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Speaker 1: You're listening to Amma mea podcast.

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Speaker 2: I was also pretty wild too, Like I mean, when

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Speaker 2: I look back, it's like, I'm very I've always been

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Speaker 2: very responsible, but you know, like, no, the same kind

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Speaker 2: of thing didn't happen to me that happened in Anna

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Speaker 2: Nicole Smith. But you know, I mean I was going

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Speaker 2: out partying. I worked in the reeve scene, you know,

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Speaker 2: and I was up all night and I was like,

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Speaker 2: you know, I was just doing a different kind of

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Speaker 2: drugs if I'm honest, you know, like I wasn't doing

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Speaker 2: addictive drugs, but I was using mind altering drugs.

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Speaker 1: Today, on no Filter, you're going to meet a woman

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Speaker 1: who's built her entire life on the art of transformation.

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Speaker 1: Dieta Bontees was born here the Sweet, a ballet student

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Speaker 1: from small town Michigan who fell in love with old

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Speaker 1: Hollywood glamour, the idea that beauty itself could tell a story.

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Speaker 1: As a teenager working in a lingerie store, she opened

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Speaker 1: her first bra, a plain white cotton thing in a

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Speaker 1: plastic egg, and felt instantly disappointed. She'd imagined something romantic,

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Speaker 1: something transformative, and that moment sparked her lifelong mission to

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Speaker 1: make the world or at least her world more beautiful.

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Speaker 1: Now known globally as the Queen of Burlesque, her shows

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Speaker 1: blend theater, fantasy and precision. But behind the spectacle is

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Speaker 1: a woman who's built power out of control and mystery

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Speaker 1: out of complete self possession. This is a conversation about beauty, identity, power,

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Speaker 1: about desiccated coconut, and the liberation that comes from inventing yourself,

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Speaker 1: reinventing yourself, and then living that invention fully. This is

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Speaker 1: Dita Vontees, unfiltered. Let me just say, what a thrillities

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Speaker 1: to drink you in with my own eyes as though

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Speaker 1: I am a lady from a Martini glass.

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Speaker 2: Thank you very much.

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Speaker 1: Ditavontes, welcome to no filter.

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Speaker 2: Thank you.

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Speaker 1: I've noticed that in nearly all your interactions with people,

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Speaker 1: they become very self conscious about what they're wearing in

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Speaker 1: relation to how you present. Is that a really common thing?

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Speaker 2: I think it is about the person. Yes, you know,

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Speaker 2: like a certain kind of person will say something like, oh,

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Speaker 2: I didn't know we were dressing up today, you know,

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Speaker 2: like right, yes, And those are like even like certain

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Speaker 2: friends of mine that I'm like, oh oh yeah, I mean,

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Speaker 2: how long have we known each other, you know, And

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Speaker 2: it's a very particular type of like person that would

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Speaker 2: say that. In general, I think people that do feel

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Speaker 2: a little like h I guess I you know, maybe

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Speaker 2: I feel uncomfortable because you know, I didn't put it

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Speaker 2: for the effort. I mean it's usually what I'm saying

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Speaker 2: is it says more about them than me. And I

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Speaker 2: don't think even I have plenty of friends who don't

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Speaker 2: dress up at all, who never say things like that,

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Speaker 2: you know, So I think it's just a certain it's

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Speaker 2: about that person, and it doesn't make you like a

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Speaker 2: bad person that you didn't want to dress up, but

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Speaker 2: like you definitely, I don't think it is like I

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Speaker 2: can't remember every time turning to somebody saying like, oh god,

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Speaker 2: I'm really overdressed. I should have you know, Like I

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Speaker 2: just feel like very firm and when I picked, and

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Speaker 2: I've been overdressed and underdressed for things, and you know,

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Speaker 2: fly undergressed if I'm honest. But you know, like for

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Speaker 2: me when I feel underdressed.

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Speaker 1: Yes, Wayne, give me an example, data Vontee of ways,

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Speaker 1: well you have been on to dress. I know you've

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Speaker 1: been on dressed.

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Speaker 2: I think the thing is like I might feel that

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Speaker 2: I could have gone further, like, oh, I really could

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Speaker 2: have gone further with this. I didn't realize I could

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Speaker 2: have taken it there, you know. But I might feel

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Speaker 2: like underdressed sometimes at like if there was a like

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Speaker 2: a fancy dress party that I was invited to when

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Speaker 2: I didn't have the right clothes or something, you know,

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Speaker 2: or things like that, or I don't know, I'm trying

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Speaker 2: to think of an example, but or like, for instance,

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Speaker 2: I was just trying on some dresses to wear, like

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Speaker 2: a package of dresses that came from a designer I love,

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Speaker 2: and I was like, I put on this beautiful like

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Speaker 2: beaded dress and it's cocktail length, and I thought, oh,

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Speaker 2: but you know what, like I think what I'm going

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Speaker 2: to is like people were we wearing full length gowns,

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Speaker 2: but this is like a beaded dress. It's just not

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Speaker 2: to the floor. So I thought, like, I mean, I can,

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Speaker 2: by all accounts, I could wear this dress. It's like

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Speaker 2: it's amazing, it's all intricate beadwork and everything. But I

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Speaker 2: had this start like, oh, I should really wear like

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Speaker 2: a gown because I can at this. So maybe it's

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Speaker 2: like that, do.

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Speaker 1: You know what I find fascinating. I mean, there's a

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Speaker 1: lot that's fascinating about you. But now in a world

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Speaker 1: where people are very tribal, and we have the Internet

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Speaker 1: and people have access to any manner of accouterments from

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Speaker 1: their tribe, you can get online if you decide that

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Speaker 1: you're you know, rockabilly or your death metal or your

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Speaker 1: you can find all those things. Yea, when you were

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Speaker 1: a teenager growing up in Michigan and then later on

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Speaker 1: in California, the world wasn't like that.

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Speaker 2: No, not at all. But it's real. Isn't it great

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Speaker 2: when you get to the point where you're watching all

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Speaker 2: these shifts in the world. I mean, I think about

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Speaker 2: that all the time about you know, I don't I'm

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Speaker 2: very I try to be careful of being that person.

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Speaker 2: That's like in my day, we had to use a map,

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Speaker 2: you know, you know, in trying to explain to people

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Speaker 2: because it is funny, you think like, wow, I'm like,

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Speaker 2: you know, I'm to the point where I've experienced all

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Speaker 2: this like technology and changing. But I do think like

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Speaker 2: not having the internet to google pictures or other people's performances,

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Speaker 2: for instance, if I relate it to what I do,

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Speaker 2: that fueled me in being creative on my own, Like

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Speaker 2: I didn't have anyone to look at. Like when I

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Speaker 2: was first making burlesque shows, I had a book that

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Speaker 2: had still photos of burlesque stars, like portraits, and I

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Speaker 2: saw the movie Gypsy with Natalie Wood and maybe like

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Speaker 2: one other forties movie that had burlesque, you know, like

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Speaker 2: portrayed burlesque in it. But you know, I didn't have

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Speaker 2: like a real example of other burlesque dancers, like real

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Speaker 2: life ones, or what burlesque was really like in the

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Speaker 2: nineteen thirties and forties. So I've kind of I had

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Speaker 2: to like imagine in my mind what I thought it

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Speaker 2: should be. And in fact, actually I got coached by

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Speaker 2: a very like famous burlesque star and she told me

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Speaker 2: what I was, Like, what do I do with these

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Speaker 2: feather fans that I have, you know, because I only

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Speaker 2: had portraits of Sally Rand, and she's tried to describe

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Speaker 2: to me what Sally Rand did. And so it's really

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Speaker 2: funny to like think like about how much access there

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Speaker 2: is to like you know, get inspiration or copy, you know,

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Speaker 2: like there's so it's so easy now, but like I

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Speaker 2: really had to sit there and be like, Okay, feather

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Speaker 2: fans are like wings, Okay, I'm going to strike these

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Speaker 2: poses and I'm going to cover you know. I really

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Speaker 2: had to like work it out on my own, and

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Speaker 2: so I think like that really helped get me where

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Speaker 2: I am today and made me like original because I

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Speaker 2: didn't have like a you know, one thing to copy.

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Speaker 1: But it's also interesting because you know, when you're a

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Speaker 1: teenage job, the compulsionies as a teenager, often you want

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Speaker 1: to travel with the hoods. Yes, yeah, And so teenage

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Speaker 1: girls now, like i'd see with my daughter, they the

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Speaker 1: girls will wear, you know, a tracksuit pants and a

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Speaker 1: crop puffer and there's like a uniform that they have.

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Speaker 2: Yeah. Yeah, which I'm actually very amused by when I

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Speaker 2: see because you start to notice it. But you see

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Speaker 2: it more in younger people than older people. But you

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Speaker 2: see like a group of maybe like four or five girls,

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Speaker 2: and I always say this. I'll turn to somebody and say, look,

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Speaker 2: same shoe, same hamline, same shirt, like different color, And

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Speaker 2: it's like really astonishing when you think about it. And

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Speaker 2: so when I think back to when I was a teenager,

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Speaker 2: I had like one best friend and we both worked

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Speaker 2: in a lingerie store, and so we had our thing

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Speaker 2: but it was very different than the other girls. Like

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Speaker 2: we wore like a boustier with you know, our jeans,

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Speaker 2: or like a slip with a little cardigan sweater. But

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Speaker 2: we definitely I didn't have like a group of girls

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Speaker 2: addressed like that. It was really me and her that

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Speaker 2: cared about vintage. But it was I think because we

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Speaker 2: didn't we were totally self sufficient, Like our parents didn't

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Speaker 2: give us any money. So like the you know, I

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Speaker 2: had friends where I grew up at, you know, in

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Speaker 2: Orange County, California, Like ive, I got driven to school

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Speaker 2: every day in a nineteen sixties Porsche oh by my friend.

