Latest / Troubled Men Podcast / TMP337 TRIXIE MINX UNVEILED

Transcript

TMP337 TRIXIE MINX UNVEILED · Troubled Men Podcast

• 0:00
  Speaker A: Foreign. Listeners, welcome back to the Troubled Men podcast. I am Renee Komen, sitting once again in Snake and Jake's Christmas Club Lounge in the heart of the clampire with my co host, the original troubled man for troubled times, Mr. Manny Chevrolet.
• 0:30
  Speaker B: Hey, man, what's happening?
• 0:32
  Speaker A: I'm good. Not too much, man. What's going on with you?
• 0:35
  Speaker B: God, it took me forever to get
• 0:37
  Speaker A: here, man, because of all the road construction.
• 0:39
  Speaker B: Yeah. But also, I was going down Carrollton, and there was this ambulance right off, you know that church right off Oak Street. There was this ambulance there with his lights on.
• 0:50
  Speaker A: Oh, yeah, I saw that.
• 0:52
  Speaker B: And there was a bus that wouldn't go around it. Oh, it just stood there and stood there and it was like, just backed up. Traffic forever, man. It's. You know, I just don't.
• 1:04
  Speaker A: You can't win.
• 1:05
  Speaker B: Once again, you can't win. People disappoint me.
• 1:08
  Speaker A: Sure, sure.
• 1:09
  Speaker B: The worst people are the worst.
• 1:10
  Speaker C: You know, I know I'm getting nervous now because I'm a people.
• 1:14
  Speaker A: Oh, no, no, no, no, no, no. He means everybody.
• 1:17
  Speaker B: Like, in fact, just this past Sunday, I was at. Doing my grocery shopping, and I was at my Trader Joe's.
• 1:26
  Speaker A: Okay.
• 1:26
  Speaker B: And I'm leaving the Trader Joe's. I'm walking in my car, and there's this woman, she's in the middle of the parking lot on her phone, like, just standing there. And I go, you know, you're, like, kind of in the way. And she knows what she says to me, she says, they see me. It's like, yeah, you should move, you stupid. She says, they see me, like, oh, okay, whatever. And then what happens? Ten minutes later, I get him, you know, I get in my car, I'm driving home, and there's this one of these hipster doofus women, you know, with the arm tattoos and the hair, and they probably date a guy with a beard, you know?
• 2:06
  Speaker A: Sure Checks out.
• 2:09
  Speaker B: And she's driving this car, and she's driving all the way from. From Tulane and Broad. You know, the whole time I'm behind, she's got her hazards on. It's like, is there a problem?
• 2:24
  Speaker A: Well, apparently so.
• 2:25
  Speaker B: I went up to. We got to a red light. I was looking, going, what's going on here? And she just looked at me like I was an asshole.
• 2:32
  Speaker A: Sure, sure.
• 2:33
  Speaker B: You know.
• 2:33
  Speaker A: Well, you know, that's. That's what they do. It's like if, you know, if you point out their. Their shortcomings, then you're the problem for pointing it out.
• 2:41
  Speaker B: Right. You know, and then this bus driver this is like, come on, man, go. You got room, right? You're a professional.
• 2:48
  Speaker A: Does it every day. You think he'd know he could put that thing in a. Through the eye of a needle? Sure.
• 2:52
  Speaker B: But it was weird, though, because when I was stopped, I could see in the back of the ambulance and there was some, like, kind of Asian woman back there. They had on a stretcher and she didn't look good.
• 3:02
  Speaker A: Yeah, it's tough, man.
• 3:03
  Speaker B: I don't know. Maybe she ate the wrong kind of dog.
• 3:06
  Speaker A: Oh, geez. I don't know. I don't think that's what it was, but who knows?
• 3:09
  Speaker B: I don't know. But it was in front of that church. Maybe she had a bad communion wafer.
• 3:14
  Speaker A: Could have been, man. I guess those things can go bad. I don't know. You were an altar boy, weren't you? No, no, no.
• 3:21
  Speaker B: But I had to go to Catholic school on Sunday school for a couple years.
• 3:26
  Speaker A: You ever get a bad communion wafer? I. Maybe. I can't remember ever getting one.
• 3:34
  Speaker B: I. And I asked for a slice of cheese with it.
• 3:37
  Speaker A: Okay.
• 3:38
  Speaker B: Can I get some cheese with it? Sure, sure. Or a little. Some of that wine is kind of dry this way.
• 3:42
  Speaker A: Right, right.
• 3:43
  Speaker B: You know, anyway, but that's. And I went to Sunday school and the priest school. He looked like a demon. Really weird.
• 3:52
  Speaker C: Like on purpose. Like he did makeup for it or.
• 3:54
  Speaker B: You know, back then, back in the 70s, you didn't see many people with these goatees. You know, those kind of things.
• 3:58
  Speaker A: Right.
• 3:59
  Speaker B: And then the womb broom. Right here. Sure, yeah. That's going on. He had these beady, like, Buddy Holly glasses.
• 4:07
  Speaker A: Huh.
• 4:08
  Speaker B: He's just a scary looking guy. Yeah. I forget his name. And then one time when we were doing our communion rehearsal, everyone was going to make their first Holy communion and there was this poor kid. I forget his name, but he was. He had some kind of cancer or looking. He lost all his hair and he used to wear this beanie and he made him take it off.
• 4:29
  Speaker C: Oh, that's not nice.
• 4:30
  Speaker B: What are you doing, man? You know, so that's when we started stealing from the poor box.
• 4:35
  Speaker A: Okay. That's all you needed?
• 4:37
  Speaker B: Yeah. Me and my buddy Dave.
• 4:38
  Speaker A: The only excuse you needed, all you
• 4:40
  Speaker B: needed was a straw and some gum. That's all you needed.
• 4:44
  Speaker A: Okay.
• 4:45
  Speaker B: All right.
• 4:47
  Speaker A: Telling your inside secrets there.
• 4:48
  Speaker B: Yeah. Early life and wise. Those churches.
• 4:52
  Speaker A: Yeah, yeah, yeah. Well, now, you know, hardly anybody carries cash.
• 4:55
  Speaker B: Yeah.
• 4:56
  Speaker A: So I wonder if these churches are doing Venmo now like everybody else.
• 4:59
  Speaker B: I haven't been to church. I don't know. Yes, Communion.
• 5:01
  Speaker A: Yeah, yeah, yeah. Now, now, now. Recalling your, your first Holy Communion.
• 5:06
  Speaker B: They.
• 5:07
  Speaker A: The I remember thing was you'd have to go to your first confession or at least make confession. Oh, okay. All right.
• 5:13
  Speaker B: I don't know. But yeah, you have to go make. You have to do your first.
• 5:16
  Speaker A: But you know, most six year olds, they don't have a lot.
• 5:18
  Speaker B: See, I didn't see my mom was against the church.
• 5:21
  Speaker A: Oh, so she held you off.
• 5:23
  Speaker B: So I didn't do it when I was like five or six. I did it when I was like 12, 13.
• 5:28
  Speaker A: Oh, okay, so you had some sense built up.
• 5:30
  Speaker B: Yeah, I had, I had repetition going already. Yeah, I actually, I was like, I was like, what am I doing? So I just made up things.
• 5:38
  Speaker A: Well, that's what you got to do when you're six. Yeah, I mean that's. I was like, I don't know, I
• 5:42
  Speaker B: took a dump on the floor. I don't know, that kind of stuff.
• 5:47
  Speaker A: I don't know.
• 5:47
  Speaker B: I stole from the poor boss.
• 5:49
  Speaker A: Right, right, right. You can't tell them that. That's a be snitching.
• 5:52
  Speaker B: Oh yeah, because my mom was very anti church, but we were always broke, so. Oh, I remember my grandmother, she bribed, bribed me into doing your mom? My mom bribed me to do it. Yeah. You did a lot of gifts and all that.
• 6:07
  Speaker A: I got certain payoff.
• 6:09
  Speaker B: Yeah. Yeah. Anyway, those were good times. Sure.
• 6:12
  Speaker A: Yeah, yeah, yeah, yeah.
• 6:13
  Speaker C: I'm confused though. So wait, you're grandma bribed you to go to church?
• 6:16
  Speaker B: Well, no, she bribed my mom. My mom was.
• 6:18
  Speaker A: We were always broke to let him make his communion.
• 6:20
  Speaker B: Yeah.
• 6:21
  Speaker A: So it was like grandmother wanted it, the mom didn't want it, you know,
• 6:26
  Speaker B: what are you going to do?
• 6:27
  Speaker A: Yeah, you got to use whatever leverage you can. Well, we're back. We had last week off. Yeah, I was up in the, the frozen north. It was, it was frozen but not, not snowing. It was hot, it was dry, the roads were dry. Had a string of successful gigs. New York City, had a day off in New York City.
• 6:47
  Speaker B: So you have it then. You've got it.
• 6:49
  Speaker A: What?
• 6:50
  Speaker B: My Bosco. Oh, every time you go to the east coast, you're supposed to get me some Bosco.
• 6:55
  Speaker A: You didn't remind me. You know, they actually have Bosco here in town.
• 6:59
  Speaker B: I haven't seen it.
• 7:00
  Speaker A: Well, I looked it up. They have it at one of the Walmarts.
• 7:02
  Speaker B: I've tried, I've gone. They say they have it. I go there. They don't have it.
• 7:06
  Speaker A: They don't have it also on Amazon. We can order some Bosco. Maybe I'll put in an order for you and surprise you. You know, when I'm out on the road, it's funny, I'm so occupied, I barely have time to like, call my mother or something like that. You know, you'd think, oh, you can find five minutes. Some days I don't have five minutes Playing in two bands. Sound checking with two bands. Running the merch for the iguanas, Trying to feed myself in between all that. It's a very labor intensive operation.
• 7:37
  Speaker B: Five minutes to get a bottle of Boston.
• 7:38
  Speaker A: I don't, don't have.
• 7:39
  Speaker B: Can't.
• 7:40
  Speaker A: No, I don't have five minutes to go to the store anyway. It wasn't on my mind. I'll have. Have to. You got to remind me of these things.
• 7:46
  Speaker B: All right.
• 7:47
  Speaker A: Anyway, sorry about that because I did enjoy having the Bosco while we had it.
• 7:50
  Speaker B: It was. Yeah, it's good stuff.
• 7:52
  Speaker A: It's better than the, the Hershey's.
• 7:54
  Speaker B: Oh, much better.
• 7:55
  Speaker A: It's got some. It's got a little bit of grit to it. I like that. It's got more body to it.
• 7:59
  Speaker B: Yes.
• 8:00
  Speaker A: Stands up to the ice cream.
• 8:01
  Speaker B: It's really good with the strawberries.
• 8:03
  Speaker A: Oh, okay. Yeah, yeah, yeah. Oh. Oh, you like it or just the fruit? Strawberries.
• 8:07
  Speaker C: See how that in upstate too, right?
• 8:09
  Speaker A: Yeah, yeah, yeah, yeah.
• 8:10
  Speaker C: My parents are from upstate and they would talk about it forever. They loved it.
• 8:14
  Speaker A: Well, they used to have it down here when I was a kid. That the knockoff version? You know, if you were, if you were poor, you know, you would, you would get Bosco.
• 8:21
  Speaker C: Okay.
• 8:21
  Speaker A: But as, as opposed to Hershey's Serif. So we always had Bosco, but, but then, then I don't know.
• 8:27
  Speaker B: And it came in those really cool glass bottles, remember?
• 8:30
  Speaker A: Yeah, yeah, yeah.
• 8:30
  Speaker B: Before they went to plastic.
• 8:32
  Speaker A: Right, right. It was a. It was a brown bottle. It was kind of tapered.
• 8:36
  Speaker B: It was wider test tube almost.
• 8:38
  Speaker A: Yeah, yeah.
• 8:39
  Speaker B: It did have like a little like a beaker. Right, right.
• 8:43
  Speaker A: With the, with the metal top.
• 8:44
  Speaker B: Right.
