sized thaeatres, in large concert halls, and in front of an orchestra at Symphony Hall. I've performed in front of thousands of people. I've performed in front of 5 people. I have never instructed people how to react to my art. I have tailored my acts to my audiences. I have improvised mid-act if my original concept wasn't doing the trick. I know I can't please everyone all the time, but I do know that I can sure as hell try. If I have an absolutely stunning costume, I better be able to do that costume justice. Hell, the costume should be trying to do ME justice, not the other way around.

@77 You've clearly only seen the burlesque shows that Savage is pointing out as the ones that should get booed.
Posted by SugarDish]]> Wed, 15 Sep 2010 12:26:36 -0700 The Stranger
I think anyone who gets worked up about this being meanspirited or anything similar is exactly what Dan's warning about.
Posted by CaptainScorpio]]> Thu, 19 Aug 2010 10:46:52 -0700 The Stranger
I've worked with troupes for over 10 years, and some are clearly better/serious more than others, but I would simply say it should lie in the patronage. Even the best troupes really don't make a lot of money, and I think the message can get across without any sort of horrible booing.

That's just fucking rude.

Sure, there's classical, neo-burlesque, and a host of other themed troupes, but it's generally a labour of love.

Since dwindling crowds or packed-houses are a pretty good indicator of interest, I don't see how things should change. For every good troupe, there's three unforgivably terrible ones, but it all settles pretty quickly, regardless.
Posted by Jian Bastille]]> Wed, 18 Aug 2010 19:03:46 -0700 The Stranger http://bit.ly/dgVBql

Posted by Melody Mudd]]> Thu, 12 Aug 2010 21:21:28 -0700 The Stranger
Posted by Melody Mudd]]> Thu, 12 Aug 2010 21:13:09 -0700 The Stranger

Posted by Roulette Rose]]> Sun, 08 Aug 2010 21:36:00 -0700 The Stranger
I appreciated your push to look at ourselves with a critical lens, but really- what can one do besides just mind their own business, and I mean business literally. It will all work itself out, and survival of the fittest will take over. You know how that is- you work in a sea of bad writers who could use the same advice you are giving.
If a show/performer actually sucks bad enough, people will stop showing up- I've seen it happen.

But maybe you aren't aware of something since you talk like an expert on the subject- the fittest have survived the last 20 years, not seven like you stated ("The burlesque revival is going strong—we're in year seven with all the books, documentaries, and classes").

The burlesque revival started at different times for many individual performers, many of who were performing burlesque but 1) didn't know that their performances were called "burlesque" or 2)they were strippers who were consciously influenced by historically known burlesque performers and vintaged personas.
My records date the revival getting its jump-start in the early 90's and hitting a peak a couple times since then, and not in all cities at the same time, at that.

For example, there was a New Orleans troupe from the 90's that left a big name for themselves and then kind of just disappeared, and (without any specific record to refer to to say this...) it SEEMS like it might have been another 5 years until burlesque shows left the dive bars to hit bigger stages and triple digit attendance numbers like some of us are seeing now.
And then- we have this lady who tauts herself as the "Burlesque Queen of New Orleans in the 1980's" but I can't find any archival data on her, but it leads me to understand that someone was doing something.

So, I just wanted to say that I think you might be jumping the gun in using this "seventh year" idea, and I love your columns, I've been a follower since I lived in Portland and read "The Mercury", but I think you are missing some historical information to back up your criticism and you are also looking at it from the point of view of an audience member that is seeing a lot of burlesque, too much burlesque (there is such a thing). I would get sick of seeing my favorite performer too many times in a row, and you kind of just made yourself watch a few things that were similar too many times in a row!

While each burlesque troupe/show/performer has their return audience, there is constantly a new audience coming in as well, and if they are too square to be a regular patron, at least many of them look back on it fondly, as the first time they go to see a burlesque show, or a girly show, or their friend the burlesque dancer- and those stories are told often.