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Speaker 2: Oh you know, but those were not mine. That's not

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Speaker 2: how I grew up. So my other friend, we were

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Speaker 2: both girls that worked and had to pay for our

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Speaker 2: own food and school books and all of this stuff,

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Speaker 2: you know. But we were hanging around a lot of

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Speaker 2: like people that had a lot of money from their parents,

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Speaker 2: and so they had all the designer jeans and shoes.

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Speaker 2: So we were a little bit like outcasts like that,

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Speaker 2: not outcasts, but like we wore vintage things and style

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Speaker 2: their clothes very differently than our friends with money.

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Speaker 1: Right, and so at that time, you must have even

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Speaker 1: had a saints of how you were perceived by your

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Speaker 1: broader school community at the time. How did you fit

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Speaker 1: into things?

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Speaker 2: Well, I feel like there was so many different types

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Speaker 2: of people. It's just where I went to school in particular. There,

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Speaker 2: you know, there was a lot of that. But I

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Speaker 2: don't think I ever felt like I was still friends,

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Speaker 2: you know, I was still part of that the friend group,

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Speaker 2: and I don't really remember having like a I know,

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Speaker 2: there were there were lots of other like clicks, you know,

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Speaker 2: like you know, I was you know, I certainly had

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Speaker 2: like was part of a clique, you know, but I

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Speaker 2: don't know, I'm not exactly sure. I feel like I

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Speaker 2: noticed more of the division maybe in my early twenties

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Speaker 2: or after I got out of high school, right, And

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Speaker 2: I think that would be because like I really started

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Speaker 2: when I when I was eighteen and first graduated. You know,

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Speaker 2: I had my high school sweetheart was like a water

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Speaker 2: polo player, you know, like guard all of these things,

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Speaker 2: and so they had this like surf culture. I grew

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Speaker 2: up like in high school with him and as part

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Speaker 2: of this like surf and swimming culture as opposed to

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Speaker 2: like sports. But anyway, so then when we kind of

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Speaker 2: came of age, like after high school, I got randomly

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Speaker 2: taken to a rave party and I met all these

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Speaker 2: drag queens and club kids, and it really like everything changed,

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Speaker 2: and it was very like WHOA, Now, I can you know,

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Speaker 2: really dress how I want to dress, you know, because

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Speaker 2: I was kind of, you know, I was always eccentric

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Speaker 2: and like stylish and different because I always enjoyed that

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Speaker 2: for myself and always loved, like, you know, pushing the envelope.

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Speaker 2: But when I met this kind of whole different world

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Speaker 2: of like eccentrics, I really flourished.

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Speaker 1: So when you would be prior to that, if you

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Speaker 1: were like going to watch your water polo boyfriend play,

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Speaker 1: you'd presumably be getting in the pool yourself at some point.

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Speaker 2: Yeah, I was. It was kind of beach you know,

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Speaker 2: like the beach.

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Speaker 1: Yeah. Yeah, And were you bringing in that ye oldie

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Speaker 1: worldye nineteen fifties sort of Betty Grable in the swimsuit

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Speaker 1: Louk than No.

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Speaker 2: I got actually remember getting a ticket for indecent exposure

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Speaker 2: for wearing a g string bikini in the eighties, really

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Speaker 2: because I remember being me and my girlfriend, she tells

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Speaker 2: the story, the same friend I was talking about that

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Speaker 2: I convinced her that we needed to get these thong

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Speaker 2: back bathing suits, and I was like, it's going to

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Speaker 2: be really great, girl, all the girls are doing at

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Speaker 2: which they were, you know. But I remember we got

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Speaker 2: there and she like I just like walked down on

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Speaker 2: the beach and took off my like shorts and everybody

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Speaker 2: was like whoa, And she was too scared and couldn't

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Speaker 2: take off her shorts and get her butt out. But yeah,

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Speaker 2: I got a ticket for indecent exposure, which I think

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Speaker 2: is hilarious. I would kill to have that.

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Speaker 1: Ticket to be oh, yes, frying framed.

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Speaker 2: Yes. But anyway, I don't know. I mean I was

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Speaker 2: just always kind of like like doing things a little different.

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Speaker 2: I wasn't really I wasn't like an exhibitionist really. I

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Speaker 2: just liked the idea of this songback bikini that I

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Speaker 2: was starting to see, like, you know, poster girls wearing

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Speaker 2: and whatnot. It's funny to look back on that.

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Speaker 1: And then because it was always then a kind of

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Speaker 1: singularity to you.

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Speaker 2: Yeah, I don't know. I mean, I think I always

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Speaker 2: just really liked things that were different and rare. I

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Speaker 2: grew up watching old movies with my mother and my

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Speaker 2: mother is a very like natural type of woman. But

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Speaker 2: I remember my girl, like certain friends of mine, I

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Speaker 2: had a very eccentric aunt opal and she was, you know,

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Speaker 2: more like the blue eyeshadow and the eyeliner and the

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Speaker 2: nails and lots of jewelry and smoke. There's a cigarette holder.

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Speaker 2: And then I had a girlfriend whose mom had that

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Speaker 2: big bouffont hairdoo like with the pink curls, and she

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Speaker 2: was a show girl when she was young, and I

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Speaker 2: was so so enamored with her. And so I was

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Speaker 2: really enamored with the women that were kind of different

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Speaker 2: from my mom that were wearing like the red lipstick

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Speaker 2: and the extreme makeup. I was really obsessed with that

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Speaker 2: and like how my mom was not like that, but

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Speaker 2: I would see women that were like that. So I've

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Speaker 2: always had, you know, wanting to be like that. So

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Speaker 2: when I was old enough to start wearing makeup and stuff,

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Speaker 2: that's where I picked up the red lipstick.

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Speaker 1: And the red lipstick is in itself such a statement

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Speaker 1: because it's terrifying to a lot of aimen. Yeah, it's

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Speaker 1: like I remember when i'd had my first baby, for

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Speaker 1: some reason, I decided, you know, when you emerge from

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Speaker 1: the miasthma of you know, milk and everything. I decided

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Speaker 1: for the first time in my life to wear red lipstick,

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Speaker 1: and if you're not familiar with it, it's such a disaster.

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Speaker 1: You make it look easy.

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Speaker 2: Well, it's like a disaster for me not wearing red lipstick. Okay,

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Speaker 2: It's like it's not about putting it on, it's just

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Speaker 2: how I feel, like, I feel like, where'd my mouth go?

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Speaker 2: Because it's been such a big part of my life now,

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Speaker 2: and like, certainly I'll some days just wear like a

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Speaker 2: little bit of lip cloths if I don't plan on

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Speaker 2: seeing anyone, But I really feel like weird, like my

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Speaker 2: mouth is gone, you know, it just disappears. But I

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Speaker 2: get why it's hard for people. And I think the

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Speaker 2: reason it's hard for some people is there is so

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Speaker 2: many types of red and they really have to like

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Speaker 2: learn about what they're correct red for your skin is

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Speaker 2: and for your teeth, you know, because this wrong kind

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Speaker 2: of red can really make your teeth go of your

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Speaker 2: color and you know, so I think like some people

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Speaker 2: just don't have the patience, But I do think that

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Speaker 2: red can be really great on everyone. And maybe also

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Speaker 2: some people don't want to emphasize their mouth and they

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Speaker 2: want to emphasize another part of their face. And I

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Speaker 2: get that too, Like people are like, I want to

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Speaker 2: look like I have a tiny little mouth, and I

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Speaker 2: want to have huge eyes, or I want to have like,

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Speaker 2: you know, big full lips with no nothing else that

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Speaker 2: emphasizes them. Like I understand that. It's just that, you know,

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Speaker 2: I just decided what it was for me, and for me,

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Speaker 2: it was creating things that I wasn't born with and

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Speaker 2: wearing things that I felt like made me feel special

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Speaker 2: or different.

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Speaker 1: At this point, at what point did you become data?

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Speaker 1: Vontees from yeah, from hey, that's sweet?

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Speaker 2: Well, first, I'm still Heather Sweet. I never changed my attitude,

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Speaker 2: personality or my real name. I think I have a

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Speaker 2: fabulous name, but I it was in first I went

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Speaker 2: by just data. But in the early nineties, like nineteen

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Speaker 2: ninety one, I started working in a strip club, and

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Speaker 2: I used, like a lot of people do you're having fun,

300
00:16:52,520 --> 00:16:55,240
Speaker 2: You're you know, using it, playing with the idea of

301
00:16:55,239 --> 00:16:57,680
Speaker 2: an alter ego. You're trying to protect your real name

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Speaker 2: so people don't find out where you live, because you know,

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Speaker 2: it was easier to find out where people and you know,

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Speaker 2: it has always been easy to find out where people

305
00:17:04,680 --> 00:17:07,800
Speaker 2: live with their real name, so I feel like I

306
00:17:07,920 --> 00:17:11,320
Speaker 2: used a made up name. I used just data for that.