• 8:45
  Speaker A: Metal top on glass. Yeah, yeah, yeah. Good times, you know, memories. That's what it's all about.
• 8:50
  Speaker B: That's what samutero we've got.
• 8:52
  Speaker A: That's all we've got.
• 8:53
  Speaker B: Because the future is bleak.
• 8:54
  Speaker A: It's bleak. You know, I'm, I'm, I'm, I'm. I'm bullish on the future. I think it's all going to work out, Manny. It's. Yeah, it's a. You know, it looks bleak at times, but I have.
• 9:07
  Speaker B: I think it's bleak for your neighborhood. Your neighborhood's crumbling, man.
• 9:10
  Speaker A: Well, streets.
• 9:12
  Speaker B: Yeah, we had that.
• 9:13
  Speaker A: We had second huge water main break within a couple of blocks of my house. Now, this one was so powerful that. So it was on Panola street again.
• 9:22
  Speaker B: Yeah.
• 9:23
  Speaker A: And like, Sycamore is kind of high compared to Panola and Neron. But what happened is it. It rolled from Carrollton down Panola, then crossed over on Fern to Neron, then came back towards me again, and then started coming back on Burdett, and my kid lives there in Burdette, and they're knocking on. On the door saying, oh, you got to move your car, and it's a mess.
• 9:51
  Speaker B: Oh, my God.
• 9:53
  Speaker A: And. And yeah, it was like three feet of water down there.
• 9:55
  Speaker B: Yeah. Near the break, people got their cars flooded.
• 9:58
  Speaker A: Oh, their houses flooded. Yeah, the basement.
• 10:01
  Speaker B: And you know, you know, Helena, our fearless leader, our mayor, you know what she says? You know, her response is she's going to raise our, Our, Our. Our fees for garbage pickup.
• 10:11
  Speaker A: Well, yeah, I don't think there's a response to that.
• 10:13
  Speaker B: Yeah, that's a response.
• 10:15
  Speaker A: Well, she's a jerk. Oh, no, Manny, come on. We just give her a chance, you know, We. We. We have. That's. She's our only hope.
• 10:23
  Speaker B: You know that now there was hope with me.
• 10:26
  Speaker A: Well, yeah, I mean, but that's. That's gone now. That's.
• 10:29
  Speaker B: That's.
• 10:30
  Speaker C: There's always next time.
• 10:31
  Speaker A: That ship has sailed. Yeah, well, Manny says he's not going to run next time. Unless maybe you can. You can persuade them or.
• 10:37
  Speaker C: I want to be city coroner. I really, really wanted to do it, but I didn't actually apply. And then when I got there, I was like, everybody can write me in. It'll be perfect. But then the way the voting machines are now, you can't write people in. So sort of unfortunate.
• 10:49
  Speaker A: Now, I wonder, do you have to have an md? Do you have to be an MD to be elected coroner?
• 10:54
  Speaker C: Well, so this is why I want to be city coroner is because you do. Unless nobody else running has one, and then you don't.
• 11:01
  Speaker A: You know what I'm saying?
• 11:03
  Speaker C: So basically, I. I don't.
• 11:05
  Speaker A: You couldn't. Run unopposed.
• 11:06
  Speaker C: Listen, I can tell if somebody's dead or alive. Most likely.
• 11:09
  Speaker B: Yeah.
• 11:10
  Speaker C: And if I'm not. Like, it's a 50. 50 chance, right?
• 11:12
  Speaker A: Sure. Flip a coin.
• 11:13
  Speaker C: I know if I did it wrong. That's why you have people that work with you, right?
• 11:17
  Speaker A: Yeah. You don't have to be an expert
• 11:19
  Speaker B: and everything Want to be a coroner in this town. They've got no AC at that place.
• 11:23
  Speaker A: Yeah, that would be my first.
• 11:24
  Speaker B: They have no ac.
• 11:25
  Speaker A: First upgrade.
• 11:26
  Speaker C: That would be our first upgrade.
• 11:28
  Speaker B: Well, yeah, I don't think so. Remember our friend Sydney's Smith? His son was there for months.
• 11:32
  Speaker A: Oh, man.
• 11:33
  Speaker B: And they didn't tell him.
• 11:34
  Speaker A: Oh, geez. Yeah, yeah, they definitely could. Could use an upgrade in their procedural issues over there at the corner.
• 11:44
  Speaker B: So you like the dead bodies?
• 11:46
  Speaker C: I just think it'd be a very quiet environment and people like you wouldn't have a lot of people complaining because they would.
• 11:51
  Speaker B: I think it would smell a lot, though. I mean, I think it would smell a lot.
• 11:54
  Speaker C: I've worked with a lot of stinky people, so I think I'll survive. I get a little perfume.
• 11:58
  Speaker B: All right.
• 11:59
  Speaker C: He was all right.
• 12:00
  Speaker B: He's all right. Ye.
• 12:02
  Speaker C: I was thinking more of the dancers.
• 12:04
  Speaker A: Oh, okay.
• 12:05
  Speaker B: Yeah. So, yeah, that's.
• 12:06
  Speaker A: You guys work up a sweat.
• 12:07
  Speaker B: Yeah.
• 12:09
  Speaker A: Right, right, right. And then they have the TSA delays.
• 12:12
  Speaker C: Oh, yeah.
• 12:13
  Speaker A: I came back from the airport on. On Sunday and there was a line to. For people leaving the city.
• 12:22
  Speaker B: Good.
• 12:22
  Speaker A: Backed up all the way to the parking lot.
• 12:24
  Speaker B: Good.
• 12:26
  Speaker A: Of the Louis Armstrong airport there. I had no problem getting out of D.C. i don't know. Just lucky that way.
• 12:35
  Speaker B: Yeah. It's okay.
• 12:36
  Speaker A: Sure. What's. What's been going on here with you?
• 12:41
  Speaker B: Not much. But, you know, speaking of this water boil thing, the day after everything was, you know, when we didn't have to boil water and I didn't know that you have to boil the toilet water too.
• 12:57
  Speaker A: I don't think so. Not unless you're going to drink it.
• 12:59
  Speaker B: Yeah, okay. But anyway, there's, you know, I've been a member there for years, and there's this old.
• 13:05
  Speaker A: Where is that?
• 13:06
  Speaker B: At the noac.
• 13:07
  Speaker A: Oh, sure, sure.
• 13:08
  Speaker B: Yeah. And there's this old timer that I know. Known him forever, and I asked him, I said, how did you. This is the thing about getting old, I think, you know, I said, hey, how'd you handle the water boil? And he came up and he looked at me, says, you know, he goes, you know, my sons were in town this week, and we went to the Caesar's Casino downtown, and I had a few drinks. We had a few drinks and I'm sitting at this table and this very attractive woman starts talking to me, and she says that she hates her husband, she wants to leave, but she doesn't have the finances to leave. And I'm sitting there talking to her, listening to her story. And maybe I had one too many. But then after talking to her more and more, I realized that she wasn't on the up and up. I said, I think you were a mark, man. I think she was maybe a hooker or something. And he goes, yeah, I thought about that. And then, then she said, then this guy comes up and it's her husband, the one that she's been trying to leave. And then I said, well, maybe that's her pimp. He goes, yeah, I thought about that too.
• 14:27
  Speaker A: Okay.
• 14:28
  Speaker B: And then. So conversation ended. I said, well, you got off lucky, you know, you know, we got to watch out for that stuff. But he didn't answer any of the boil water question. I asked him. I asked him.
• 14:38
  Speaker A: I got sidetracked, you know, I don't
• 14:40
  Speaker B: think, you know, I guess. Yeah. And at this and the very same day, too, I'm in the locker room and you know that law firm, Bruno and Bruno?
• 14:48
  Speaker A: Sure, yeah.
• 14:49
  Speaker B: Yeah. Well, there's one of the couple of the Bruno's are members there, and I've gotten to know one of them. He's a young guy, young lawyer. And this is. This is weird. I'm talking to him in the locker room and you know, he says him and his two brothers are work for the firm. They've got two grandchildren that works for the firm. There's some cousins that work for the firm. And then I said, wow, is there anyone in your family that, you know just says, I don't want to work for the firm? And he looked at me for like five seconds. He goes off and walked away.
• 15:22
  Speaker A: Wow. I don't know. I don't think that's a fair question.
• 15:26
  Speaker B: I don't know. People are crazy.
• 15:28
  Speaker A: I don't know.
• 15:28
  Speaker B: I don't know.
• 15:30
  Speaker A: I don't know. That seems get my own little. Geez. Oh, man, people are touchy. Well, you know, I did have a question. I was going to ask you about the boil water thing because, you know, people have various degrees of caution about the water.
• 15:47
  Speaker B: Yeah.
• 15:48
  Speaker A: Now would you take a shower when in the water?
• 15:52
  Speaker B: I did.
• 15:52
  Speaker A: Yeah. I would too.
• 15:53
  Speaker B: I did, yeah.
• 15:54
  Speaker A: Yeah. I don't think there's any problem. And you know, I don't like brush my teeth with the water.
• 15:58
  Speaker B: Well, I didn't do that. I just got some filter. We have a filter water pitcher.
• 16:02
  Speaker A: Sure, sure.
• 16:02
  Speaker B: I just brush my teeth with that.
• 16:04
  Speaker A: I mean, I kind of. I do it almost as like a prophylactic kind of thing, you know, expose myself to a little bit of that. That water. You know, I think it can't Hurt, you know, it's like build up a little bit of those.
• 16:18
  Speaker B: As long as you gargle after you brush, it'd probably be fine.
• 16:20
  Speaker A: Sure. Yeah. Or, you know, I'm saying even if I swallow a little bit of it, I think.
• 16:23
  Speaker B: Well, you know, I, I actually before I got here, I called Dave Clemens to see if the ice was okay.
• 16:29
  Speaker A: Oh, okay. Well, it's. The order's over.
• 16:31
  Speaker B: Yeah, I know that, but he said that they were putting some to one side and putting some of the ice to the other side. Something, I don't know.
• 16:38
  Speaker A: Okay.
• 16:38
  Speaker B: He tried to explain it and I lost interest.
• 16:40
  Speaker A: But we're okay?
• 16:41
  Speaker B: Yeah, yeah, we're okay. He said.
• 16:42
  Speaker A: Yeah, yeah. Because, you know, floating in the booth. So.
• 16:46
  Speaker B: Yeah.
• 16:46
  Speaker A: How bad could it be?
• 16:47
  Speaker B: Yeah. But okay, so anything else?
• 16:50
  Speaker A: No, no. Maybe we should get to our guests here.
• 16:52
  Speaker B: All right. Sure.
• 16:53
  Speaker A: All right. Well, we have a terrific guest tonight. She's an award winning burlesque performer, producer, dance instructor. She's the founder and creative director of Trixie Minx Productions. And she's created a number of shows including Fleur de Tease, Burgundy Burlesque, Burlesque Ballroom, and the Cabaret series at the Orpheum Theater. And she's performed throughout the United States and Europe and Australia and, and you can see her regularly around New Orleans at the Jazz Playhouse, always Cabaret, Howlin Wolf, as well as all kind of private and corporate shows that she does in New Orleans and beyond. She's also appeared in many film and television productions as well as print media, features and articles. We're going to get into all that much more. But without further ado, the great Miss Trixie Minx.
• 17:48
  Speaker C: Hello. Hello.
• 17:49
  Speaker A: Welcome, Trixie.
• 17:49
  Speaker C: You make me sound pretty cool when you say oh, yeah, yeah.
• 17:52
  Speaker A: Well, you are pretty cool.
• 17:53
  Speaker B: You're a good luck.
• 17:56
  Speaker C: I take it. I'll take it.
• 17:57
  Speaker A: Sure, sure, sure.
• 17:58
  Speaker B: You didn't say that she's a future New Orleans coroner.
• 18:01
  Speaker A: No, no.
• 18:02
  Speaker C: Well, you know, that's, that's what that's to be.
