Kitten DeVille. Photo credit: Neil Kendall.
Anyone who’s spent any time watching Atlanta’s burlesque scene knows we have some amazing performers and troupes, but Southern Fried Burlesque Fest finally put Atlanta on the map as having its own weekender featuring nationally known stars, legends and local and regional performers. At last year’s premiere event, we had an amazing time watching some of the most creative acts ever to hit local stages and mixing and mingling over cocktails in between. So needless to say, ATLRetro can’t wait for the second annual festival this weekend (March 8-11) at the Courtyard Marriott/Decatur Conference Center.
Look out for a full preview soon, but in the true spirit of tease, we couldn’t wait to titillate you with an exclusive interview with headliner Kitten DeVille, Miss Exotic World 2002 and the Queen of the Quake. Kitten is the shake-rattle-and rock ‘n’ roll 3-D embodiment of the cat’s meow, the quintessential Kool Kat, and one of the key founders of the neo-burlesque revival. So listen up, kids, as she divulges some sexy secrets about the pioneer days of the early ’90s (to find out how Atlanta’s own burlesque revival began, check out Torchy Taboo‘s tale of the city’s first show here.), as well as what she’ll be up to this weekend. Oh, and we just couldn’t resist asking her what it was like to shoot the “Ultra Twist” video with The Cramps… Lux Interior, Kitten and we miss you more than you could ever imagine!
ATLRetro: When you got started in burlesque, the art form was mostly dead. Yet around the country in the early-mid ‘90s, it seemed like there was almost a simultaneous energy to bring it back. Can you talk a little bit about the early days of the Burlesque revival and what inspired you to perform?
Kitten DeVille: At the time I was go go dancing along with Michelle Carr at an underground gay club inLos Angeles called Club Fuck. I was collecting vintage men’s magazines and had always been inspired by the photos of burlesque dancers. Their photos seemed to capture incredibly, fierce and glamourous women having fun on their own terms. Their costumes inspired me to make all my go-go costumes in their style . When Michelle and Elvia ( the creators of [Los Angeles burlesque troupe] The Velvet Hammer) started talking about putting together a burlesque supper club I was sold on the idea. The first Velvet Hammer was held on Valentines Day 1995. Lux & [Poison] Ivy (of The Cramps) were in the sold-out audience. I was hooked from the very start – one-upping my costumes, always in search of the next song. Backstage was like a girls night out – champagne, laughter, catching up on the latest stories. (I still feel this way backstage today.)
Kitten DeVille Miss Exotic World 2002 Promo shot. Photo credit: Don Spiro.
Some things that were different in the start that maybe girls do not think about today [include]:
In the 1990s, there was really nowhere to go for 8x10s. There were no modern pin up photographers like there are today. We had to make it up as we went along, designing our shoots, telling them we wanted a certain mood and lighting. Most photographers did not ‘get it right off the bat.
There was no place to buy costumes. The lingerie industry was pretty boring, very plain compared to what is out there now (also pretty burlesque-inspired if you ask me). There are so many things that seem so common now that were really hard-to-find objects in the ’90s, from hair ornaments [to] shoes, clothing. Most things we could only obtain in vintage form; now there is so much off the rack .
At the 2000 Miss Exotic World & Tease-O-Rama in 2001 there were only a handful of neoburlesque girls. It was an exciting world to ourselves. Each year our numbers grew. We returned with new stories and adventures. Our world expanded. We helped each other along; we were inspired by the legends. We witnessed the burlesque explosion. It is pretty amazing to watch a scene grow, to be a part of it from the very beginnings. Because when you are in the midst of it, you do not understand that you are part of this history, that people will one day be inspired by you, that we were creating and forming this thing that has become modern burlesque. It is quite an honor.
What kinds of people came to those early Velvet Hammer shows?
Gays, straights, hipsters. We had an underground mixed crowd right from the start. It was its own scene. People dressed up. It was an event, a real night out on the town affair.
Today’s burlesque performers can learn their craft in classes through schools of burlesque such as yours. How did you develop your stage style and did you have any mentors/early inspirations/role models in the art of burlesque?
In 1994, when I started creating my first burlesque act, there was no YouTube and very little vintage burlesque easily available on video. I took what I saw in vintage burlesque photos and blended it with what I believed they must have been doing on stage with their bodies and created my own style of burlesque. My main inspirations for my movements are Lilie Christine‘s photos and Lux Interior’s and Iggy Pop‘s no-holds-barred stage presence.
Kitten DeVille & Lux Interior.
What was it like working with the Cramps?
Working and performing with the Cramps has been amazing and intimidating. I had been a huge fan of Lux and Ivy for years. At first, I felt so meek sitting in the same room with them. But they are such wonderful people, very friendly and funny. At one point Lux was asking our opinion on which heels he should wear for the shoot and if we would mind doing an extra scene riding in a back of a convertible with them. Lux also liked to take 3D photos, and backstage at the Key Club, he was doing an impromptu photo shoot of Michelle and me when we opened for their show. Now that was a mix of horror and amazement because the event was over-sold so people were packed in standing room only from stage to exit and here we were opening for The Cramps! Not really a burlesque show audience, people had only one thing on their minds and that was Lux & Poison or so it felt to me. I remember walking onto stage and looking into their faces. It seemed as if half the audience was super into what I was doing and half had that look of, “OK, now bring on The Cramps! But the best thing from that night was what the DJ and some people in the booth overheard Lux saying to Ivy as they watched me perform. Lux had leaned over to Ivy and said “now how are we going to follow that!”