307
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Speaker 2: And then a few years later I was posing for

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00:17:14,520 --> 00:17:17,840
Speaker 2: these special editions of Playboy and they told me I

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00:17:17,879 --> 00:17:19,959
Speaker 2: had to have a last name, which I argued over

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Speaker 2: and told them why couldn't I just be one name

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Speaker 2: like Madonna or Cher or whatever, and they said, no,

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00:17:27,440 --> 00:17:29,040
Speaker 2: you need a last name. So I looked in the

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Speaker 2: phone book and found this name, Von Trees, and then

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Speaker 2: it came out in the magazine and it was wrong.

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00:17:35,200 --> 00:17:38,040
Speaker 2: It said Bonteese, and I just like, I tried to

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Speaker 2: correct them again because it was like, you know, I

317
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Speaker 2: don't know. I wasn't like thinking, oh, strip tease Vonte's.

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Speaker 2: I did not calculate that at all. It was the

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00:17:47,320 --> 00:17:50,039
Speaker 2: name Von Trees with an R in it, and so

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Speaker 2: they kept type, you know, spelling it wrong, and I

321
00:17:52,679 --> 00:17:54,600
Speaker 2: remember sending a fax to try to get it right

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Speaker 2: and they're like yeah, yeah. And then finally I didn't

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Speaker 2: care and I just left it. And then I didn't

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Speaker 2: I really didn't know, you know, I was like twenty

325
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Speaker 2: two years old.

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Speaker 1: I was so young.

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Speaker 2: And I also felt that at that time, I was

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Speaker 2: just doing something fun. It was like, of course, like

329
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Speaker 2: a lot of women, you ever, people always scare you

330
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Speaker 2: when you're young, and that like threatened you about turning thirty.

331
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Speaker 2: And I thought, oh, it was just like a thing

332
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Speaker 2: I'm doing when I'm like young, and like you know,

333
00:18:21,840 --> 00:18:25,080
Speaker 2: when i'm you know, when I can take pose for

334
00:18:25,159 --> 00:18:27,919
Speaker 2: pin ups and everything. So I did not anticipate that

335
00:18:28,000 --> 00:18:32,279
Speaker 2: it was going to be a lifelong career, that I

336
00:18:32,399 --> 00:18:35,080
Speaker 2: was going to be trademarking the name Deed of Aunties,

337
00:18:35,280 --> 00:18:37,719
Speaker 2: and you know, like I didn't. It wasn't like a

338
00:18:37,760 --> 00:18:40,479
Speaker 2: calculated thing. You know, if it had been, I probably

339
00:18:40,480 --> 00:18:41,560
Speaker 2: would have done it differently.

340
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Speaker 1: But because everything seems evident in retrospect, you know, everything

341
00:18:46,080 --> 00:18:49,040
Speaker 1: looks like a career in retrospect. But at the time

342
00:18:49,280 --> 00:18:52,440
Speaker 1: you're just making decisions based on what's fun and the

343
00:18:52,480 --> 00:18:54,400
Speaker 1: opportunity that's presented to you.

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Speaker 2: It just didn't seem like it was in the cards

345
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Speaker 2: to be a famous burlesque star in you know, the

346
00:19:00,280 --> 00:19:03,280
Speaker 2: early nineties. No, it hadn't been It hadn't been done.

347
00:19:03,440 --> 00:19:06,799
Speaker 1: No, it hadn't be No, it hadn't been done. And

348
00:19:06,840 --> 00:19:10,080
Speaker 1: this is the thing about when somebody's got a vision

349
00:19:11,359 --> 00:19:15,879
Speaker 1: that I'm so curious about that it just led you

350
00:19:15,960 --> 00:19:19,040
Speaker 1: into places, and now the world has kind of played

351
00:19:19,119 --> 00:19:23,520
Speaker 1: catch up with you because you're so at the top

352
00:19:23,560 --> 00:19:28,119
Speaker 1: of your game and have been for decades and so

353
00:19:28,280 --> 00:19:31,600
Speaker 1: much so. You just collaborated with Taylor Swift on her

354
00:19:31,960 --> 00:19:36,800
Speaker 1: dueled clip, which is a gorgeous behind the scenes of you.

355
00:19:37,440 --> 00:19:41,600
Speaker 1: She does this, She does this, she's so unself conscious

356
00:19:42,399 --> 00:19:46,320
Speaker 1: and yet conscious of what she has to learn. The

357
00:19:46,359 --> 00:19:49,080
Speaker 1: clip sort of opens with her sort of thumping towards

358
00:19:49,119 --> 00:19:54,720
Speaker 1: the camera like loping really while you're teaching her the

359
00:19:55,119 --> 00:20:00,000
Speaker 1: delicate art of immersing yourself in a Martini glass. When

360
00:20:00,040 --> 00:20:02,879
Speaker 1: you have moments like that, like, how did that feel

361
00:20:03,119 --> 00:20:06,040
Speaker 1: when you're approached to collaborate.

362
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Speaker 2: I mean that particular time, because, like I, you know,

363
00:20:08,760 --> 00:20:10,999
Speaker 2: there's been some things like that in the past, but

364
00:20:11,040 --> 00:20:14,239
Speaker 2: I have to say it was very different because the

365
00:20:14,280 --> 00:20:18,400
Speaker 2: way I was approached was with respect for what I do.

366
00:20:19,119 --> 00:20:21,320
Speaker 2: Because you know, I can tell you even since then,

367
00:20:21,440 --> 00:20:27,520
Speaker 2: I have had several emails from pop stars, people's asking, hey,

368
00:20:27,560 --> 00:20:29,639
Speaker 2: can we use your glass? Can we borrow that? We

369
00:20:29,679 --> 00:20:31,679
Speaker 2: want to talk to you, you know, and I definitely

370
00:20:31,720 --> 00:20:34,600
Speaker 2: can see where I'm on the mood board, but they don't.

371
00:20:34,800 --> 00:20:37,359
Speaker 2: They just they just want to use it. They're just like, oh,

372
00:20:37,520 --> 00:20:39,439
Speaker 2: like I'm going to use that or copy it whatever.

373
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Speaker 2: And she approached me with something so much different, Like

374
00:20:42,800 --> 00:20:46,480
Speaker 2: she was very knowledgeable about what I do, She understood

375
00:20:46,480 --> 00:20:49,080
Speaker 2: what I did, and she wanted, you know, she wanted

376
00:20:49,119 --> 00:20:51,159
Speaker 2: to be side by side with me in that moment.

377
00:20:51,919 --> 00:20:54,040
Speaker 2: And it was it was a collaboration. Every bit of

378
00:20:54,080 --> 00:20:57,679
Speaker 2: it from the shoes, you know, to the what we

379
00:20:57,760 --> 00:21:00,999
Speaker 2: wore was all you know, of my world and in

380
00:21:01,040 --> 00:21:06,039
Speaker 2: collaboration with the people I work with. So that's just

381
00:21:06,040 --> 00:21:09,480
Speaker 2: like an unusual thing because people usually just they just

382
00:21:09,840 --> 00:21:14,000
Speaker 2: watch you and imitate, you know. And so I think

383
00:21:14,080 --> 00:21:17,160
Speaker 2: it really says something about her as a performer and

384
00:21:17,240 --> 00:21:21,159
Speaker 2: as a woman who is willing and happy to shine

385
00:21:21,159 --> 00:21:24,520
Speaker 2: the spotlight on another woman, you know, because it could

386
00:21:24,520 --> 00:21:26,639
Speaker 2: have been could have gone all different ways. And I

387
00:21:26,639 --> 00:21:28,560
Speaker 2: remember when I got the call and I was just

388
00:21:28,600 --> 00:21:32,719
Speaker 2: like listening to the pitch idea and then suddenly Taylor

389
00:21:32,760 --> 00:21:35,039
Speaker 2: got on the phone with me and started, you know,

390
00:21:35,200 --> 00:21:37,359
Speaker 2: talking to me like a you know, like a real

391
00:21:37,399 --> 00:21:39,999
Speaker 2: person instead of a pitch for a video. And so

392
00:21:40,280 --> 00:21:42,959
Speaker 2: I think it's just like it's different, and it really is.

393
00:21:43,320 --> 00:21:47,759
Speaker 2: I think a testament to one of the reasons I

394
00:21:47,800 --> 00:21:50,520
Speaker 2: think that she's successful and why so many people like her.

395
00:21:50,600 --> 00:21:55,239
Speaker 2: I think who she really is is radiates, you know,

396
00:21:55,359 --> 00:21:58,359
Speaker 2: it radiates to other people. You don't really hear You

397
00:21:58,399 --> 00:22:01,760
Speaker 2: don't hear her knocking people down unless there's a real

398
00:22:01,840 --> 00:22:02,399
Speaker 2: good reason.

399
00:22:04,760 --> 00:22:11,239
Speaker 1: Say that people approach you sometimes with disrespect. Yeah, what

400
00:22:11,359 --> 00:22:14,519
Speaker 1: does that mean? Does that mean is it because they

401
00:22:14,560 --> 00:22:17,360
Speaker 1: don't understand your body of work? Or do you think

402
00:22:17,440 --> 00:22:20,400
Speaker 1: it's because of the sexual nature of the work.