• 18:04
  Speaker A: Yeah, yeah.
• 18:05
  Speaker C: That's the future. You can't. Unless you're clairvoyant and you can see it.
• 18:09
  Speaker A: Yeah, yeah. No, I wouldn't, I wouldn't put money on that. But who knows?
• 18:13
  Speaker C: Who knows? I think it's great.
• 18:15
  Speaker A: Oh, you know, it's good to have goals. You know, it's like, like people that, that, that do these crazy things, they go shoot up a school or something else. You know, really some kind of dead end behavior. Those are people that don't have hope about something. They don't have Something positive to look forward to. Sometimes you don't need much. Maybe just like a yoga class or something, you know, just to get you out of bed.
• 18:39
  Speaker C: Well, that's the thing is, like we were saying, like, as much as people are horrible, if you can get good people and people who can help you, that's really all you need to bring it back.
• 18:47
  Speaker A: Well, you know, they established on Seinfeld that something like 98% of the people are undateable. And that goes for, you know, every. Well, it's true. Only 2% of the people that you ever meet were possibly dateable.
• 19:00
  Speaker C: I didn't know that statistic.
• 19:02
  Speaker A: Yeah, I think that's about right.
• 19:03
  Speaker C: It's a Seinfeld statistic.
• 19:04
  Speaker A: Yeah.
• 19:04
  Speaker B: Yeah. Well, also. Yeah, the question is, well, how are all these people getting married? And the answer is alcohol.
• 19:12
  Speaker A: Right. That's how the other 98% handles it. It's alcohol. That's. That's the. The missing.
• 19:19
  Speaker C: You don't think there's any sort of, like, I don't know, disassociation maybe, or just like.
• 19:23
  Speaker A: Well, the alcohol helps with that.
• 19:25
  Speaker C: I see. I see.
• 19:27
  Speaker A: Anyway, I forgot how we got on the subject, but let's. Let's find out a little bit about you.
• 19:34
  Speaker B: Yeah.
• 19:34
  Speaker C: What you want to know?
• 19:35
  Speaker A: Well, let's go back a little ways. You're not from New Orleans.
• 19:38
  Speaker C: No, no. I'm born and raised in Miami, Florida.
• 19:40
  Speaker A: Oh, okay.
• 19:40
  Speaker C: I used to be a ballerina, and I. My. Like, I left Florida to go dance with Nashville Ballet. And that was before.
• 19:50
  Speaker A: Let's not rush. Let's not rush it.
• 19:51
  Speaker C: Oh, sorry. You want to go back to the kids?
• 19:53
  Speaker A: Oh, you know, like, so. So you're. You're there in Florida, your whole family. Mom and dad.
• 19:58
  Speaker C: Mom, dad, sister, brother.
• 19:59
  Speaker A: Okay.
• 20:00
  Speaker C: We had dog.
• 20:01
  Speaker A: Oh, very nice. Comfortable lifestyle there in Florida.
• 20:07
  Speaker C: Well, we were in Miami in the 80s, which was great, because I feel like a lot of Coco. I mean, but there was lots of money.
• 20:14
  Speaker B: Sure.
• 20:14
  Speaker A: Yeah.
• 20:14
  Speaker C: So this is a fun story. So basically, my babysitter that took care of me, her dad, I'm fairly certain, was like, a drug lord or something. And he just didn't want her, like, messing around. So she, like, basically he was like, go ahead. Do something more productive. So she would dress me up when we were, like, when she was babysitting me, and she would put me in, like, gorgeous jewels. Like, so when most people are playing in costume jewelry, I'm playing in actual, like, diamonds and sapphires. But the very first blonde wig I ever wore was because she put me In a little blonde wig and decorated me with jewelry. And here I am today.
• 20:46
  Speaker B: Okay, so you went to her house to be babysat?
• 20:49
  Speaker C: No, she would come to my parents
• 20:50
  Speaker B: and she'd bring all this stuff.
• 20:51
  Speaker C: No, I mean, I don't remember specifically because I was a toddler. I see the pictures.
• 20:57
  Speaker B: Maybe it was your parents stuff.
• 20:59
  Speaker C: No, I know. Well, I mean, if.
• 21:02
  Speaker B: Maybe. If it is, then I took off with it too.
• 21:05
  Speaker C: I love the options of what could be.
• 21:07
  Speaker A: Right? Yeah, yeah. Who knows?
• 21:08
  Speaker C: Anything is possible now.
• 21:09
  Speaker B: Did she have a runny nose a lot, your babysitter?
• 21:12
  Speaker C: I don't remember.
• 21:13
  Speaker B: Right.
• 21:14
  Speaker A: It's too long.
• 21:14
  Speaker B: Was she constipated a lot?
• 21:16
  Speaker C: I don't remember.
• 21:18
  Speaker B: So this. Are you the oldest or the youngest?
• 21:20
  Speaker C: I'm the oldest.
• 21:21
  Speaker B: You're the oldest. And you have a sister and a
• 21:23
  Speaker C: brother, in that order.
• 21:24
  Speaker A: Oh, okay. And he knows a lot about this.
• 21:27
  Speaker B: And what. And what do they do?
• 21:28
  Speaker C: So my sister is an actress and she does theater in Scotland. So that's fun. And then my brother, he works for a science magazine out in dc.
• 21:38
  Speaker A: Okay, so is this showbiz bug kind of run through your family?
• 21:43
  Speaker C: Yeah, my. My. My dad was a musician, and he actually works in, like, music industry, but not necessarily performing, but he did a lot of stuff in Miami, so bringing in shows and stuff. He used to work with Ronnie Wood. They had a club called Woody's on the Beach.
• 21:59
  Speaker A: Oh, no, kid.
• 22:00
  Speaker C: That was really cool.
• 22:00
  Speaker B: And they had Woody's in Manhattan, too.
• 22:03
  Speaker C: They had Stephen Talkhouse.
• 22:05
  Speaker A: I remember was in My Bandit.
• 22:08
  Speaker B: I played Woody's. Woody's was. Used to be. What's that? Max's Kansas City.
• 22:14
  Speaker A: Oh, really?
• 22:14
  Speaker B: It was Max's Kansas City and then Ronnie Wood bought it.
• 22:17
  Speaker C: Yeah. I didn't know there was a New York one.
• 22:19
  Speaker B: Yeah, that was Woody's in New York, and then there's one, the one in Miami. And I think there was one. I want to say London, but I don't think there was one in la. Definitely not one in la.
• 22:30
  Speaker A: So was Woody coming and hanging around the house, or were you. You going in?
• 22:33
  Speaker B: And how was your babysitter?
• 22:35
  Speaker C: Well, so. No. Well, so that was the funny thing. So my ballet classes would be on Miami beach. And this was like back before email and, you know, cell phones and stuff like that. So my dad would pick me up from ballet, and I would sit at the club like before it was open while he was handing press releases or, like, you know, things to get people in the door. Like this person was for this, you know, radio station or promotions. Yeah, all that stuff. And I remember I would, that's. I, I would drink Shirley Temples. I felt very adult, very grown up. And I would play in the pool at like 4 o' clock in the afternoon, which felt very glamorous.
• 23:09
  Speaker A: Sure, yeah. Yeah. Just like all the beautiful people in Miami.
• 23:13
  Speaker C: Exactly.
• 23:14
  Speaker A: The light is different in Miami, don't you think? Like the way the light shines. I think that's why they go, they shoot so many, you know, magazine features there.
• 23:24
  Speaker C: The Miami of today is not the Miami I remember. Like the Miami I remember we had a dirt road with a drawbridge to get from Miami to Miami Beach. And I remember when they first paved it and then they expanded it and then it went from four lanes to like eight lanes or like, I mean, it's insane. And now they took the drawbridge out entirely. It's crazy.
• 23:45
  Speaker A: Okay, so you're growing up, you have an interest in dance from a young age.
• 23:49
  Speaker C: Yeah. So the funny thing is my grandma, she actually was a dancer, self taught pianist and tap dancer and she loved it. My grandfather was a visual artist. He would draw, but again, his vocation was he worked for the post office. He was in the, he was in the military. Very proud of him. He fought in World War II, did a bunch of good stuff.
• 24:08
  Speaker A: The greatest generation.
• 24:09
  Speaker C: I know, he really was. And he could dance. My grandma made him dance in her dress. But yeah, no, I always loved dance. I fell in love with it. And the burlesque thing was a complete. I'm not trying to jump ahead, but I did not see that coming.
• 24:24
  Speaker A: Sure, sure. Well, it's hard when you're, when you're, you know, a kid.
• 24:28
  Speaker C: Yeah.
• 24:28
  Speaker A: Six, seven, eight, nine years old. To see how it's all gonna come together.
• 24:32
  Speaker C: Yeah, totally.
• 24:33
  Speaker A: And that's good because we like the surprise, you know, we like the, the mystery of the future. That's part of what makes it, you know.
• 24:40
  Speaker C: Yeah. I think also too, like sort of letting your experiences shape where you're going and who you are rather than being so dead set on like, this is what's going to be. So you have, it's authentic to you
• 24:52
  Speaker A: and you'll be so disappointed if you decide I have to do this and nothing else will suffice, you know, because it's like you said, it's so limiting and, you know, it may not be the best thing for you. How can you decide as a seven year old? What?
• 25:07
  Speaker C: It's crazy because people really do like, they're like, what do you want to do for the rest of your life? Like when you're 18 or something like that. And that's not necessarily the way it works for everybody, so.
• 25:14
  Speaker A: Well, I knew at a very young age that I wanted to play music for a living. I didn't understand all the places that would take me. How could I? Yeah, you know, but. But, you know, that's. That's a different thing. But anyway, with dance, you. You kind of had that with dance, you didn't know where it was going to lead, so. So you're studying at a local dance studio?
• 25:34
  Speaker C: Actually, yeah, so I studied in Miami, but there's these summer intensives. So you get to work with dance companies. Work where they have seasons. So September to like, May is typically when they're in season and they'll do shows, but then the summer they're off and they'll do summer intensive workshops where they bring, like, students up to study. But I got to go to Houston and study with the Houston Ballet Academy. I actually got to work at the Kennedy center for, I think it was three summers with Suzanne Farrell, which was a life changing thing. I was in New York at American Valley Theater, and it was every experience.
• 26:06
  Speaker B: How do you feel about what Timothee Chalamet said about opera and ballet?
• 26:10
  Speaker C: What did he say?
• 26:11
  Speaker A: Well, he says it's nobody cares.
• 26:13
  Speaker B: Nobody cares.
• 26:15
  Speaker C: I think that a lot of people in America do not care. And I think that. But I do think that this is partially on opera and ballet. They have to innovate to make and publicize. And because you can't just be like, everybody should care about this because I'm doing it. It's like, is it worthy of it?
• 26:29
  Speaker A: You have to make it compelling.
• 26:30
  Speaker C: Compelling. Yeah. And like. And if your audience isn't feeling it, why.
• 26:34
  Speaker B: But isn't. I always thought ballet and opera were very much for the blue bloods, the snobs. Well, that's rich people.
• 26:43
  Speaker C: That's the problem is that, like, that's the vibe that's going out there, but that's not what it. It's like everything. Like, you know, it's all on a spectrum.
• 26:52
  Speaker A: Sure.
• 26:52
  Speaker C: Like, I think jazz is a perfect example. Right. You can have elevator music. That's jazz. And then you can have like somebody playing Carnegie hall and that's jazz. Like, it's. They're all. It's all jazz, but it's just different parts of it. So I think when people think ballet, they think traditional classic ballets from like, you know, 100 years ago. Well, more so. And they're these huge, elaborate productions that are sort of slow and Longer and stuff like that. But the thing is, is, like, ballet in America, especially now, it's amazing. There was a company that just came and they worked with Prez hall, did the whole thing. Prince did a ballet with the Joffrey. And it was. It was incredible. It was called Billboards. It was one of my favorite ballets ever.
• 27:32
  Speaker A: Now, did you. Have you read the Gelsey Kirkland book?