What about being shot by Bunny Yeager and David LaChapelle?
Bunny Yeager is such a pro, such an eye and very easy to work with. I only wished I would have filmed the shoot so I could remember all the little tricks she was telling me, just an inch here or a hand held there. Her direction and photos came out flawless. I remember she kept wanting me to be naked and in the end I was. Ha ha, she has her ways of getting what she wants, and, well, it’s Bunny and who else should be the first photographer to shoot nude photos of me?!
David LaChapelle is so fun to work with. It is always a crazy party; you never know what to expect out of the day. I had first met him with a mutual friend in the Hollywood Forever Cemetery watching movies being projected on the wall. He said that he liked the dress I was wearing and asked if he could put my number in his phone. I have done a few photos, videos and commercials with him. He is such an artist and very sweet.
What’s your favorite performance thus far and why?
I cannot choose only one. Many of my performances have a special place in my heart for different reasons, but the one that shines is “The Casting Couch” that Dixie Evans personally taught to me back at the Ranch. I love Dixie. She is the most enthusiastic, knowledgeable and kindest lady I have ever met in the field of burlesque. She is the glue that binds this whole scene from the beginnings to the modern day. When I was asked to perform a tribute number at the Burlesque Hall of Fame, I instantly chose Dixie.
I spent a couple days with her teaching me her routine, filming her, taking down notes on what songs she had used. And in the end she was insistent that I finish the routine with something of myself, with my bumps and grinds, because she had said “no one can shake the way you shake and you have to make this your own.” So I added “The Man with the Golden Arm” song to the end and made her routine have a bit of myself mixed into it. This is the only time I have ever performed someone else’s choreography and such a well-known routine. Although it went off wonderfully, it was such a challenge of nerves to perform it in front of her and my peers at BHoF that I put the routine away for about five years. I brought it back out again for Viva Las Vegas and spent the next two years touring with it because I loved doing it so much. Funny how things go sometimes .
Kitten DeVille. Photo credit: Luca Rome.
For us East Coast Southerners, what’s the Rock & Roll StripShow, how did you get the idea and is that still happening?
The Rock & Roll StripShow is a joint effort of Joseph Brooks, Annie Sperling and myself. It came about because of a few different reasons. First, there are no large-venue burlesque shows in Los Angeles. Second I wanted to co-produce something with Joseph Brooks who is hugely responsible for the underground club scene in LA starting in the late 1980s which I loved dancing at. And thirdly I wanted to combine my two favorite worlds – rock & roll and burlesque – something most people were not doing back in 2005. Rock & Roll StripShow features our own band and guest singers which have included David J of Bauhaus fame, Pearl Harbor, Kitten on the Keys and other wonderful performers. We handpick a headliner roster of performers, and the night is filled with burlesque performances set to live Rock & Roll in a proper venue with amazing sound and lightin . It is a main event attracting everyone from Dita [Von Teese], David LaChapelle and a who’s who in LA to attend. Right now we are looking to take StripShow on tour. We also want to attach it to larger burlesque or Rock & Roll festivals .
Kitten DeVille Onstage in New Orleans.
What will you be up to at Southern Fried Burlesque Fest?
I am performing on Friday night [at Free Range Burlesque] and judging the [Southern Fried Burlesque] Pageant on Saturday. I am also teaching two classes. I have a movement class [Sat. 3:15] that is guaranteed to have the students feeling their bodies, and also a question/answer [Sat. 4:30 p.m.], ask-me-anything sort of a class that should be really fun because I never know what I will be asked and they maybe surprised by my answers.
What else, other than your own performance and classes, are you looking forward to the most at SFBF?
Watching the other performances. I love Perle [Perle Noire, the Black Pearl] and Angel [ Satan’s Angel]. They are both always so inspiring. I am excited to watch and meet all the wonderful performers. My favorite things about festivals are meeting and making new friends. I have never been to Georgia before so I am also excited to be in a new place, to soak up my surrounding and sample the food.
You’re quite the multitalented Renaissance woman of burlesque. What else are you up to right now in movies, music, modeling?
I have been doing some interesting modeling work with Annie Sperling. I am in talks with a producer about doing a TV show. I am thinking about doing some writing, and I am working on setting up another European tour for late summer early fall. I am also traveling the states doing festivals. I have Viva Las Vegas and the Texas Burlesque Festival in April and The Windy City Burlesque Festival in July .
What question does no one ever ask you that you wish someone did? And what’s the answer?
Wow, what a great question! I think I am too much of a Scorpio to give away all my secrets, but now you have my mind spinning for the perfect question. I will have to get back to you on that one.
In addition to Kitten DeVille’s main Website, she invites you to enjoy more pics and clips at https://kittendeville.tumblr.com/.
What’s next for you?
Subscribe to ATLRetro
Join us on Facebook
Follow us on Twitter