403
00:22:20,879 --> 00:22:23,840
Speaker 2: No, I think it's because they want to be They

404
00:22:23,840 --> 00:22:27,320
Speaker 2: don't want to credit somebody else for their idea. Well,

405
00:22:27,399 --> 00:22:29,919
Speaker 2: I think it's more like, oh, that's like just like

406
00:22:30,080 --> 00:22:31,760
Speaker 2: or they don't want to. They don't want to they're

407
00:22:31,760 --> 00:22:34,999
Speaker 2: afraid of pay having to pay someone. You know, it

408
00:22:35,040 --> 00:22:37,639
Speaker 2: happens all the time. But I think mostly it's very like,

409
00:22:38,040 --> 00:22:40,399
Speaker 2: look at me, Look what I'm doing. Isn't it amazing?

410
00:22:40,520 --> 00:22:43,760
Speaker 2: But they don't want to. You know, like I collaborate

411
00:22:43,800 --> 00:22:45,920
Speaker 2: with people all the time, and I'm quick to say

412
00:22:45,960 --> 00:22:49,840
Speaker 2: who designed my look, who helped me with the choreography,

413
00:22:50,200 --> 00:22:52,119
Speaker 2: who designed my glasses?

414
00:22:52,240 --> 00:22:54,359
Speaker 1: You know, who makes your silk? Pajamas.

415
00:22:54,840 --> 00:22:58,719
Speaker 2: Yeah, yeah, I mean I think like, certainly I have

416
00:22:59,280 --> 00:23:02,960
Speaker 2: had moments where I want to do that more because

417
00:23:03,119 --> 00:23:06,399
Speaker 2: I think it's a greace thing to do to say,

418
00:23:06,440 --> 00:23:08,159
Speaker 2: Oh no, it's not all me, because I am a

419
00:23:08,280 --> 00:23:10,840
Speaker 2: do it yourself girl like I always have. But I'm

420
00:23:10,879 --> 00:23:14,440
Speaker 2: hands on like I But it's like there are other

421
00:23:14,560 --> 00:23:17,920
Speaker 2: people that I like working with that are generous with

422
00:23:17,960 --> 00:23:21,399
Speaker 2: their They're generous with me with what they teach me,

423
00:23:21,960 --> 00:23:24,159
Speaker 2: and so I like to mention them.

424
00:23:24,600 --> 00:23:28,199
Speaker 1: And also artists are often drawn to each other. Yeah,

425
00:23:28,359 --> 00:23:31,080
Speaker 1: and it doesn't necessarily even need to be in a

426
00:23:31,440 --> 00:23:36,200
Speaker 1: common field or it's just there's something that they recognize.

427
00:23:36,879 --> 00:23:41,280
Speaker 1: And that is what happened to you. I guess when

428
00:23:42,159 --> 00:23:46,720
Speaker 1: going back to that kind of Playboy era, when you

429
00:23:46,800 --> 00:23:53,480
Speaker 1: were discovered or you entered the world of or you

430
00:23:54,600 --> 00:23:59,479
Speaker 1: were noticed by Gaultier the fashion world, and there was

431
00:23:59,520 --> 00:24:02,359
Speaker 1: a melding of that. How did that? How did that

432
00:24:02,399 --> 00:24:03,320
Speaker 1: come about?

433
00:24:03,840 --> 00:24:07,799
Speaker 2: I mean I feel like it was really like like

434
00:24:08,159 --> 00:24:11,200
Speaker 2: a snowballing of events because you know, I look at

435
00:24:11,200 --> 00:24:14,080
Speaker 2: the nineties is when I was doing all this Playboy

436
00:24:14,280 --> 00:24:19,600
Speaker 2: stuff and like headlining strip clubs across the United States

437
00:24:19,720 --> 00:24:22,439
Speaker 2: or flying you know, doing fetish parties in London or

438
00:24:22,919 --> 00:24:27,600
Speaker 2: la or New York. And then in two thousand things shifted,

439
00:24:27,760 --> 00:24:31,560
Speaker 2: and it there's a few like there's a few things

440
00:24:31,560 --> 00:24:34,479
Speaker 2: that like move the needle, really, you know. But the

441
00:24:34,560 --> 00:24:38,359
Speaker 2: early two thousands, I was performing part as part of

442
00:24:38,399 --> 00:24:41,040
Speaker 2: this big show in Hollywood that had all these guest

443
00:24:41,119 --> 00:24:45,560
Speaker 2: stars from Charlie's thereon and Christina Aguilera, when Stefani, Britney

444
00:24:45,679 --> 00:24:49,199
Speaker 2: Murphy is like a huge who's who of guest stars.

445
00:24:49,200 --> 00:24:51,359
Speaker 2: And I was in this show every week with these stars,

446
00:24:51,359 --> 00:24:54,399
Speaker 2: and I got singled out as the show was really

447
00:24:54,440 --> 00:24:56,479
Speaker 2: great and so and so it's great and so, but

448
00:24:56,520 --> 00:24:58,720
Speaker 2: who is this girl in the glass? And that kind

449
00:24:58,720 --> 00:25:01,799
Speaker 2: of like turned mate turned a corner for me. And

450
00:25:01,840 --> 00:25:03,320
Speaker 2: then it was the same time I was on the

451
00:25:03,359 --> 00:25:07,520
Speaker 2: cover of the Christmas issue of Playboy, which this is

452
00:25:07,560 --> 00:25:11,759
Speaker 2: a time in Playboy history when everyone knew what was

453
00:25:11,760 --> 00:25:13,560
Speaker 2: happening on the cover of Playboy, Like that was the

454
00:25:13,639 --> 00:25:17,639
Speaker 2: Pam Anderson, Anna, Nicole Smith, like Drew barrymore like big

455
00:25:17,679 --> 00:25:19,840
Speaker 2: stars were on the cover of Playboy. So I got

456
00:25:19,879 --> 00:25:22,040
Speaker 2: a lot of attention for that because my cover was

457
00:25:22,040 --> 00:25:26,119
Speaker 2: so striking and different than what was usually on it. Yes,

458
00:25:26,919 --> 00:25:30,879
Speaker 2: and then then it was I got hired. I think

459
00:25:30,960 --> 00:25:33,399
Speaker 2: Mark Jacobs did a lot for me because he was

460
00:25:33,480 --> 00:25:36,320
Speaker 2: currently at that time, he was at Louis Vauton, right

461
00:25:36,800 --> 00:25:40,999
Speaker 2: and he brought me over to perform at several I

462
00:25:41,040 --> 00:25:43,800
Speaker 2: performed did a whole string of events for Louis Vauton,

463
00:25:43,879 --> 00:25:47,080
Speaker 2: including the opening of their flagship store in Paris at

464
00:25:47,080 --> 00:25:49,999
Speaker 2: the Grand Peleis. It was like a huge thing. And

465
00:25:50,040 --> 00:25:54,119
Speaker 2: then Jean Paul Gautier brought you know, was a fan.

466
00:25:54,240 --> 00:25:56,279
Speaker 2: He actually had my Playboy cover. So it was kind

467
00:25:56,280 --> 00:25:58,159
Speaker 2: of like all these things that happened in the early

468
00:25:58,240 --> 00:26:01,959
Speaker 2: two thousands, so I was very lucky about all that,

469
00:26:02,639 --> 00:26:06,639
Speaker 2: well lucky my but maybe well, you know, it was

470
00:26:06,720 --> 00:26:08,439
Speaker 2: just like a time. I also came out with my

471
00:26:08,520 --> 00:26:12,320
Speaker 2: first book, and that really was a big made a

472
00:26:12,359 --> 00:26:14,639
Speaker 2: big splash because it was a very unique book.

473
00:26:14,720 --> 00:26:17,840
Speaker 1: Yes for as time, which was kind of glamor. It

474
00:26:17,879 --> 00:26:19,400
Speaker 1: was glamor, yeah, it was.

475
00:26:19,440 --> 00:26:21,320
Speaker 2: The first one was called Burlesque in the Art of

476
00:26:21,359 --> 00:26:23,760
Speaker 2: the Tees, and the flip side was Fetish in the

477
00:26:23,840 --> 00:26:25,719
Speaker 2: Art of the Teas, and I really spoke about like

478
00:26:25,800 --> 00:26:29,160
Speaker 2: what it is about burlesque and glamour and even fetishism

479
00:26:29,240 --> 00:26:31,959
Speaker 2: that I love so much. And so that book was

480
00:26:32,440 --> 00:26:34,879
Speaker 2: a big, big, like four hundred page book and it

481
00:26:34,919 --> 00:26:39,119
Speaker 2: was put out by HarperCollins and it was a pretty

482
00:26:39,200 --> 00:26:41,000
Speaker 2: you know, it was a big deal for a huge

483
00:26:41,159 --> 00:26:43,239
Speaker 2: picture book in full color to come out like that

484
00:26:43,399 --> 00:26:47,159
Speaker 2: with that much like with a huge publisher behind it.