• 27:35
  Speaker C: Oh, yeah. Oh, my God. I can't remember the title of it now.
• 27:38
  Speaker A: It's called Dancing on My Grave.
• 27:39
  Speaker C: Dancing on My Grave. Yes. No, I was. It was my bible. I should not have treated it like. As such.
• 27:44
  Speaker A: Well, I mean, in that book, Gelc Kirkland doesn't portray the most generous or the. It doesn't portray it as the kindest endeavor.
• 27:54
  Speaker C: No, it's not. It's like. It's very much a torture. Oh, yeah. It's a toxic relationship. 110%. But, you know, it's. It's character building, I guess.
• 28:05
  Speaker A: Okay.
• 28:06
  Speaker C: It's a positive spin on that.
• 28:08
  Speaker A: All right. So. So growing up, you're studying it with all these professional groups. It's. It's almost like a farm league where they're. They're trying to identify young talent so that they can section you off.
• 28:21
  Speaker C: It's more like the Olympics. Like, it's like think of the Olympics where you have these kids that are doing gymnastics or, you know, the ice skating, I think, is another really. The figure skating. So their careers are pretty much over by the time they're 25. So they are training all the time. And as soon as they're, like, of age 18, you, like, put them out there and they're just grinding until they.
• 28:41
  Speaker A: Can you just use them up.
• 28:43
  Speaker C: I mean, yeah, it's. It's. It's a very much a firework.
• 28:48
  Speaker A: Right.
• 28:48
  Speaker B: Right now. Did you enjoy the movie Turning Point?
• 28:52
  Speaker C: I haven't seen that forever. I did, yeah.
• 28:55
  Speaker B: That shows about aging ballet.
• 28:57
  Speaker C: Yes.
• 28:57
  Speaker B: Yeah.
• 28:58
  Speaker C: It doesn't cover hip replacements, though. At least I don't remember it.
• 29:01
  Speaker B: Shirley McLean and Anne Bancroft, I think they were both nominated for awards.
• 29:08
  Speaker C: Did they win?
• 29:09
  Speaker B: No. Oh, no.
• 29:11
  Speaker C: That's like such a dancer thing, like.
• 29:12
  Speaker B: So, speaking of awards, did you see that crazy thing that happened at the. The BAFTA awards?
• 29:19
  Speaker C: No.
• 29:19
  Speaker B: Which is the.
• 29:20
  Speaker A: Basically the guy with the Tourette syndrome.
• 29:22
  Speaker B: Basically the version of the Oscars. It's. It's England's version of the Oscars.
• 29:26
  Speaker C: I need to get out more. You've seen so much. All right, so tell me more.
• 29:29
  Speaker B: I don't get out at all.
• 29:30
  Speaker C: I just so you're watching this on the news.
• 29:33
  Speaker B: Yeah, on, on the, on the, on the computer there. Okay, okay. And this story comes up and I thought it was the most hilarious.
• 29:40
  Speaker A: Well, yeah, the guy has Tourette syndrome.
• 29:42
  Speaker B: There's a movie that's nominated for like best picture in England for this BAFTA award. It's about a certain character who's got Tourette syndrome. And he's in the audience.
• 29:52
  Speaker A: Yeah, the guy who. It's based on, the real guy. Now, Tourette syndrome, you know, the classic thing is people yelling out obscenities. Now that's only about 15% of Tourette's sufferers. I was a Tourette sufferer as a child. And, and, and most people just have ticks, you know, or some kind of weird movements. But he's the guy that, he was so serious yelling the N word out while there's, while there's two black actors on stage getting.
• 30:20
  Speaker B: But the funniest thing is like the president of the BAFTA awards comes out the beginning of the ceremony to talk about, you know, the State of the Union or whatever, that kind of stuff, and he says, shut the up. Did you see the footage?
• 30:33
  Speaker A: Didn't say that.
• 30:33
  Speaker B: Oh, the footage is hilarious, man. Just shut the up. And I'm thinking to myself, I must have Tourette's, cuz I do this every
• 30:41
  Speaker A: day in my life saying, that's me, that's me.
• 30:44
  Speaker B: You know. And then some other guy came up there to give out an award. He said, you.
• 30:52
  Speaker A: Well, the, the guy's timing is good. I got.
• 30:55
  Speaker B: That's it. His timing was perfect. You gotta see the footage. It's so. Oh, look at that.
• 31:01
  Speaker C: But look at that.
• 31:02
  Speaker A: Yeah, but it's, it's a big, a big hubbub, you know, it's. They're still talking about it today. There's still backlash coming from it. Anyway. Yeah, that's. It's tough, man. It's tough. Especially when it, you know, a lot of times that, that kind of. You grow out of it. But obviously that guy hasn't grown out of it.
• 31:21
  Speaker B: I want to see, I want to see the movie that's based on him.
• 31:24
  Speaker A: Yeah, yeah, yeah.
• 31:25
  Speaker B: I think it's called. I forget what it's called.
• 31:28
  Speaker A: That's good advertisement for it. I'd like to see that too. Well, back to you, Trixie Minx. So you make it through high school now. I noticed you, you went to like a, the sort of Miami version of noco, which is what?
• 31:41
  Speaker C: New World School of the Arts.
• 31:42
  Speaker A: There you go.
• 31:43
  Speaker C: Yeah, I went there freshman through junior year. And then senior year, I transferred to my like at home school because I did the work study program. So I would go to school at 7:30 like everybody else, but I would get out at I think it was like 11, and then go down to the beach and I would teach classes.
• 32:02
  Speaker B: On the sand?
• 32:03
  Speaker C: No, in a dance studio, silly.
• 32:06
  Speaker A: You were just near the beach.
• 32:07
  Speaker C: Well, on the beach. Well, okay, so there's Miami and there's Miami Beach.
• 32:10
  Speaker A: Oh, okay.
• 32:11
  Speaker C: Yeah, that's what I mean. Apologize.
• 32:12
  Speaker A: Not actually on the sand.
• 32:13
  Speaker B: Now, when you were a young woman in high school or whatever school you went to, did you date any Cubans?
• 32:19
  Speaker C: No, I didn't date at all until my senior year. I went on with a date. Right. I have one boyfriend, his name was Kurt Davenport and he was so nice.
• 32:28
  Speaker A: So that's good.
• 32:29
  Speaker B: Is he a dancer?
• 32:30
  Speaker C: No, he was a pilot. And I felt so bad because he had just gotten his license to like take. So I don't know if I understand this correctly, but at the time it was like he could fly with like an actual pilot, but then he got a license where he could fly with like two other people in the plane. And he was like, I just got my license. You can come fly with me. I was like, no, you barely can drive a car. Like, this is not happening. And then we broke up shortly after.
• 32:52
  Speaker A: You didn't have confidence in him.
• 32:53
  Speaker C: No, I know. Not at all. A 17 year old flying a plane, I still don't have confidence, but now I think he's like a real pilot. So now I have a lot more confidence. I would feel very confident flying with him.
• 33:03
  Speaker A: But you missed your chance.
• 33:04
  Speaker C: Oh, no, I was very. I still stand by my choice.
• 33:07
  Speaker A: Okay, but I mean, saying the window closed, he's probably not ready.
• 33:11
  Speaker C: Oh, no, he's probably flying commercial now. I'm like, I'm sure. Maybe I've even been on one of his flights.
• 33:15
  Speaker B: Maybe we should call him. Do you have his number?
• 33:17
  Speaker C: I. I don't, but I'm sure I can find them on Facebook.
• 33:20
  Speaker A: We don't have that kind of time right now.
• 33:22
  Speaker C: Keep it moving.
• 33:23
  Speaker A: I saw you. You went and were actually in the troupe of the Nashville Ballet.
• 33:28
  Speaker C: Yeah, I was part of the trainee program there. It's like a group of younger dancers that are. They fill in the core work that like, we. We do a lot of shows that are part of outreach education programs, stuff like that too.
• 33:43
  Speaker A: Okay, well, well, so. But somehow that all.
• 33:47
  Speaker C: Oh, I broke my ankle.
• 33:48
  Speaker A: Oh, ouch.
• 33:49
  Speaker C: Yeah, it's. So basically my contract had ended. I was already in the process of looking for other work, but I broke my ankle, and that was like. Yeah, you can't really.
• 33:58
  Speaker A: Doing ballet.
• 33:59
  Speaker C: No. Well, yes, doing ballet, but also, I wasn't. Like, when I was dancing, I was this height and at least 10 pounds lighter. Like, it was crazy.
• 34:08
  Speaker A: So are you too tall to be a ballerina? Really?
• 34:11
  Speaker C: I'm on the taller end. I don't think there's, like a cutoff. But it's harder for guys to partner me because once you go up on your toes, you add another three to four inches.
• 34:18
  Speaker A: Sure, sure. I mean, you're. You're. You're a long tall.
• 34:21
  Speaker C: I'm five seven and a half.
• 34:23
  Speaker A: Okay, well, you. You come off as taller than that. You have a. I have a. I know.
• 34:27
  Speaker C: Personality.
• 34:28
  Speaker A: Well, that too.
• 34:29
  Speaker B: But I mean, you have seven and a half.
• 34:30
  Speaker C: Yeah, well, I have good posture.
• 34:32
  Speaker A: Yeah, that's what I was gonna say. You have good posture. You read as taller than.
• 34:38
  Speaker C: It's crazy. Many times, but, yeah, people, like, when they see me, they're like, you're so much smaller than I thought you were. Because on stage, I'm like a monster. I'm like.
• 34:46
  Speaker A: Well, that's. I always say, you know, when I come and sell merch, I'll look just like myself, except I'll be shorter.
• 34:52
  Speaker C: How tall are you?
• 34:53
  Speaker A: I'm 5 11.
• 34:55
  Speaker C: That's tall.
• 34:56
  Speaker A: No, I'm saying, but I'll be shorter because I won't be on stage.
• 34:58
  Speaker C: I see, I see, I see.
• 35:00
  Speaker A: I'll be more the people's height.
• 35:02
  Speaker B: He's got bad posture.
• 35:04
  Speaker A: I have terrible posture.
• 35:05
  Speaker B: Yeah. They even gave him a machine. Machine to try to help.
• 35:08
  Speaker A: Yeah.
• 35:09
  Speaker B: It didn't work out.
• 35:10
  Speaker A: Yeah. It didn't work out. No.
• 35:11
  Speaker C: What'd you have? I'm curious now, that, like, inversion table.
• 35:15
  Speaker A: No, no, no, no. It's just a little alarm that. That tells you when you're hunching over.
• 35:20
  Speaker C: Oh, no.
• 35:21
  Speaker B: But you wear it on your back or something.
• 35:23
  Speaker A: Yeah, yeah, you wear it on your back and it can. It. It can.
• 35:27
  Speaker B: That didn't last very long for you, though, did it?
• 35:29
  Speaker A: I did it for a month or so. You know, it.
• 35:33
  Speaker B: You know, I'm an old man.
• 35:34
  Speaker A: That's too late.
• 35:35
  Speaker B: That's too late.
• 35:36
  Speaker A: Too late for me just trying to play. I haven't had any issues, you know, I don't have any. Any spinal stenosis or. Or any.
• 35:45
  Speaker B: Not yet.
• 35:45
  Speaker A: Not yet. Again, just trying to play this handout well, so. So after your. Your. Your ballet career, or at least your performing side of your career, what. What Was your next move?
• 36:01
  Speaker C: Well, so it's. I basically had my foot in a cast, so I had to redirect. And I always. I always knew if I wasn't a ballet dancer, I wanted to get into either the medical field doing, like, either physical therapy, nursing, or becoming a Pilates instructor. And I was visiting a friend in New Orleans and just never left Kaiser. Fell in love with the city. I had plans to go to New York, but this was the summer September 11th happened.
• 36:33
  Speaker A: Oh, yeah.