Thank you for your insights, they are taken to heart.
Sincerely,
Roulette Rose
Posted by Roulette Rose]]> Sun, 08 Aug 2010 21:25:39 -0700 The Stranger Posted by akynos]]> Thu, 05 Aug 2010 11:54:23 -0700 The Stranger http://epicwinburlesque.com) they do amazing shows with slightly nerdy themes, including batman and ghostbusters. What's more, their MC is great!
Posted by 84erica42]]> Fri, 30 Jul 2010 21:09:30 -0700 The Stranger
I am the editor of BurlesqueScene.com here in New Orleans and our audiences don't boo the performers, although sometimes you can tell they're less interested during certain acts. As a photographer, I am very focused on the performer. However at a recent show, my business partner stood off to the side and watched the audience instead of the performer. He was able to specifically see from moment to moment when a performer captured the audience's interest and when they lost it. I presume the performers can see this as well for themselves from the stage, so they must be getting their feedback right away. Whether the audience boos or not, their ultimate vote is with their continuing attendance.

But I don't think booing is the way to go these days, because the women are sharing an intimate part of themselves and that should be respected to a level. These days, Burlesque has become not just performance but a blend of celebration, performance and parade. And here in New Orleans, we never boo a parade.
Posted by BurlesqueScene.com]]> Tue, 27 Jul 2010 00:25:04 -0700 The Stranger
As the Founder and "Grande Fromage" of StripCHEEZ.com - a site devoted exclusively to Burlesque videos and the community and also a fan of the art form, I have to say I agree with the general direction of your article.

I'm currently at the Toronto Burlesque Festival, where your article was presented to a group of us on a panel in a press conference yesterday, It was presented as a worrying critique, but as we discussed it, our opinions revealed an understanding of your sentiments and an acknowledgement that in this wonderful and wonderfully fun, sexy community, evolution is actively in progress and a viewing 4 shows in one community is not an adequate enough sample from which to draw wide-ranging conclusions of the art-form as a whole.

That being said, I've seen a lot of Performers and MC's that need to step up their game as far as entertaining and interacting with their audiences, yet I've also seen a lot of performers really innovating the art form, and really work at what they're doing. When they're on stage, they give us more than we expected and the magic happens.

They will grow Burlesque, they will inspire new performers and audience members and they will definitely have a cultural relevance and worth.

Regards,

TINK

PS: The wonderful April O'Peel of the Screaming Chicken Theatrical Society in Vancouver posted a considered piece in our CHEEZblog on your article:

http://www.stripcheez.com/blog/
Posted by TINK]]> Fri, 23 Jul 2010 08:39:49 -0700 The Stranger
I've only been producing Events in Seattle for a few years now, but I have also recently started branching out of the city, and have been received with open arms where Seattle fought me tooth and nail, criticized me, and if not prayed for my failure, muttered beneath their breath the many reasons they didn't support me.

Not just with the burlesque scene, or the band scene, or the dj scene, but also with the Art scene, the comedy scene, and the fashion scene.

I've worked with all of them across the board, and a lot of these issues are prevalent in every scene. I don't do it because I can make a profit, in fact I think it's pretty obvious to anybody who has stood by me these last few years that that is nowhere NEAR the case.

I do it because I have a genuine appreciation for the Art Culture. More specifically, I just want to see people pursuing their passions, but for the most part, there is a lack of gratitude, a sense of self entitlement, and an extreme sense of prejudice against anybody who is "outside of the circle."

I don't see this article as negative at all. In fact, I feel like you truly held back as a matter of sensitivity to people who are more than likely personal friends.

Far too many people spend time tip-toeing across the eggshells.

Bravo.


Posted by ActiveRyan]]> Tue, 20 Jul 2010 01:17:00 -0700 The Stranger

Posted by omgosh]]> Fri, 16 Jul 2010 18:53:22 -0700 The Stranger Posted by beachboy]]> Thu, 15 Jul 2010 20:46:27 -0700 The Stranger
Everybody thinks their tiny sandbox is the best when they've never been to the beach.
Posted by Screwball Diva]]> Thu, 15 Jul 2010 11:03:38 -0700 The Stranger Posted by xxO]]> Thu, 15 Jul 2010 00:11:28 -0700 The Stranger
@91, I think the current scene is a mixed bag and you're making a rather glum generalization. The Bombshells for instance (God, I've said this like 20 times now) put on consistently great shows, the occasional miss sure, but in general they're extremely entertaining. You don't like 'em? Great, but they keep filling the Triple Door for consecutive nights.

You can agree that criticism is healthy and still (as I do) think Dan's article isn't very good. Not because it isn't positive enough, but because you've seen most of the acts/people he discusses, multiple times, and disagree with his assessment. And by the way (as I already said) I've seen some of the stuff he LIKED and I DIDN'T like it, so it's not as if I'm just a pushover.