485
00:26:48,000 --> 00:26:51,400
Speaker 1: Don't go anywhere after the break Dita. She is why

486
00:26:51,960 --> 00:26:55,800
Speaker 1: she had no hesitation telling her family she was working

487
00:26:55,800 --> 00:27:01,880
Speaker 1: in a strip club at eighteen. When we go back

488
00:27:01,919 --> 00:27:05,159
Speaker 1: to when you started in strip clubs, hers to me

489
00:27:05,240 --> 00:27:08,119
Speaker 1: that that is often a conversation that you've got to

490
00:27:08,119 --> 00:27:10,840
Speaker 1: have with your family. Yeah, yeah, that your life is

491
00:27:10,960 --> 00:27:14,639
Speaker 1: taking that turn. And you had so there were three

492
00:27:14,679 --> 00:27:19,080
Speaker 1: sisters in the family. Yes, how was that conversation when

493
00:27:19,159 --> 00:27:23,000
Speaker 1: you said to your sisters and your mom or who

494
00:27:23,080 --> 00:27:26,399
Speaker 1: did you have the conversation with I've got this job. Yeah,

495
00:27:26,399 --> 00:27:28,399
Speaker 1: well I'm gonna be playing in this club.

496
00:27:28,720 --> 00:27:32,439
Speaker 2: Here's the deal. And I was always kind of like

497
00:27:32,480 --> 00:27:36,000
Speaker 2: a shy, quiet girl, but there's certain moments where I'm

498
00:27:36,000 --> 00:27:38,959
Speaker 2: not okay, So listen, I started working when I was

499
00:27:40,040 --> 00:27:43,840
Speaker 2: twelve years old. Okay, I'm working from the second I'm

500
00:27:43,879 --> 00:27:49,120
Speaker 2: allowed to, like first, like cleaning toilets at a ballet studio.

501
00:27:49,359 --> 00:27:53,399
Speaker 2: Then I'm like working putting tags on things and things

502
00:27:53,399 --> 00:27:56,439
Speaker 2: in a store, you know, like, and by the time

503
00:27:56,679 --> 00:28:00,520
Speaker 2: I was eighteen years old, I had a real job,

504
00:28:01,040 --> 00:28:03,719
Speaker 2: I had credit cards that I paid for myself. I

505
00:28:03,840 --> 00:28:07,640
Speaker 2: was completely self sufficient. So by the time anybody could

506
00:28:07,720 --> 00:28:10,200
Speaker 2: say a word about what I had to do, I'd

507
00:28:10,240 --> 00:28:12,680
Speaker 2: be like, oh, really, like I mean, to my parents,

508
00:28:13,159 --> 00:28:16,280
Speaker 2: I did not care. I was like, I'm a grown woman,

509
00:28:16,760 --> 00:28:19,639
Speaker 2: and oh did I miss the part where you said

510
00:28:19,639 --> 00:28:21,159
Speaker 2: that you were going to send me to college?

511
00:28:21,520 --> 00:28:21,720
Speaker 1: Right?

512
00:28:21,800 --> 00:28:24,759
Speaker 2: Yeah? I was pretty like I have to say, I

513
00:28:24,760 --> 00:28:26,840
Speaker 2: felt I knew, as you can probably hear from my

514
00:28:26,960 --> 00:28:30,560
Speaker 2: voice a little bit like a little like really like

515
00:28:30,760 --> 00:28:33,200
Speaker 2: nobody was going to tell me as an eighteen year

516
00:28:33,240 --> 00:28:37,239
Speaker 2: old woman who was totally self sufficient, not did not

517
00:28:37,320 --> 00:28:42,120
Speaker 2: take a dime from my parents past the age of fifteen,

518
00:28:43,600 --> 00:28:46,280
Speaker 2: So you know, I was never I wasn't. I didn't

519
00:28:46,280 --> 00:28:48,200
Speaker 2: really care what anybody said.

520
00:28:48,720 --> 00:28:52,560
Speaker 1: And was there some resistance or in the face of yeah,

521
00:28:52,840 --> 00:28:55,920
Speaker 1: like you said your autonomy, they kind of yeah.

522
00:28:56,520 --> 00:28:59,280
Speaker 2: I think it was kind of like I had to

523
00:29:00,400 --> 00:29:02,920
Speaker 2: kind of like say like, well, you know, I'm trying

524
00:29:02,960 --> 00:29:06,120
Speaker 2: to do this thing, because yeah, like they knew they

525
00:29:06,160 --> 00:29:08,040
Speaker 2: found out I was working in a strip club. I

526
00:29:08,080 --> 00:29:10,600
Speaker 2: was posing for pin ups and all this stuff, and

527
00:29:11,320 --> 00:29:13,040
Speaker 2: on paper it looks a little weird, but I was

528
00:29:13,120 --> 00:29:17,160
Speaker 2: kind of like thinking, I'm trying to be like Gypsy

529
00:29:17,240 --> 00:29:20,840
Speaker 2: rose Lee and Betty Page, like my idols, and I

530
00:29:20,920 --> 00:29:23,920
Speaker 2: saw it that way, and certainly the material looks that way,

531
00:29:24,720 --> 00:29:29,520
Speaker 2: so you know, I felt I think I felt like, yeah,

532
00:29:29,520 --> 00:29:31,719
Speaker 2: I'm trying to explain it. And you know, it was

533
00:29:31,760 --> 00:29:34,880
Speaker 2: harder for me, obviously than a lot of other people

534
00:29:35,000 --> 00:29:39,039
Speaker 2: might find it today, because you know, I didn't really

535
00:29:39,120 --> 00:29:41,400
Speaker 2: have any living examples of what I was trying to do.

536
00:29:41,600 --> 00:29:43,120
Speaker 2: I was sort of like, well, I want to be

537
00:29:43,360 --> 00:29:46,560
Speaker 2: like this person, but yeah, I know everybody's been dead

538
00:29:46,600 --> 00:29:48,760
Speaker 2: for a long time, but this is what I want

539
00:29:48,800 --> 00:29:50,440
Speaker 2: to do. What I believe in is I want to

540
00:29:50,440 --> 00:29:53,479
Speaker 2: be the next big burlesque star like Gypsy Roselee or

541
00:29:53,560 --> 00:29:57,200
Speaker 2: Lily Saint Cyr And I was doing that. But you

542
00:29:57,240 --> 00:30:01,640
Speaker 2: know it's funny, though. Is the point where my dad

543
00:30:02,240 --> 00:30:04,240
Speaker 2: like accepted it was when I was on the cover

544
00:30:04,280 --> 00:30:06,920
Speaker 2: play because guess what he grow he was what he was.

545
00:30:07,000 --> 00:30:09,920
Speaker 2: That's where I got the magazine. Like dads of that

546
00:30:10,000 --> 00:30:13,920
Speaker 2: are like age like sixty and seventy and eighty probably

547
00:30:14,000 --> 00:30:16,200
Speaker 2: had a playboy hidden in the house. You know, It's

548
00:30:16,240 --> 00:30:19,360
Speaker 2: like it kind of legitimized me in a way to

549
00:30:19,560 --> 00:30:24,360
Speaker 2: my father especially, which is a funny thing. But yeah,

550
00:30:24,480 --> 00:30:26,920
Speaker 2: I mean I don't have a religious family. And I know,

551
00:30:27,000 --> 00:30:29,040
Speaker 2: in saying all this, like I certainly could have had

552
00:30:29,080 --> 00:30:31,120
Speaker 2: like a religious family, but I didn't, you know.

553
00:30:31,280 --> 00:30:36,600
Speaker 1: So yeah, but somehow as well, I mean I understand.

554
00:30:37,120 --> 00:30:39,320
Speaker 1: And that's a strange form of logic that your dad

555
00:30:39,360 --> 00:30:42,479
Speaker 1: would have had, was this, Yeah, look if my my

556
00:30:42,680 --> 00:30:47,800
Speaker 1: daughter's yes, uh stripa and look how successful she's. Yeah,

557
00:30:48,000 --> 00:30:48,800
Speaker 1: she's the beast.

558
00:30:49,120 --> 00:30:51,120
Speaker 2: I mean, he's like that. Now, it can be a

559
00:30:51,120 --> 00:30:53,600
Speaker 2: little embarrassing where I'm like, oh, you know, I don't

560
00:30:53,640 --> 00:30:58,719
Speaker 2: always feel totally comfortable when my family is watching, you know,

561
00:30:58,800 --> 00:31:01,720
Speaker 2: my show. But I have to separate hea they're sweet,

562
00:31:02,360 --> 00:31:06,200
Speaker 2: from what my job is and and you know, being

563
00:31:06,240 --> 00:31:08,759
Speaker 2: at my very best for the three thousand people in

564
00:31:08,800 --> 00:31:11,640
Speaker 2: the room, I have to very much be like, it's

565
00:31:11,680 --> 00:31:14,520
Speaker 2: not my problem. It's not my problem, it's their problem

566
00:31:14,560 --> 00:31:16,760
Speaker 2: if they have a problem. So and I think I've

567
00:31:17,520 --> 00:31:19,640
Speaker 2: thought that, you know, I've learned that a lot along

568
00:31:19,680 --> 00:31:21,999
Speaker 2: the way. You know, I used to work in a

569
00:31:22,080 --> 00:31:25,120
Speaker 2: lingerie store when I was a teenager, and I remember

570
00:31:25,200 --> 00:31:28,519
Speaker 2: this very well, and my father, you know, I used

571
00:31:28,560 --> 00:31:31,719
Speaker 2: to wash my things. I have nice laundry because I

572
00:31:31,800 --> 00:31:34,320
Speaker 2: worked in a beautiful lingerie store and I was, you know,

573
00:31:34,960 --> 00:31:35,959
Speaker 2: seventeen eighteen.