• 36:33
  Speaker C: So once that happened, I was like, well, I guess I'm gonna stay here a little bit longer while I was waiting to get the cast off. And I started doing a Pilates training program. Did that. Was very happy. Teaching Pilates. I had re. Enrolled in school. Was about to start nursing school. And then Katrina happened. And the whole. The part that I'm skipping over is that while this was going on, I still obviously love dance the same way how you love music. And I'm sure you would like theater and stuff like that. Like, there's like, how could you not? You'll just cut it off. So I was taking classes to stay in shape. I was performing with a dance group that was called Kamenka. It was an ethnic dance ensemble. We had toured Europe, but it was all. It was all stuff that was for fun. I wasn't really pursuing it professionally.
• 37:19
  Speaker A: That's based out of New Orleans.
• 37:20
  Speaker C: Yeah, they're great. Absolutely. Love them. They tour. They do, like, a whole American dance series with, like, an actual jazz band. So they'll. It's. It's really cute.
• 37:30
  Speaker A: Is that part of, like, the American government outreach or something?
• 37:35
  Speaker C: I think it's, like, just cultural, like, you know, the way how they have different, like, music festivals, right. Where they'll be like, oh, this is New Orleans jazz versus whatever.
• 37:42
  Speaker B: Right, Right.
• 37:43
  Speaker A: Okay.
• 37:43
  Speaker C: It's the same thing with dance.
• 37:45
  Speaker A: Touring the dance festivals. Okay, cool.
• 37:47
  Speaker C: It's cool. But it was basically a bunch of people had been like, you need to try burlesque. You need to try burlesque. I was like, no, absolutely not. Sasha was like, 100% sure that wasn't going to be my journey. And then Katrina happened, and I had auditioned for a show, and they said, you got it. And they handed me a pair of tassels, and they were like, you're the tassel twirler, sweetheart. I was like, what? And I remember when we evacuated, I left after the fact. I had a backpack and I had some journals, some pictures. Because this is before, like, you know, we had everything online and all that
• 38:26
  Speaker A: stuff so you were here during the hurricane?
• 38:27
  Speaker C: Oh, yeah.
• 38:28
  Speaker A: Oh, wow.
• 38:29
  Speaker C: Well, I. Well, I was in Miami for Andrew, so I was like, if I could do Andrew, this is gonna be a piece of cake. Really? It was not. This was worse than Andrew. I will give it that.
• 38:36
  Speaker A: No kidding. What part of the city were you in for Katrina?
• 38:40
  Speaker C: Yeah, I was uptown. I lived on Magazine in Louisiana, above a business.
• 38:44
  Speaker A: Oh, wow.
• 38:45
  Speaker C: Yeah.
• 38:45
  Speaker A: Man, the wind must have been insane, huh?
• 38:48
  Speaker C: It was. It was funny over there. It wasn't so bad.
• 38:52
  Speaker A: Okay.
• 38:53
  Speaker C: It was the. But the people. Like, we were talking about movies. You remember 28 days later, that. That's what it was like in the city.
• 39:00
  Speaker A: I heard a lot of people say, I won't think of. I. I won't be able to think about my neighbors the same way after Katrina.
• 39:07
  Speaker C: Yeah.
• 39:08
  Speaker A: Like, I saw behavior from my neighbors that has changed my. My.
• 39:11
  Speaker C: It was crazy.
• 39:13
  Speaker B: Yeah.
• 39:14
  Speaker A: Wow.
• 39:15
  Speaker C: Like, it was just wild. And I was like, I think it's time for us to go.
• 39:18
  Speaker B: I think that every day about my neighbors.
• 39:20
  Speaker A: Sure.
• 39:21
  Speaker B: Honestly, you know, take a disaster.
• 39:23
  Speaker A: Yeah, yeah. Just them not leaving, not bringing their.
• 39:26
  Speaker C: Wait, what neighborhood are you in?
• 39:27
  Speaker B: I live over in mid. By the fairgrounds.
• 39:30
  Speaker A: Okay.
• 39:31
  Speaker B: Yeah. I live on Esplanade and North White.
• 39:34
  Speaker C: That's fancy.
• 39:36
  Speaker B: Yeah, it's pretty fast.
• 39:37
  Speaker A: He's close to the ridge. He's on high ground. Just like you were on Magazine Street. Just like I am on Sycamore Street. That's. You know, you want to be on one of the ridges.
• 39:45
  Speaker C: It's true.
• 39:46
  Speaker A: Well, like, Saint Rock is a ridge.
• 39:47
  Speaker C: Well, no, it's true. Like, when I got my house, I bought it immediately after the storm because I was like, well, if I'm coming back, I'm gonna stay. But that's how the whole Trixie thing started is, like, I came back, and I was like, if I'm gonna be here, I'm gonna freaking commit to it. I'm gonna. Everybody says I should try this. I'm gonna try it. And I like to compare it to, like, a fish to water. Like, it was everything that I had done in ballet and in other dance forms that I loved. Burlesque was like that, but it celebrated bodies, it celebrated creativity. It was so. It was a very positive form of dance I had never experienced. And I fell in love.
• 40:27
  Speaker B: Kind of like the pole dance dancing, right?
• 40:29
  Speaker C: No, pole dancing is freaking hard compared to burlesque. I can't do it. I have no grip. I have no grip. It's grip.
• 40:35
  Speaker B: It's like, that's. That's not good.
• 40:37
  Speaker C: No, not in my. My arms are weak. I could barely hold up a tennis racket. It was like my grandma's. It's true. My grandma's greatest disappointment is I never started tennis. Like, you have to be so freakishly strong, right?
• 40:48
  Speaker A: Yeah, well, not everybody has to do every. Every aspect.
• 40:51
  Speaker C: I mean, you don't have to, but.
• 40:52
  Speaker A: Yeah, you know, we can't be best.
• 40:54
  Speaker B: There's a lot more money to be made pole dancing, don't you think?
• 40:57
  Speaker C: There's a lot more money to be made in a lot of things. I'll give it that.
• 40:59
  Speaker A: Sure, sure.
• 41:00
  Speaker C: That's the cool thing about it, is that, like, with burlesque, though, it's. It's an evolution of empowerment for not just women, but people. And, like, all the clubs that you see that do have polls and pole dancers, like, those used to be burlesque houses in the 50s and 60s. It's. It's transitioned.
• 41:17
  Speaker A: Right.
• 41:17
  Speaker C: It's wild.
• 41:18
  Speaker B: Yeah, because people want to see nakedness now.
• 41:21
  Speaker C: Yes. And the. Well, also, it's a money thing, too, so when they were burlesque houses, they were unionized and they had set raids, whereas the girls or the women that work now, they go and they. They pay to play. Like, it's. You have to.
• 41:34
  Speaker A: It's all the wild west out there, man. Yeah. Yeah. No, that's a shame. A lot of exploitation happening. Possibly. I don't know.
• 41:41
  Speaker C: Well, I don't know. I feel like it.
• 41:43
  Speaker A: Well, it's.
• 41:43
  Speaker B: Now you do the balloon dancing.
• 41:45
  Speaker C: I do. I love it.
• 41:46
  Speaker B: Yeah.
• 41:46
  Speaker A: Oh, yeah. That was a good part of the act.
• 41:48
  Speaker B: See, I dated a stripper once.
• 41:49
  Speaker C: When was this?
• 41:50
  Speaker B: When we were both junkies. There's nothing better than dating a stripper when you're a junkie because they come home with cash every day.
• 41:57
  Speaker A: Oh, okay.
• 41:58
  Speaker B: And then you come. You call your. Your man, you know, for a different kind of balloon, if you know what I mean.
• 42:04
  Speaker C: Okay, but y' all both got clean or.
• 42:07
  Speaker B: I have no idea what happened to her.
• 42:09
  Speaker A: Yeah, it's all in the rear view mirrors.
• 42:11
  Speaker B: Yeah.
• 42:11
  Speaker A: Well, I don't know, Danny. I'm loving the story. Huh?
• 42:14
  Speaker B: But, yeah, we got to take a break.
• 42:17
  Speaker C: Okay.
• 42:17
  Speaker A: So tell the people.
• 42:18
  Speaker B: Yeah, the nation. Trouble Nation knows what to do. And we'll be right back.
• 44:00
  Speaker A: And we're back. Back with Mr. Manny Chevrolet.
• 44:03
  Speaker B: Yes, you are.
• 44:04
  Speaker A: I am Renee Coleman.
• 44:05
  Speaker B: Yes, you are.
• 44:06
  Speaker A: Back with our guest, Ms. Trixie Minx.
• 44:08
  Speaker C: That's me.
• 44:10
  Speaker A: Now. Now, Trixie, I know you've. You've kept yourself pristine, unexposed to the
• 44:17
  Speaker C: Troubleman podcast Yes, I wanted to, I wanted to do kamikaze style.
• 44:22
  Speaker B: Right, right, right.
• 44:22
  Speaker A: We like that. We like the courage that it requires to do that. It's better. Better. Anyway, jump in with both feet, head first or whatever, whatever the, the, the metaphor is. But I will tell you that our listeners know this is a listener supported operation here. We have Venmo and PayPal links in the notes of every show. And to that end, our old buddy and. And longtime fan and supporter Robert Rothman has, Has stepped up to the plate once again. So thank you, Robert, for buying us a couple of cocktails here.
• 44:55
  Speaker B: Yeah, he's a good guy.
• 44:57
  Speaker A: Oh, he's.
• 44:57
  Speaker B: He's actually been on the show, hasn't he?
• 44:59
  Speaker A: He's been on the show. One of our anniversary shows. Yes. I think he just had a child who celebrated.
• 45:06
  Speaker B: Another kid?
• 45:07
  Speaker A: Well, no, no, no.
• 45:08
  Speaker B: No.
• 45:09
  Speaker A: Child who celebrated like a, A life cycle event, perhaps a bar mitzvah or something like that. Yeah, I don't know. I think it wasn't that. But anyway, now there's another guy who, who has. Keeps trying to send us. I'm not sure if it's a scam or not. Like it's coming to our. Our Troubleman podcast Gmail address. It's a PayPal thing. But we don't have a Troubleman podcast. Gmail, PayPal, PayPal. So I'm not gonna sign up for another one. So anyway, if. If Brian Hudson, if you're actually trying to send us money, use the actual link there that we have in the show notes. And also we have the link there for the Troubleman podcast T shirts as well as the Patreon page. We have a handful of patrons that are helping us out week after week.
• 46:01
  Speaker C: We.
• 46:01
  Speaker A: We do appreciate.
• 46:02
  Speaker B: And I noticed a few weeks back, my good friend Mike Donahue had something to say to me.
• 46:08
  Speaker A: Me. Oh, no, that was. That was a while back. He's. He's keeping to himself, thankfully.
• 46:12
  Speaker B: Yeah, good.
• 46:13
  Speaker A: Yeah, yeah, yeah.
• 46:15
  Speaker B: Anyway, you want to come to me, Mike? Come to me. You better bring a baseball bat because I got a steel plate.
• 46:22
  Speaker A: Give these people too much credit, man.
• 46:26
  Speaker B: He seems like a good guy.
• 46:27
  Speaker A: Sure, sure. Yeah. Water off a duck's back. That's what I say. But also, follow us on.
• 46:32
  Speaker B: Does that even mean water off the duck's back?
• 46:34
  Speaker C: It means like whatever. It just slides off.
• 46:38
  Speaker A: Yeah, like a duck doesn't care if it gets.
• 46:40
  Speaker B: Everything bothers me.
• 46:42
  Speaker C: You need to dance. Dance it out.
• 46:44
  Speaker B: Dance. You should see some of my shows. I used to do. I dance like crazy.
• 46:49
  Speaker C: That's what I'm saying I feel like if you offer this on your Patreon, this could be a bonus thing that people dancing.
• 46:55
  Speaker A: Yeah, no, no, our Patreon.
• 46:57
  Speaker B: I was gonna offer that.
• 46:58
  Speaker A: Patreon is just this. But if you want to.
• 47:01
  Speaker C: But you could add a link to you dancing.
• 47:04
  Speaker A: We don't have any more time. We're already devoting so much time to this.