Posted by Actionsquid]]> Wed, 14 Jul 2010 12:26:43 -0700 The Stranger Posted by squabmeat]]> Tue, 13 Jul 2010 18:42:14 -0700 The Stranger
I have been thinking that criticism is what this scene sorely needs.

Put down your torches and pitchforks and listen to the warning that Dan is trying to tell you.

For my mind, he has a much better grasp of the overview of theatrical history than the ones who would criticize him.

Drag died because of it's arrogance and contempt for audiences, (the same kind I see here in these messages.) Before that vaudeville, silent films, minstrel shows, ect.

Audiences are MUCH smarter than you think and burlesque if it is to continue needs to move past the "sideshow amusement" phase and into the "real artform" phase.

This will only happen from criticism and hard work. This group hug, "I'm ok, you're ok" back slapping is pointless.

All we get is a great big heeping pile of "OK."

I find the current scene stagnant and lacking in innovation and titillation.

This alleged supportive community is filled with the same kind of feminine cupidity one can find in any teenage girl's summer camp. It's a crock.

Some of my favorite fans are gay men, 'cause sweetie - if you can turn THEM on then you KNOW you're doing it right!

TOUGH TITS - that's what you get once you become a seasoned performer and you will never become one if you can't learn to take some CONSTRUCTIVE criticism.

I am glad that I was raised as a performer to accept constructive criticism, and to never consider myself above the audience. You have a duty and responsibility when someone buys a ticket to make that ticket valuable.

You CAN be selling out seats one day that are empty the next.

Go ahead and think you can't - If you're looking for me - I'll be the one laughing on the sidelines when it all comes tumbling down!





Posted by Screwball Diva]]> Tue, 13 Jul 2010 16:20:59 -0700 The Stranger
For the most part I succeed, week after week after week.

NYC burlesque is not to be trifled with.

We're creative, intelligent, skilled and we're in it for the fun of it, so please don't come to a show with your I'm Gonna Be A DICK Agenda. Please don't come to a show if all you wanna do is have a conversation whether electronic or otherwise.

Yes, in the end we're gonna get semi-naked (unless we're doing a reverse strip), but if we're doing our jobs, the journey to the end is full of sexy, thought provoking deliciousness.
Posted by FemAppeal]]> Tue, 13 Jul 2010 15:20:25 -0700 The Stranger
Also I think that as a gay man you aren't really the target audience for burlesque featuring mostly female performers. I have been producing Burlesque and variety shows in New York now for over 4 years. My audiences have grown despite many other shows around me failing.

I also book variety acts, sideshow acts and comedians with the burlesque performers which I think has added to my longevity. For the most part my audience demographic is straight males, straight women and lesbians. We might have one or two gay men, but it's rare. Just as the traditional high quality drag shows probably did not have a large straight male audience, burlesque does not have a huge gay male audience. There are some extremely talented gay male performers but for the most part the audience is straight.

I am also an MC and a damn good one. I work not only in Burlesque but in comedy and various shows throughout New York city. Most New York shows are tight, fast, and include extremely well thought polished performances for the most part. It is survival of the fittest here, troupes are rare as most performers freelance from show to show and I think that alone makes our performers better. Instead of being in a safe happy environment were they are automatically booked such as a troupe, freelancers are forced to compete and as a result the talent pool is much better to pull from.

And as for long shows with long intermissions, that is usually the result of the venue owner hoping to get as much money out of that audience as possible. We have the same problem here with owners pushing for longer and longer shows. I agree that every art form has its peak, and over saturation can kill anything, and I know very little about the Seattle scene, but if you were to see some shows in New York or Vegas I think you would have a totally different experience.

And as for instructing the audience on how to respond to burlesque that is standard. The reason is because today's audience doesn't know how to respond to women removing their clothes in public, I mean how many screams and cheers are heard at a traditional strip club? Also because of the internet, television and movies, most audiences don't quite understand proper etiquette. Ask any theater actor and they will completely agree, cell phone conversations, talking loudly, and generally disrespecting a live performance have almost become the norm.
Posted by Princess Sunshine]]> Tue, 13 Jul 2010 10:05:33 -0700 The Stranger Posted by okayokay]]> Mon, 12 Jul 2010 16:11:48 -0700 The Stranger