574
00:31:36,080 --> 00:31:38,400
Speaker 1: That's a great job at that idea.

575
00:31:38,600 --> 00:31:41,959
Speaker 2: Yeah, it's great, But look at it this way. I

576
00:31:42,000 --> 00:31:44,320
Speaker 2: remember I hung you said, like, hang all my things

577
00:31:44,360 --> 00:31:48,440
Speaker 2: to dry in my room, and my dad was furious

578
00:31:48,480 --> 00:31:50,959
Speaker 2: and he kicked me out of the house. Wow for

579
00:31:51,080 --> 00:31:53,720
Speaker 2: this lingerie. And I remember being like, oh, I get it.

580
00:31:54,560 --> 00:31:59,040
Speaker 2: This is his problem. This is how he perceives lingerie.

581
00:31:59,800 --> 00:32:02,200
Speaker 1: It is for you know, it's forbidden.

582
00:32:02,560 --> 00:32:05,560
Speaker 2: It's forbidden, and it's he it's what he thinks of

583
00:32:05,640 --> 00:32:09,360
Speaker 2: women who wear lingerie. So I was very like, Okay,

584
00:32:09,560 --> 00:32:13,600
Speaker 2: I get it, you know, but and it is sometimes

585
00:32:13,640 --> 00:32:15,960
Speaker 2: you have to think like that in terms of like, oh,

586
00:32:16,000 --> 00:32:19,920
Speaker 2: this is other people's conditioning and it is not. You know,

587
00:32:20,040 --> 00:32:22,440
Speaker 2: all that matters is like how I feel about it.

588
00:32:22,520 --> 00:32:25,560
Speaker 2: You know, I know who I am, but you kind

589
00:32:25,600 --> 00:32:28,480
Speaker 2: of have to you know, we all experience that through

590
00:32:28,480 --> 00:32:30,680
Speaker 2: life where people don't approve of what we're doing, and

591
00:32:30,720 --> 00:32:35,840
Speaker 2: it's a little bit like yeah, it can be a

592
00:32:35,840 --> 00:32:36,600
Speaker 2: bit of an eye roll.

593
00:32:37,200 --> 00:32:41,680
Speaker 1: But also there's something when you mention at the time,

594
00:32:41,960 --> 00:32:45,680
Speaker 1: like who the other sort of Playboy covers were. There

595
00:32:45,760 --> 00:32:48,880
Speaker 1: was a lot of bruised lives at that time, particularly

596
00:32:48,920 --> 00:32:51,760
Speaker 1: if you say like Anna Nicole Smith or whatever. There

597
00:32:51,840 --> 00:32:57,160
Speaker 1: was a certain degree of dysfunction external internal, whereas you

598
00:32:57,240 --> 00:33:01,840
Speaker 1: seem to have a wholesomeness Oh well, I mean it's

599
00:33:03,000 --> 00:33:07,120
Speaker 1: at your core stability, at your CoA. Well you like

600
00:33:07,200 --> 00:33:08,120
Speaker 1: that at the time.

601
00:33:08,360 --> 00:33:11,280
Speaker 2: I guess. But I was also pretty wild too, Like

602
00:33:11,560 --> 00:33:14,320
Speaker 2: I mean, when I look back, it's like, I'm very

603
00:33:14,400 --> 00:33:18,239
Speaker 2: I've always been very responsible, but you know, like, no,

604
00:33:18,600 --> 00:33:20,239
Speaker 2: the same kind of thing didn't happen to me that

605
00:33:20,320 --> 00:33:22,840
Speaker 2: happened in Anna Nicole Smith. But you know, I was

606
00:33:23,560 --> 00:33:25,959
Speaker 2: going out partying. I worked in the rave scene, you

607
00:33:26,000 --> 00:33:28,440
Speaker 2: know who. I worked in the rave scene. I was

608
00:33:28,480 --> 00:33:30,600
Speaker 2: out all night, and I was up all night, and

609
00:33:30,640 --> 00:33:33,040
Speaker 2: I was like, you know, I was just doing a

610
00:33:33,120 --> 00:33:35,999
Speaker 2: different kind of drugs if I'm honest, you know, like

611
00:33:36,080 --> 00:33:39,040
Speaker 2: I wasn't doing addictive drugs, but I was using mind

612
00:33:39,080 --> 00:33:42,959
Speaker 2: altering drugs, you know. And I think, like I don't

613
00:33:43,000 --> 00:33:45,640
Speaker 2: think it was like a bad path at all. It's

614
00:33:45,680 --> 00:33:47,600
Speaker 2: part of like, hey, what are the ways you come

615
00:33:47,640 --> 00:33:51,000
Speaker 2: up with all this creative stuff? You know, I think

616
00:33:51,080 --> 00:33:53,280
Speaker 2: like I don't know, I just don't like to say, oh,

617
00:33:53,600 --> 00:33:57,440
Speaker 2: ann Nicole Smith, you know. Or I mentioned Pam Anderson

618
00:33:57,640 --> 00:34:00,680
Speaker 2: as another person that was a big playboy mom at

619
00:34:00,680 --> 00:34:03,800
Speaker 2: that time, like look at her. She's not like she partied,

620
00:34:03,840 --> 00:34:07,400
Speaker 2: she had fun, but like she's a super responsible, lovely

621
00:34:07,480 --> 00:34:10,080
Speaker 2: woman and did not come out of that like scathed,

622
00:34:10,240 --> 00:34:10,440
Speaker 2: you know.

623
00:34:10,600 --> 00:34:14,680
Speaker 1: So, but she also had that really bruising episode with

624
00:34:14,759 --> 00:34:17,319
Speaker 1: the release of the Type with Tommy Lee. Do you

625
00:34:17,360 --> 00:34:22,040
Speaker 1: know what I mean? Like, yeah, but did she Oh okay,

626
00:34:22,360 --> 00:34:23,439
Speaker 1: well I guess.

627
00:34:23,320 --> 00:34:25,719
Speaker 2: Yeah, I mean it wasn't Maybe it wasn't great, but

628
00:34:25,840 --> 00:34:30,319
Speaker 2: I'm sure now looking back, she's like, you know, it's

629
00:34:30,480 --> 00:34:33,440
Speaker 2: truth and it probably wasn't great. Like we I listen,

630
00:34:33,600 --> 00:34:36,000
Speaker 2: you know, I'm friends with Pam. I'm friends with her.

631
00:34:36,120 --> 00:34:38,600
Speaker 2: I don't think like I think she had a sense

632
00:34:38,640 --> 00:34:42,240
Speaker 2: of humor about everything, and I think that she looks

633
00:34:42,279 --> 00:34:44,480
Speaker 2: back and like, yeah, it wasn't all great, but it

634
00:34:44,560 --> 00:34:47,880
Speaker 2: isn't tragic, Like who showed me one person that doesn't

635
00:34:47,920 --> 00:34:50,040
Speaker 2: have some stuff that you're like, oh that was not great.

636
00:34:50,200 --> 00:34:53,680
Speaker 2: You know, we all have that, and I think I

637
00:34:53,719 --> 00:34:56,040
Speaker 2: think it would be like to make an example of that.

638
00:34:56,239 --> 00:35:00,000
Speaker 2: It's you know, I never saw the tape.

639
00:34:59,680 --> 00:35:02,960
Speaker 1: But oh that I saw the type. And do you

640
00:35:03,000 --> 00:35:09,320
Speaker 1: know what? The type was so spectacular. It was so

641
00:35:09,360 --> 00:35:15,560
Speaker 1: spectacular that even in her most unguarded moments, she was magnificent.

642
00:35:16,880 --> 00:35:17,720
Speaker 2: That's what I'm saying.

643
00:35:17,840 --> 00:35:18,919
Speaker 1: It's like, I get it.

644
00:35:18,960 --> 00:35:21,359
Speaker 2: Do we really think she looks back and sees that

645
00:35:21,440 --> 00:35:23,999
Speaker 2: as something horrible? I mean, it was not great, right,

646
00:35:24,080 --> 00:35:26,640
Speaker 2: but by what happened, And of course she should have

647
00:35:26,640 --> 00:35:28,200
Speaker 2: been the one to make money off of it. But

648
00:35:28,960 --> 00:35:31,959
Speaker 2: and there was more of the one tape right right, right.

649
00:35:32,200 --> 00:35:34,600
Speaker 1: But the thing is someone's always making money of it

650
00:35:34,799 --> 00:35:37,800
Speaker 1: off it. Yes, And as I guess we've learned recently,

651
00:35:37,799 --> 00:35:42,200
Speaker 1: more recently with Kim Kardashian, it's like her family decision was, well,

652
00:35:42,239 --> 00:35:43,399
Speaker 1: it may as well be us.

653
00:35:43,520 --> 00:35:47,239
Speaker 2: Yeah, she had a sex tape. Parasitalt had a sex tape. Yeah,

654
00:35:47,520 --> 00:35:52,359
Speaker 2: I think I keep under light I might, but guess what,

655
00:35:52,600 --> 00:35:53,600
Speaker 2: nobody's gonna see it?

656
00:35:54,560 --> 00:35:56,960
Speaker 1: Well, everybody thinks nobody's gonna say it.

657
00:35:57,040 --> 00:36:00,640
Speaker 2: Yeah, you know, I'll save it from my autobiography.