• 47:08
  Speaker C: I understand.
• 47:09
  Speaker A: You know, we can only do so much. But also follow us on Instagram, Facebook and rate, review and subscribe to the podcast wherever you're listening to it. Give us five stars. Helps us a lot. Cost you nothing. And yes, have. Have some Iguana's dates coming up. I'll be actually in your old neck of the woods, Manny. I think in Ontario, California. Didn't you go to rehab in Ontario, California?
• 47:33
  Speaker B: Maybe.
• 47:34
  Speaker A: I thought you told me that. Yeah, I'd never heard of it before that I'm playing in Ontario Cal. It's like an hour east of Los angeles on. On March 21st.
• 47:46
  Speaker B: I'm open to go to dump bodies.
• 47:48
  Speaker A: Sure. Yeah. I'm opening for Dwight Yokum and the Avet Brothers.
• 47:54
  Speaker B: You're opening? Just you.
• 47:56
  Speaker A: The Iguanas. Sorry? The Iguanas are. Are opening at the Ontario field there.
• 48:01
  Speaker C: You tour a lot, so check that out.
• 48:03
  Speaker A: And then a week after that, we're starting with the Iguanas.
• 48:06
  Speaker B: So will I get a break from this show?
• 48:08
  Speaker A: Yeah, yeah, you're going to get a. Yeah, you get a couple of weeks, I think.
• 48:11
  Speaker B: Oh, cool.
• 48:12
  Speaker A: So on on March 25, the iguanas and Sunny Land are the her back in Minneapolis at the Dakota. And then we're at the. The Stouton Opera House in Wisconsin.
• 48:22
  Speaker B: You know, I was. When you said Chicago. Okay.
• 48:25
  Speaker A: Old time, old town school folk music and then space in Evanston. All right, go on.
• 48:30
  Speaker B: It's a senior tour.
• 48:32
  Speaker A: Sure. Well, you know, it's where we're all.
• 48:33
  Speaker B: The Senior Walker Tour.
• 48:35
  Speaker C: Right, right, right.
• 48:36
  Speaker A: You know, get there how you can.
• 48:38
  Speaker B: Yeah, exactly.
• 48:40
  Speaker A: That's enough of that. Back to our guests. Trixie Minx. When we last left, you. You're in New Orleans. You're. You're. You're. You've first gotten the. The taste of. Of burlesque. And I noticed that. So that, that first show, at least what I could find you. You. You appear in the Bust Out Burlesque.
• 48:56
  Speaker C: Yes.
• 48:56
  Speaker A: Troupe there.
• 48:57
  Speaker C: I'm impressed by how much you research.
• 48:59
  Speaker B: Now he's got a lot of time, you know, he's got nothing else to do.
• 49:03
  Speaker A: If you're gonna do something, you may as well. Do it well.
• 49:05
  Speaker C: And you're doing it excellent. You're like excelling. This isn't incredible.
• 49:09
  Speaker A: Well, I like all the. The positive.
• 49:12
  Speaker B: So you have the tassels.
• 49:14
  Speaker C: Oh, yeah.
• 49:15
  Speaker B: And I've never seen your show. I don't know what it's about.
• 49:18
  Speaker C: I actually.
• 49:20
  Speaker B: So where do the tassels go?
• 49:22
  Speaker C: Well, I think this is an appropriate time, as any guest should. I brought you guys gifts. I brought a pair of tassels for you.
• 49:29
  Speaker A: I can't wait to see you in those tassels.
• 49:30
  Speaker B: What the hell am I going to do with this?
• 49:32
  Speaker C: Listen, you're going to put them on your. I don't know what I'm allowed to. To say or not.
• 49:35
  Speaker A: Put them on your nipples. You can say nipples.
• 49:37
  Speaker C: Perfect.
• 49:38
  Speaker A: Yeah, yeah, yeah. You can say anything.
• 49:39
  Speaker C: Perfect. Bada bing, bada boom. Okay, so these are self adhesive. These are starters. I mean, actually, you should. So for.
• 49:45
  Speaker B: These are starter tassels.
• 49:47
  Speaker C: Yeah.
• 49:47
  Speaker B: You graduate to a different type of tassel.
• 49:49
  Speaker C: I mean, if you want to take it professionally, you should. These are just like basic T training wheel tasks. Yeah, they really are. They're just to get them started.
• 49:57
  Speaker B: Sure.
• 49:57
  Speaker A: Well, you got to start somewhere nice.
• 49:59
  Speaker C: Exactly.
• 50:00
  Speaker A: Thank you so much.
• 50:00
  Speaker B: That's.
• 50:02
  Speaker A: That's the first time anybody's ever brought us anything like that.
• 50:04
  Speaker C: Are you serious?
• 50:06
  Speaker A: Bring us records, you know, or a book or something, but nothing that intimate.
• 50:10
  Speaker C: It's. Well, I mean, it's.
• 50:11
  Speaker B: I guess graduation is the next month at the two at the commencement.
• 50:16
  Speaker C: Yeah. You got two pairs of tassels, you're good to go.
• 50:18
  Speaker B: Well, these are wise. It's a school of liberal arts.
• 50:20
  Speaker C: Tassel I love is a liberal art.
• 50:24
  Speaker B: Yeah.
• 50:24
  Speaker A: There you go. Well, here's a Troubleman podcast sticker for you.
• 50:27
  Speaker B: You.
• 50:27
  Speaker A: I think I've given you.
• 50:29
  Speaker C: You did give me one. I have it at home. I love it. Thank you.
• 50:32
  Speaker B: On your tassel.
• 50:34
  Speaker A: But.
• 50:34
  Speaker C: So you were asking about tassels and how do they adhere? I think was your question.
• 50:38
  Speaker A: Okay.
• 50:39
  Speaker B: I didn't say no.
• 50:39
  Speaker C: You. Okay, well, never mind. A lot of people ask that. People are always asking like, how do they stay on? And the. The reality is, is it's a trade secret. We can't share that information.
• 50:47
  Speaker A: All right. Why'd you bring it up? No, that's a Manny line. Why'd you even bring it up?
• 50:52
  Speaker C: I just teasing you.
• 50:53
  Speaker A: It's.
• 50:53
  Speaker C: Yeah, we can glue them, we can tape them, whatever you need.
• 50:56
  Speaker A: What do they use, like spirit gum?
• 50:58
  Speaker C: Yes.
• 50:59
  Speaker A: For the. The mustaches and stuff and.
• 51:02
  Speaker C: Yeah.
• 51:02
  Speaker A: Theater Manny.
• 51:03
  Speaker B: Yes. Yeah.
• 51:04
  Speaker C: Some People do that. But I find that like, nowadays double sided tape is good enough.
• 51:08
  Speaker A: Okay. Tape has gotten so much better than it used.
• 51:11
  Speaker C: It really has.
• 51:12
  Speaker B: Yeah, it's gorilla tape. Gorilla tape is really.
• 51:16
  Speaker A: That might be a little bit too much.
• 51:17
  Speaker B: And gorilla.
• 51:19
  Speaker C: You gorilla glue it and then you got. You're gonna make millions.
• 51:21
  Speaker A: Ouch. Yeah, well, so one thing I noticed is that within a year of your first burlesque experience, you're already creating your own burlesque troupe, your own burlesque show. And I'm so impressed with, you know, you've created all these shows over the years, but. And that's terrific. You know, obviously, you know, your creative energy is boundless and which I love the enthusiasm, but the business acumen that you right away start applying to it to where you have like a full one stop shop for events, conventions. You have, you know, not just the burlesque dancers. You have all kind of dancers. Like cancan dancers, go go dancers, circus acts, magic magicians, aerial acts. Now I also.
• 52:15
  Speaker B: Do you have any kind of freak acts?
• 52:17
  Speaker A: Well, we do have sideshow freaks.
• 52:21
  Speaker C: Yeah. No, they like. Yeah, we actually did a freak show for.
• 52:25
  Speaker B: They did this, like one legged strippers.
• 52:28
  Speaker C: No, we do have people that swallow swords, hammer nails into their heads.
• 52:32
  Speaker B: Okay, well, that's not freaky.
• 52:34
  Speaker A: That's just a sideshow.
• 52:37
  Speaker B: The.
• 52:38
  Speaker A: Now, what about the geeks? You have any geeks?
• 52:39
  Speaker C: The geeks we don't have, but I do work.
• 52:42
  Speaker A: I'd like to apply for the.
• 52:43
  Speaker C: There's like a bunch of.
• 52:45
  Speaker A: Have the bill.
• 52:45
  Speaker B: Yeah, he's got the tassels.
• 52:46
  Speaker A: I have the build and I have the tassels now. And I.
• 52:48
  Speaker C: Well, now you can. Now we can add it to the repertoire.
• 52:50
  Speaker A: Bite the head off of a chicken.
• 52:53
  Speaker C: That's gonna be a hard sell. But there was a weird.
• 52:55
  Speaker A: Nobody wants to see that anymore.
• 52:56
  Speaker C: Well, what people do want to see is chicken shit bingo. That was so weird. It was this weird trend for like a year where everybody wanted to get chickens to poop on bingo cards or something.
• 53:07
  Speaker A: Station.
• 53:08
  Speaker C: For a while, everybody loved it. And then the chicken. We did it a couple times, but our chicken never had to go to the bathroom. I got. I think it got like, afraid, like he got nervous around the people. So the games took forever. It just was not good. Yeah.
• 53:21
  Speaker A: All right, well, well, so, so kudos to you for, you know, seeing now again. You're talking about, like the vision to see something. How did you just. What was the feeling that you thought, oh, I. I know there's. This is a market that is Fertile. Go ahead, tell the story.
• 53:42
  Speaker C: No, no, wait. I want to hear what you wanted to say.
• 53:44
  Speaker B: I was gonna say it was probably because New Orleans men's are so uneducated, they just want to see fucking sex on stage.
• 53:50
  Speaker A: But that's not what they.
• 53:51
  Speaker C: Exactly. It doesn't. The majority of our client base is, ladies and gentlemen.
• 53:56
  Speaker B: Oh, really? So it's a lesbian thing?
• 53:58
  Speaker C: No, I think it's just people, like, embracing people like it. Well, okay, so here's the thing.
• 54:03
  Speaker A: People who love people.
• 54:04
  Speaker C: Well, like, not. Not who love people, but the human form, like entertainment.
• 54:08
  Speaker A: People who need people. Sorry.
• 54:10
  Speaker C: Well, I guess people need people.
• 54:11
  Speaker B: Nice try. Right now.
• 54:12
  Speaker A: I'll let you talk.
• 54:13
  Speaker C: So basically what happened was, is I was working for this guy. I was working for Bust Out Burlesque, and I did not have the best experience. And so I was going to quit. And it was. It was that simple. I was just going to stop. And a bunch of really wonderful people in my life were like, I've never seen you happier. You seem to really enjoy this. Like, I really think you should keep it going. And the only way that was possible was if I started a show. Literally. There were just. There were two shows in town. One was with this guy that I didn't enjoy working with. And then the other one was very, like. Again, it was sort of like more casual. They were really wonderful women, but everybody was getting stoned and just like, sort of hanging out, which is. Is fine, but I wanted something bigger. And so that's. That's why is. Because we did a show at One Eyed Jacks, which is now the Toulouse Theater. And the first show went really well, but it was. It was very clear if this was going to continue. I had to buckle down and actually do something.
• 55:04
  Speaker B: Get naked.
• 55:05
  Speaker C: Well, no, okay, like, promote. Have a flyer. Like, we had started with a band, but, like, we didn't have any sets. Our costumes were sure. So. So, like, it. It just needed to be more. More than just a random girl on stage taking her pants off. Like, you need to have more.
• 55:19
  Speaker A: Right, right.
• 55:20
  Speaker B: I got you.
• 55:21
  Speaker A: Yeah. Elevate the whole thing.
• 55:23
  Speaker C: Yeah. And make it more of a production. Like, make it a show. Make it more than just. Because that's the thing is, like, I mean, y' all can take your pants off. Like, anybody can do it. So if you're gonna do it, like, make it something, you know.
• 55:33
  Speaker A: Sure, sure, sure. Has to be a spectacle.
• 55:36
  Speaker C: Yeah. But. Yeah, no, as far as how it expanded from there is that I wanted the show to be less than. Like, I didn't want to just be burlesque. I wanted to be burlesque and variety. So we started adding aerialists, we started adding magicians and these people. As we were working together, people would ask us if we could do parties and stuff like that. So then we started pulling it together for corporate clients and stuff like that, and it just. It grew.
• 55:57
  Speaker A: I was. I was looking at your website and stuff. I was like, oh, Jesus, you must kill, man. I mean, for a convention or any kind of event like that. I mean, it's like so many.
• 56:06
  Speaker C: There's so many options. Yeah. It's like, I think we're not for everyone, as you know, not everyone's for everyone, but we're for somebody who wants something different than just the traditional, like, reveler and parade. Like, if you want something, I always call it, like, custom curated. So, like, let's say you're getting married and you want to get married on the bayou, and you want it to look like a magical, whimsical dream. We will have people. Like, we could have mermaids there to greet your guests, or we can have people in the sky pouring champagne, but, like, with fairy wings and stuff. Like, we can create whatever you can imagine. Within reason.
• 56:45
  Speaker A: Now you're mentioning the live band. And that's how we met.
• 56:50
  Speaker C: Yeah.
• 56:51
  Speaker A: And now you don't remember this, but many years ago, we shared a dressing room. I was playing with Lynn Drury.
• 56:58
  Speaker C: Oh, I love that.
• 56:59
  Speaker A: At One Eyed Jacks. And you were. It was some kind. I can't remember what the event was, but we played a set and you were on the bill.
• 57:06
  Speaker C: Yeah.
• 57:07
  Speaker A: And I went in and you were in the dressing room. And we shared. I introduced myself. We met and I said, oh, my gosh, I'll let you have the dressing room to yourself because, you know, I'm a gentleman, you know. But anyway, so then I wound up on this Big Easy cruise. I was playing with Susan Castle already, and then.
• 57:24
  Speaker C: Who my mom loved. I love her too. She's so freaking amazing.
• 57:29
  Speaker A: She's sublime, you know? But. But so Michael Lemler, her keyboard player, wound up being the music director for the. Your backing group. Yeah, and he got me to play in the band. And so I backed you up on three performances there with the Trixie Minx review on the Minx Burlesque. Yeah, you got it. You got it. Now, it quickly became one of my favorite bands I've ever played in. Just because not only the. The band was cool, it's a small band, but the. The music is so fun to play. It's not hard to play, but you have to know how to do it. And as long as you do that, everybody loves it. Now, musicians who were on the boat came up to me at the end, said that was one of my favorite bands on the boat. Just because of the music, because of the.
• 58:19
  Speaker B: It's a ship. It's not a boat.
• 58:21
  Speaker A: The ship. Sorry. But the interactive aspect of it, like. So the first night we played, we played all the charts and you guys had some notes for us.
• 58:29
  Speaker C: You said, yeah, I felt a little bit bad because I wasn't.
• 58:31
  Speaker A: No, no, no, no, that was great. No, you said, you guys sound great. The way you could improve is to be more interactive, more responsive with the dancers and even push ups and we'll be more responsive to you. And. And I immediately realized, oh, she wants us to camp it up. Do the thing that you would imagine in your head. The cliche, vampy kind of style of playing, which is so fun to play. And then to watch the girls respond to it and drive us. It was really exciting.
• 59:01
  Speaker C: No, it's really incredible because that's the
• 59:03
  Speaker B: thing is I think the woody just talking about it.
• 59:06
  Speaker A: I like talking about play music.
• 59:09
  Speaker C: No, the band was great. Like that first show was sort of trial by fire, but like the tempos are fine, the songs are fine. But I think that's where a lot of people are okay with it, but where at least in New Orleans, I see the dancers and musicians working on what I think is next level where we actually collaborate. It's not just you're playing music, we're dancing on top of it. We're actually wanting you to play with us. Like you set the tempo but then match us and then we'll match you and like the accents are everything.
• 59:37
  Speaker A: Right. Which is why I think live. Having a live band is so important for what you're doing.
• 59:45
  Speaker C: 100%.
• 59:46
  Speaker A: We'll talk about that.
• 59:47
  Speaker C: Well, okay, so, you know, obviously everything is budget conscious today, so. So when we first started, we had started with the band and then cut it out because we just couldn't afford it. But as things got bigger and better, we brought it back in. When you have. I've had the opportunity to work with Gerald French. Yeah, sure, we did work with Prez hall before, but it was without striptease. But we've. I've worked with so many other amazing musicians and I think it makes the dancers better and hopefully it makes the musicians more interested as well as in what they're playing. Like, you know, it's. I think adding the dancers is Essentially, like adding another instrument, but when that's visual.
• 1:00:31
  Speaker A: Right? Yeah, that's.
• 1:00:32
  Speaker B: That's.
• 1:00:32
  Speaker D: That's.
• 1:00:32
  Speaker A: That's.
• 1:00:33
  Speaker B: Don't you think ballet would be more popular if they were naked?
• 1:00:37
  Speaker C: Huh? No, no, like. Well, at least the. The ballets that I've seen. I think that a lot of them, they don't wear much besides, like, a leotard and tights. I think it would be more popular if the music was interesting. Like, I feel like they use sort of a lot of classic, you know, orchestrated songs, which are beautiful.
• 1:00:57
  Speaker B: Every year they bring out the Nutcracker. Who cares?
• 1:01:00
  Speaker C: Who cares about the parents of those kids? And then that's what funds the entire year. It's insane.
• 1:01:06
  Speaker A: Oh, is that right?
• 1:01:07
  Speaker C: Those little children, a little kid walking around on stage following their teachers.
• 1:01:12
  Speaker B: Don't like that title. Nutcracker.
• 1:01:14
  Speaker C: You only crack nuts.
• 1:01:16
  Speaker B: Yeah, I don't. I don't think.
• 1:01:17
  Speaker C: You know what, I can respect that.
• 1:01:20
  Speaker B: Yeah. Makes me nervous, man. I'm hanging by a thread over here. You know what I'm saying?
• 1:01:26
  Speaker C: Where is it? Have you seen the Nutcracker?
• 1:01:29
  Speaker B: Yeah, when I was, like, younger, I think one Christmas I was taken, you know.
• 1:01:34
  Speaker C: Yeah. The first act is sort of rough, but the second act is fun.
• 1:01:37
  Speaker B: Yeah. I don't know.
• 1:01:39
  Speaker C: The second act is when you get the Land of the Sweets.
• 1:01:41
  Speaker B: Oh, really?
• 1:01:42
  Speaker C: Yeah. All the candy.
• 1:01:43
  Speaker B: Oh, yeah. I. I don't remember. I don't really.
• 1:01:46
  Speaker A: Now, Now. Now, as you start establishing this, you know, all these shows I was talking about, you know, the Burgundy Burlesque and Burlesque Ballroom. And what is the public reaction to all of this? You're the. It's enthusiastic, is it not?
• 1:02:03
  Speaker C: Yeah, it was weird, like, so I started, and then about 10 years in, everybody just sort of got on board, and then there started to be a lot more people doing it. I feel like before, it was sort of associated as something that's like. Like we're talking about, like, oh, maybe it's dirty, maybe it's wrong, whatever. It's like. No, it's just people having fun. Topless, like, get over it. Enjoy yourself. Now, now, like the topless, eventually, for a minute, for a second, if you're lucky.
• 1:02:30
  Speaker A: And you are a shy girl.
• 1:02:32
  Speaker C: And that's. That's like literally the definition. That's what it's supposed to be.
• 1:02:37
  Speaker B: People don't want to be teased.
• 1:02:38
  Speaker A: Well, they do, though.
• 1:02:40
  Speaker B: The thing, really, they do.
• 1:02:41
  Speaker C: In a world where everything is available, like, on the computer. At your computer, I was going to
• 1:02:45
  Speaker A: say, in a world where. Where hardcore porn Is. Is available on demand.
• 1:02:49
  Speaker B: Yeah, but.
• 1:02:50
  Speaker A: But we can have. We have that. That's. You have access to that.
• 1:02:53
  Speaker C: You can access to that.
• 1:02:54
  Speaker A: So. But. But this is something.
• 1:02:56
  Speaker C: It takes it back finer.
• 1:02:58
  Speaker A: You know, it's. It's.
• 1:02:59
  Speaker C: It's not. That one's better than the other. It's just different. And, like, I think that's the thing, is that people, everybody.
• 1:03:04
  Speaker B: How much is your budget for balloons?
• 1:03:07
  Speaker C: Depends how many balloons I need. Did you. Well, did you, like. Actually, did you like the balloon dancer for that?
• 1:03:12
  Speaker A: I did like the balloon dancer.
• 1:03:14
  Speaker C: That's one of my favorite acts. I literally requested that act for the. Did he tell you about the balloon act that she did?
• 1:03:21
  Speaker A: No, no, no, no. I gotta say, the. The drama of. Of the. The anticipation of when that balloon is gonna pop.
• 1:03:27
  Speaker C: Exactly.
• 1:03:30
  Speaker B: So do you have people masturbating in the audience?
• 1:03:33
  Speaker C: No, not that I've seen. I've seen people. I've seen people masturbate at the park a lot for some reason. I don't know which park. Well, the one right up here, or I guess not up here, but, like, uptown. That sort of Triangle park. I used to walk my dog there, and I stopped because there was a bunch of people.
• 1:03:46
  Speaker A: It's not you, huh, Manny?
• 1:03:47
  Speaker B: No, No, I don't live by that part.
• 1:03:49
  Speaker C: Yeah.
• 1:03:49
  Speaker B: I live by City Park.
• 1:03:50
  Speaker A: All right.
• 1:03:51
  Speaker C: I haven't seen anybody in City park doing it.
• 1:03:53
  Speaker B: Yeah, I know.
• 1:03:53
  Speaker A: Yeah. Now, who wants to see that? It's a private thing, you know?
• 1:03:57
  Speaker C: Well, I mean, what would hope.
• 1:04:00
  Speaker A: Well, what do you think about this idea that, like, classic vaudeville, that. That and burlesque and everything. All these kind of acts that go along with that. People are hungry, you know, when we've had access to everything, everything, it pulls it back.
• 1:04:15
  Speaker C: Yeah.
• 1:04:15
  Speaker A: You know, it's like, yes, can we. Can we have a sense of decorum? Can we have a nostalgia for a simpler time?
• 1:04:22
  Speaker C: Well, so I actually talk about this in my class. Like, when you. When a lady takes off a glove, a hand is not inherently sexual or, you know, anything more feminine or whatever. It's just a hand. But you make it a presentation. You make it something. You build the excitement.
• 1:04:37
  Speaker B: A hand is a hand, baby. Well, a hand is a hand.
• 1:04:40
  Speaker C: That's what you would say if you were masturbating. Like, it doesn't matter whose hand it is. But, like, that's the thing, is that in a performance, you make everything something special. Like, a shoulder is special. An ankle is special. Like, it's not just the finale. It's the whole process. It's the gift that unwraps itself.
• 1:04:59
  Speaker B: Oh, nice.
• 1:05:00
  Speaker A: I like that. Now, I. I once saw David Byrne talking about this Japanese kabuki actor, the
• 1:05:09
  Speaker B: insect David, that he. That.
• 1:05:12
  Speaker A: That he had met with one time or he'd seen his show, and the guy gave him a few. They had a passing, you know, cup exchange. And the guy was saying, well, one thing I remember, he said, whenever you point, point with two fingers, which I thought, okay, that's cool. He said. And then, really, as a performer, you want the audience to kind of know what you're gonna do ahead of time to where, when you do it, they feel satisfied because they already had the anticipation that you were gonna do that. I thought that was so interesting.