658
00:36:01,120 --> 00:36:02,040
Speaker 1: Is there going to be one?

659
00:36:03,600 --> 00:36:07,440
Speaker 2: Yeah? But not until I feel very liberated and free

660
00:36:07,520 --> 00:36:09,839
Speaker 2: to say everything I want to say. I don't want

661
00:36:09,840 --> 00:36:11,120
Speaker 2: to hurt anybody's feelings.

662
00:36:11,480 --> 00:36:14,240
Speaker 1: You know, you know when you speak about the past,

663
00:36:14,279 --> 00:36:18,320
Speaker 1: and I'm actually well a significant lover from your past,

664
00:36:18,320 --> 00:36:23,160
Speaker 1: which is Marilyn Manson, you always speak so graciously about him.

665
00:36:23,200 --> 00:36:24,920
Speaker 2: Well not always. If you were to talk to me

666
00:36:25,279 --> 00:36:27,319
Speaker 2: twenty years ago, I would not I have gotten a

667
00:36:27,360 --> 00:36:29,799
Speaker 2: gracious version. And also it goes up and down. It's

668
00:36:29,840 --> 00:36:34,719
Speaker 2: like very like periods of that, like knowing him that

669
00:36:34,759 --> 00:36:37,439
Speaker 2: I've been like, I've said things that are not very

670
00:36:37,520 --> 00:36:38,000
Speaker 2: nice too.

671
00:36:38,400 --> 00:36:42,319
Speaker 1: Right when you met each other, because I saw you

672
00:36:42,400 --> 00:36:44,960
Speaker 1: on a British show, I think it was Loose Women,

673
00:36:45,320 --> 00:36:47,200
Speaker 1: and you said this thing that was so amazing. I

674
00:36:47,200 --> 00:36:49,399
Speaker 1: wrote it down. You said that, and I think they

675
00:36:49,400 --> 00:36:54,440
Speaker 1: were talking about your look, and you said, a strong

676
00:36:54,560 --> 00:36:58,480
Speaker 1: look weeds out the week. And then you said and

677
00:36:58,520 --> 00:37:01,160
Speaker 1: by week, I mean mean I don't want to hit

678
00:37:01,239 --> 00:37:01,520
Speaker 1: on me.

679
00:37:02,000 --> 00:37:06,879
Speaker 2: Yeah, I mean that's a funny lesson I learned. When

680
00:37:07,160 --> 00:37:10,480
Speaker 2: you know, a few times on Halloween, I dress up

681
00:37:11,520 --> 00:37:14,840
Speaker 2: as like I wear like a blonde or a brown wig,

682
00:37:14,920 --> 00:37:17,080
Speaker 2: and I wear a beige makeup and take off the

683
00:37:17,120 --> 00:37:20,719
Speaker 2: red nail polish and wear like normal, normal clothes.

684
00:37:20,799 --> 00:37:21,719
Speaker 1: That's your halloween.

685
00:37:21,840 --> 00:37:24,960
Speaker 2: Yeah, that's my halloween. And I do notice it's a

686
00:37:25,080 --> 00:37:28,799
Speaker 2: very it's a psychological experiment for me because you know,

687
00:37:29,040 --> 00:37:32,799
Speaker 2: I get treated very differently when I'm dressed like that,

688
00:37:33,080 --> 00:37:37,200
Speaker 2: and I noticed, I get you know, I'm going to

689
00:37:37,320 --> 00:37:41,040
Speaker 2: use the word preyed upon by men who normally would

690
00:37:41,080 --> 00:37:44,239
Speaker 2: not approach me. So it's just a funny thing. It's

691
00:37:44,239 --> 00:37:46,000
Speaker 2: like a funny experiment that.

692
00:37:46,000 --> 00:37:49,600
Speaker 1: You say, more accessible, more available.

693
00:37:49,440 --> 00:37:52,840
Speaker 2: Yeah, or less high maintenance, because I've also heard from

694
00:37:53,000 --> 00:37:54,839
Speaker 2: men they're like afraid of me because they think I'm

695
00:37:54,880 --> 00:37:55,480
Speaker 2: high maintenance.

696
00:37:55,480 --> 00:37:58,680
Speaker 1: And I'm like, okay, but when you meet Marilyn Manson,

697
00:37:58,840 --> 00:38:02,080
Speaker 1: obviously he was not intimidated by the look.

698
00:38:02,480 --> 00:38:04,640
Speaker 2: I mean I have lots of I had lots of

699
00:38:04,640 --> 00:38:07,040
Speaker 2: friends who were not intimidated by the look, and lots

700
00:38:07,080 --> 00:38:10,839
Speaker 2: of partners who were not intimidated by my look. Well,

701
00:38:10,960 --> 00:38:13,640
Speaker 2: I mean never never did I do I really have

702
00:38:13,759 --> 00:38:17,360
Speaker 2: like a relationship that was a significant one that somebody

703
00:38:17,440 --> 00:38:19,960
Speaker 2: was not you know, didn't like my look?

704
00:38:20,239 --> 00:38:23,000
Speaker 1: No, of course, I mean that's an integral part of

705
00:38:23,080 --> 00:38:25,719
Speaker 1: having a relationship with someone, is it you have to

706
00:38:26,279 --> 00:38:31,160
Speaker 1: did you like his look, because I found that contacts

707
00:38:31,160 --> 00:38:32,920
Speaker 1: in the Laala. It was a lot.

708
00:38:33,239 --> 00:38:36,879
Speaker 2: I mean, I don't like to just talk about that

709
00:38:36,960 --> 00:38:39,600
Speaker 2: relationship because first of all, I was twenty five years ago,

710
00:38:39,880 --> 00:38:42,719
Speaker 2: but secondly, like it becomes like a part of my

711
00:38:42,840 --> 00:38:45,719
Speaker 2: identity that I don't think is fair, because it's just

712
00:38:45,799 --> 00:38:48,399
Speaker 2: becomes like a little bit dismissive of me as a

713
00:38:48,400 --> 00:38:52,800
Speaker 2: person instead of like one of many famous people, because

714
00:38:52,840 --> 00:38:55,160
Speaker 2: I don't advertise the famous people that I've dated in

715
00:38:55,200 --> 00:38:56,240
Speaker 2: the last thirty years.

716
00:38:56,279 --> 00:38:58,440
Speaker 1: But well, you know, you could always put Burley in

717
00:38:58,480 --> 00:39:01,480
Speaker 1: the water by mentioning the other famous people as well.

718
00:39:01,600 --> 00:39:04,280
Speaker 2: Yeah, and do that now. I'm saving that for myself,

719
00:39:04,440 --> 00:39:06,879
Speaker 2: my own clickbait, maybe even a book or something. But

720
00:39:06,920 --> 00:39:08,480
Speaker 2: do you you know what I mean? It just feels

721
00:39:08,480 --> 00:39:10,800
Speaker 2: like I've been asked about this since I've been divorced

722
00:39:10,799 --> 00:39:14,120
Speaker 2: for over twenty years now, and so people ask me

723
00:39:14,160 --> 00:39:17,160
Speaker 2: about it and or but yeah, it's twenty years. It's

724
00:39:17,160 --> 00:39:19,279
Speaker 2: crazy to talk about it. Nobody wants to talk about

725
00:39:19,279 --> 00:39:21,319
Speaker 2: their boyfriend from twenty five years ago, do they?

726
00:39:21,480 --> 00:39:25,080
Speaker 1: Yeah, I guess that's true. But I think the reason

727
00:39:25,120 --> 00:39:28,279
Speaker 1: that it's still gone as so much interest is that

728
00:39:28,440 --> 00:39:32,600
Speaker 1: it brought you to the world in a different light,

729
00:39:33,640 --> 00:39:35,759
Speaker 1: like a lot of people came to know you through

730
00:39:35,799 --> 00:39:36,320
Speaker 1: that era.

731
00:39:36,799 --> 00:39:40,240
Speaker 2: Right. Well, again, like I've been doing, you know, doing

732
00:39:40,320 --> 00:39:42,920
Speaker 2: what I do longer than that. But you know, I

733
00:39:43,040 --> 00:39:45,200
Speaker 2: just kind of keep my relationships as quiet as I

734
00:39:45,239 --> 00:39:48,239
Speaker 2: can because it's really like I've felt how hard it

735
00:39:48,279 --> 00:39:50,080
Speaker 2: can be because it is fun for people to talk

736
00:39:50,120 --> 00:39:52,640
Speaker 2: about it, but then you have to remember I'm a

737
00:39:52,680 --> 00:39:56,400
Speaker 2: real person with real feelings, that does, you know, and

738
00:39:56,440 --> 00:39:58,880
Speaker 2: people forget that. They're like, it's not that easy always

739
00:39:58,880 --> 00:40:01,200
Speaker 2: for me to talk about you know, no, and like

740
00:40:01,279 --> 00:40:04,239
Speaker 2: he's married to somebody else and I'm with somebody else.

741
00:40:04,279 --> 00:40:05,919
Speaker 2: It just this is like a little bit like, oh,

742
00:40:05,960 --> 00:40:08,319
Speaker 2: why does this have to be at this stage of

743
00:40:08,320 --> 00:40:11,520
Speaker 2: my life, Like this big thing that I'm forced to

744
00:40:11,600 --> 00:40:12,720
Speaker 2: talk about.