• 1:05:45
  Speaker C: There's a very famous burlesque dancer, I'm sure, you know, Gypsy Rose. Yeah. Like, so her whole shtick was that she never showed anything. Like. And she. And they. She'd be like, I was simply out of time. You have to come back tomorrow. And so people would keep coming back to see the final reveal, and there was never a final reveal. Like, that was the bit.
• 1:06:03
  Speaker A: Nice, nice.
• 1:06:04
  Speaker C: It was funny.
• 1:06:05
  Speaker A: You know, I once saw Joan Rivers about six. Six months before she passed away. I'm a huge Joan Rivers fan.
• 1:06:12
  Speaker C: Joan is great.
• 1:06:12
  Speaker A: And I saw her right over there at the Healing center, wherever that was, you know, in St. Claude, used to be.
• 1:06:20
  Speaker C: She played the Healing Center.
• 1:06:21
  Speaker A: Yeah, yeah, yeah.
• 1:06:22
  Speaker C: Wild.
• 1:06:22
  Speaker B: Because she was dying, and she.
• 1:06:24
  Speaker A: Well, she didn't know it at the time. You know, she was in perfect health at the time. Ladies are men to plastic surgery. Be careful. But her whole act, she goes, well, I'll get to the act in a minute.
• 1:06:36
  Speaker B: But.
• 1:06:36
  Speaker A: But. And she would tell a joke, and she'd tell two more jokes. She'd go, well, I should get back to the. To the act. But she did that the whole time. She never got.
• 1:06:44
  Speaker C: She never got to the act.
• 1:06:46
  Speaker A: Same shtick.
• 1:06:46
  Speaker C: It is the same shtick.
• 1:06:47
  Speaker B: Like, that's a.
• 1:06:48
  Speaker C: It's all about entertaining people. Because I think so that ultimately, when it goes back to what you were saying earlier about, like, well, can we just see it? Or, if. What if they're naked? Like, but is it entertaining? Nudity on its own is just nudity.
• 1:07:01
  Speaker B: Like, oh, it could be entertaining.
• 1:07:02
  Speaker C: Well, then make it entertaining. We got to put you in a show.
• 1:07:05
  Speaker A: Not.
• 1:07:06
  Speaker B: I've seen. I've seen naked entertainment in Vegas, and it's great, right? Yeah, it's fabulous.
• 1:07:12
  Speaker C: That's what I'm saying is. But it's like, it. If it's.
• 1:07:15
  Speaker B: But there's no champagne in the champagne room.
• 1:07:18
  Speaker A: There's no sex in the champagne room.
• 1:07:19
  Speaker B: Yeah, there's no champagne either.
• 1:07:22
  Speaker A: I don't know. What is management? Just a room. It's a closet room.
• 1:07:27
  Speaker B: Yeah.
• 1:07:28
  Speaker A: Now, you know, we're kind of on the downslope of the. Of the podcast here, but a few things to wrap up. You know, I know you. You have many things coming up, but one question I wanted. Yeah, I know one old guy, he loves the. To go to the burlesque shows.
• 1:07:45
  Speaker C: Oh, I love that.
• 1:07:46
  Speaker A: And. But he's one of these guys, he's so old that he thinks. Thinks it's okay that he starts getting handsy with people, with young ladies. So how do you handle that with an old guy?
• 1:07:56
  Speaker C: Okay, so that's the thing. There's. There's so. In burlesque, there's a stage show and there's a floor show. A stage show is like when you're on the stage and the performer never leaves, the audience is seated. Those are for your bigger theaters. Right. But a floor show is probably set more like. It's like the Jazz Playhouse in the Rolls. Nesta. That's a floor show. So there's a very small stage, but the dancer can also move throughout the room. We always start the show by stating the boundaries. Like, you can do this, you can do that, you can't do that. So we explain it clearly. But if somebody does get handsy, like, it's unfortunate for them, but the show's over for them. Right then and there. It's over. So you got security. Yeah, it's discouraged for sure.
• 1:08:33
  Speaker A: Yeah, yeah, yeah.
• 1:08:34
  Speaker C: It's like a museum. Museum rules. Let's touch.
• 1:08:37
  Speaker A: Right, right, right. Well, that's what I think, too, but he's like, it's okay. I'm old. They don't care.
• 1:08:41
  Speaker B: That's what I do. He's an old guy. Have his fun. I don't know, you know, pour Pepsi on the. And get it erected.
• 1:08:50
  Speaker A: Oh, jeez.
• 1:08:51
  Speaker C: Does that work?
• 1:08:52
  Speaker B: Yeah. Oh, yeah.
• 1:08:53
  Speaker C: Pepsi.
• 1:08:54
  Speaker B: Yeah, Pepsi. I like RC Cola. But, you know, this is what I've heard.
• 1:08:59
  Speaker C: I've heard it gets rid of, like. Was it rust? Like, if you put soda on, like, something rusty, it'll get rid of the rust.
• 1:09:06
  Speaker A: Oh, yeah. Coca Cola. Yeah, you can. Yeah. If you put that on battery terminals, it'll clean them right off.
• 1:09:11
  Speaker C: That's insane.
• 1:09:12
  Speaker B: Taco Bell hot sauce can clean pennies like crazy.
• 1:09:17
  Speaker C: Are you serious?
• 1:09:18
  Speaker B: Yes. Try it.
• 1:09:19
  Speaker C: Huh?
• 1:09:19
  Speaker A: Okay.
• 1:09:20
  Speaker C: Does it have to be the mild or the hot, or does it matter which?
• 1:09:22
  Speaker B: One, I think it's medium to hot. I don't think the mild.
• 1:09:25
  Speaker C: Okay.
• 1:09:26
  Speaker B: But medium to hot can clean pennies like crazy.
• 1:09:30
  Speaker C: I'm gonna try that. That's insane.
• 1:09:31
  Speaker B: It's insane. It's a good thing.
• 1:09:33
  Speaker A: You gotta load a penny pennies to clean.
• 1:09:34
  Speaker C: I gotta find them first.
• 1:09:36
  Speaker B: Well, you better find someone who wants the pennies because they're going.
• 1:09:39
  Speaker C: That's what I was saying. There's hardly any left.
• 1:09:42
  Speaker B: It's crazy.
• 1:09:44
  Speaker A: Well, so as I said, we're on the downslope of the podcast, but you have many things going on in the future.
• 1:09:51
  Speaker C: Yeah. So basically I. I have two weekly shows that I would love to share about.
• 1:09:55
  Speaker A: Yeah, please.
• 1:09:55
  Speaker C: Every Friday we have Burlesque Ballroom at the Royal Sinesta and the Jazz Playhouse. That's a show with. It's a traditional classic burlesque show with a live band. I always encourage people see that it's a wonderful first experience in burlesque. Then on Sundays we have minx Burlesque at the Howling Wolf. And this is more of a variety based show. So it has. It features different performers. So it's not just burlesque. Like, sometimes we have drag, sometimes we have singers. Like it's all over the place. So I always encourage people to go see that. And then I've been doing solo pop ups at Mahogany, which I really enjoy doing, which I love. If you guys haven't been to Mahogany Jazz hall, you should totally check it out. It's a cute place.
• 1:10:34
  Speaker A: And where is that?
• 1:10:35
  Speaker C: That's on charters in the 100 block, right between Canal and Iberville.
• 1:10:39
  Speaker A: Oh, okay. Nice, nice. And you have. Now, does Magic Mike show up on some of your shows? He was out there on the cruise with us.
• 1:10:47
  Speaker C: Yeah. So Magic Mike, my big show, Fleur de Teas. We do that throughout the year at the Toulouse Theater. But we're currently in break, but we'll start back up in the fall. But yeah, he's always in that one though. He's been touring so much. He's. He's. I'm not sure if he's going back to France, but he was touring in France for like a hot minute, which is crazy.
• 1:11:06
  Speaker A: As a magician.
• 1:11:07
  Speaker C: Yeah. He won the bet. Sorry, the Penn and Teller Fool US Award.
• 1:11:12
  Speaker A: Oh, okay.
• 1:11:13
  Speaker C: He was on their show and literally won. And since then he's been like, blowing up now.
• 1:11:17
  Speaker A: I love tabletop magic. I love all that. Kind of old school. Yeah, I was quite entertained. I was. I couldn't get enough of Magic Mike.
• 1:11:27
  Speaker C: Well, you gotta see him. He doesn't do as much in town. He's been touring a lot more, but have you ever been to the Magic Castle in la?
• 1:11:34
  Speaker B: Yes.
• 1:11:35
  Speaker C: Oh, it's great. Yeah, that's it. He plays there a lot.
• 1:11:39
  Speaker B: Well, back in the 80s, that place was dying and the kitchen stunk. Did not want to order food because I actually work for a production company. We filmed at the Magic Castle and that kitchen was just.
• 1:11:56
  Speaker A: Yeah, I could imagine.
• 1:11:59
  Speaker B: Now, I don't know about the ax here and stuff like that, but it's. It's still there. I think.
• 1:12:04
  Speaker C: It is. It is. I highly like. Yeah, you can't just buy tickets. You have to be invited or a member. Like, it's really crazy.
• 1:12:10
  Speaker B: Exactly.
• 1:12:10
  Speaker A: Exactly.
• 1:12:10
  Speaker B: Yeah, exactly. Just like the Playboy Club, which doesn't exist anymore, but I was a member, really, for years in the 80s.
• 1:12:18
  Speaker A: Well, you have the members only jacket on today.
• 1:12:20
  Speaker B: Yeah.
• 1:12:20
  Speaker A: So that's how you can tell.
• 1:12:21
  Speaker B: All right.
• 1:12:22
  Speaker C: Nice.
• 1:12:22
  Speaker A: It's members only tonight.
• 1:12:24
  Speaker B: Yeah.
• 1:12:25
  Speaker A: We're throwing a party for the sad and lonely. It's members only tonight.
• 1:12:29
  Speaker B: Oh, look at you.
• 1:12:30
  Speaker C: That's a song.
• 1:12:31
  Speaker A: Oh, yeah, yeah. All right. Well, on that note, thank you so much, Trixie. It's been such a ball. You've been such a vivacious guest here. Lovely personality. And as always in the Troubled Men podcast, we like to say trouble never ends.
• 1:12:47
  Speaker B: But you know something? The struggle continues. Good night.
• 1:12:51
  Speaker A: Good night.
• 1:12:52
  Speaker C: Good night.
• 1:12:54
  Speaker D: Take it off, baby just take it
• 1:12:59
  Speaker B: all off
• 1:13:02
  Speaker D: Take it off Baby, just take it all off I said, baby, just take it all off Take off
• 1:13:15
  Speaker B: your coat
• 1:13:18
  Speaker D: Let me hang it behind the door Take off your wig Let me feel your afro Take it off, baby, baby, so come on now, baby, just take it all off Take it all off Take off your eyelashes I know you bought them on sale
• 1:13:45
  Speaker B: don't
• 1:13:45
  Speaker D: scratch my back with no false fingernails Stop rolling your bloodshot eyes at me and, baby, just take it all off Kick off your shoes
• 1:14:01
  Speaker A: while I go
• 1:14:02
  Speaker D: fix us a drink Forget about tomorrow, baby because it's later than you think so come on now and, baby, just take it all off
• 1:14:20
  Speaker B: okay,
• 1:14:41
  Speaker A: Yeah Come
• 1:14:42
  Speaker D: here, girl Take off then Liquid that powder and that pain since you came up here Girl, you just trying to be what you ain't Stop rolling your big brown eyes at me and maybe just take it all off oh, take the load off your mind and relax your nerve tonight don't worry about a thing, mama because time is just too
• 1:15:16
  Speaker A: tight
• 1:15:19
  Speaker D: so come on now and, baby, just take it all off
• 1:15:25
  Speaker B: oh, you
• 1:15:26
  Speaker D: look like a natural now y' all taking it all.
• 1:15:33
  Speaker B: Yeah.
• 1:15:33
  Speaker D: You're looking so good.