745
00:40:13,000 --> 00:40:15,480
Speaker 1: Well, it's part of the journey, I guess of you.

746
00:40:16,120 --> 00:40:18,080
Speaker 1: But we don't have to talk about it. I mean

747
00:40:18,160 --> 00:40:20,959
Speaker 1: it's it's yeah, we've established Yeah.

748
00:40:21,000 --> 00:40:23,560
Speaker 2: I just want, as we're having a very open conversation,

749
00:40:23,640 --> 00:40:25,879
Speaker 2: I just like to explain why it's a weird thing

750
00:40:25,920 --> 00:40:28,120
Speaker 2: to talk about, because I think it's a little I

751
00:40:28,160 --> 00:40:30,279
Speaker 2: had a journalist say to me the other day and

752
00:40:30,320 --> 00:40:32,480
Speaker 2: she actually said, I want to apologize to you. And

753
00:40:32,480 --> 00:40:34,840
Speaker 2: I said, well for what And she said, I interviewed

754
00:40:34,880 --> 00:40:36,799
Speaker 2: you ten years ago and I kept asking you why

755
00:40:36,840 --> 00:40:39,560
Speaker 2: you didn't have children and hammering you about this, and

756
00:40:39,600 --> 00:40:41,560
Speaker 2: I was like oh, And she's like, I was really

757
00:40:41,600 --> 00:40:43,120
Speaker 2: wrong to ask you about that. And I keep waiting

758
00:40:43,200 --> 00:40:45,160
Speaker 2: wondering when people are going to think realize it's wrong

759
00:40:45,200 --> 00:40:48,080
Speaker 2: to ask me about like the demise of a marriage.

760
00:40:48,279 --> 00:40:53,160
Speaker 1: You know, did you remember that conversation when the journalist apologize.

761
00:40:52,600 --> 00:40:55,399
Speaker 2: Because it gets asked all the time. People have been

762
00:40:55,440 --> 00:40:59,279
Speaker 2: asking me that for as long as I've been famous,

763
00:40:59,320 --> 00:41:01,440
Speaker 2: you know, Like so it's like one of the questions

764
00:41:01,440 --> 00:41:02,920
Speaker 2: and you just think, oh, what a weird thing to

765
00:41:02,960 --> 00:41:06,280
Speaker 2: ask someone. And now now the question instead of being

766
00:41:07,080 --> 00:41:10,160
Speaker 2: about having children, now people are asking me, which is

767
00:41:10,200 --> 00:41:13,640
Speaker 2: crazy too, about like perimenopause. And I'm like, oh, are

768
00:41:13,680 --> 00:41:16,560
Speaker 2: you asking me about my Now you're gonna now you're

769
00:41:16,560 --> 00:41:19,600
Speaker 2: gonna ask me about the state of my reproductive organs

770
00:41:19,600 --> 00:41:22,960
Speaker 2: and what they're doing. That's so crazy. I'd like to

771
00:41:23,000 --> 00:41:24,360
Speaker 2: talk about my work.

772
00:41:24,560 --> 00:41:27,680
Speaker 1: You know, well, I think also because your work is

773
00:41:28,360 --> 00:41:31,680
Speaker 1: I don't know what the right word is. It's not sexual.

774
00:41:31,759 --> 00:41:36,360
Speaker 1: I don't think it's sexual. It's sexy, but it's not sexual.

775
00:41:36,560 --> 00:41:38,280
Speaker 1: It's anyway.

776
00:41:38,480 --> 00:41:40,440
Speaker 2: I mean, it's a complicated I guess because it is

777
00:41:40,520 --> 00:41:45,080
Speaker 2: like very female forward and I have a big queer audience,

778
00:41:45,239 --> 00:41:48,759
Speaker 2: and it's like it is very it's not like sexy

779
00:41:49,160 --> 00:41:52,640
Speaker 2: under the male gaze. So I think, like that's what

780
00:41:53,320 --> 00:41:55,880
Speaker 2: for me and for what I know about my audience,

781
00:41:56,160 --> 00:41:59,520
Speaker 2: there is interest in talking to me about beauty and

782
00:41:59,640 --> 00:42:02,680
Speaker 2: exercise and health and stuff like that. And I wrote

783
00:42:02,680 --> 00:42:04,719
Speaker 2: a beauty book. But yeah, it's just like a funny thing.

784
00:42:04,799 --> 00:42:08,600
Speaker 2: How like it's interesting to see what the questions like

785
00:42:08,640 --> 00:42:10,719
Speaker 2: that that you go, oh wow. I wasn't ready to

786
00:42:10,719 --> 00:42:13,560
Speaker 2: talk about that today. I was just thinking about Feathers

787
00:42:13,560 --> 00:42:14,760
Speaker 2: and rain Stars.

788
00:42:17,200 --> 00:42:20,360
Speaker 1: Coming up. After the break, Dita talks about the difference

789
00:42:20,440 --> 00:42:25,280
Speaker 1: between performing for her fans and performing for the male games.

790
00:42:28,799 --> 00:42:32,600
Speaker 1: I think it resonates with women because I think particularly now,

791
00:42:32,640 --> 00:42:34,920
Speaker 1: you know, we were talking earlier about how these are

792
00:42:35,600 --> 00:42:38,920
Speaker 1: kind of a flattening of how particularly young women look,

793
00:42:39,600 --> 00:42:42,040
Speaker 1: you know, the hoodies and the thing, and that it's

794
00:42:42,080 --> 00:42:46,759
Speaker 1: almost asexual in a way. And because you have presented

795
00:42:46,880 --> 00:42:51,279
Speaker 1: this these age old manifestations of what beauty and femininity

796
00:42:51,360 --> 00:42:54,200
Speaker 1: and grace can look like in a very stylized way.

797
00:42:54,799 --> 00:42:58,759
Speaker 1: I think there's a real appetite from women. Forget the

798
00:42:58,759 --> 00:43:02,760
Speaker 1: male gaze. I don't actually when I watch your work,

799
00:43:03,120 --> 00:43:06,239
Speaker 1: it's not that men cannot appre as we know.

800
00:43:06,360 --> 00:43:08,680
Speaker 2: Right, Like, it's not something I think about. And there's

801
00:43:08,680 --> 00:43:11,640
Speaker 2: been times, like in the recently where I've been like

802
00:43:12,759 --> 00:43:15,920
Speaker 2: performing in a different atmosphere than usual and then like,

803
00:43:15,960 --> 00:43:19,520
Speaker 2: oh wow, I didn't. It's a total shift, you know,

804
00:43:19,880 --> 00:43:22,399
Speaker 2: like it happens so sometimes and I go, oh wow,

805
00:43:22,440 --> 00:43:25,319
Speaker 2: I forgot how this How different this is.

806
00:43:25,360 --> 00:43:28,520
Speaker 1: You when you say the shift, is it with the

807
00:43:28,560 --> 00:43:29,800
Speaker 1: male audience.

808
00:43:29,480 --> 00:43:34,160
Speaker 2: Or yeah, Like maybe sometime in the last like few years,

809
00:43:34,719 --> 00:43:37,400
Speaker 2: there's two occasions I was like, oh, and I was

810
00:43:37,600 --> 00:43:41,560
Speaker 2: one of them was performing in like Hong Kong at

811
00:43:41,840 --> 00:43:45,160
Speaker 2: a private members club and it was definitely male, and

812
00:43:45,200 --> 00:43:47,759
Speaker 2: I was like, oh wow, I forgot about this.

813
00:43:48,239 --> 00:43:52,000
Speaker 1: You know that weed silence, that weed silence that when

814
00:43:52,040 --> 00:43:52,640
Speaker 1: the men alive.

815
00:43:52,759 --> 00:43:55,319
Speaker 2: Yeah, like it's just different. Oh, this is sexy, And

816
00:43:55,360 --> 00:43:58,160
Speaker 2: so I remember being like, well, shift into sexy for men,

817
00:43:58,320 --> 00:44:00,600
Speaker 2: you know, like I remember how it feels, and it's

818
00:44:00,680 --> 00:44:03,960
Speaker 2: kind of fun, right because it's just a different feeling

819
00:44:04,000 --> 00:44:06,960
Speaker 2: than going on stage in a historic theater with like,

820
00:44:07,320 --> 00:44:11,759
Speaker 2: you know, thirty five hundred like fans, and then as

821
00:44:11,759 --> 00:44:15,479
Speaker 2: opposed to you know, performing my glass act in front

822
00:44:15,520 --> 00:44:20,560
Speaker 2: of like a men's a private high members club for men.

823
00:44:20,640 --> 00:44:23,000
Speaker 2: I was like, oh, this is so different, but it's funny,

824
00:44:23,000 --> 00:44:24,919
Speaker 2: you know, it's just a funny shift where you can

825
00:44:25,279 --> 00:44:27,839
Speaker 2: you can always feel the energy of an audience, and

826
00:44:28,440 --> 00:44:31,799
Speaker 2: it just reminded me of when I was, you know,

827
00:44:32,200 --> 00:44:34,440
Speaker 2: much younger in the nineties when I was doing that

828
00:44:34,520 --> 00:44:37,359
Speaker 2: in strip clubs. But yeah, it was like, it's an

829
00:44:37,360 --> 00:44:40,400
Speaker 2: interesting mindset where you're like, oh, it's different, this is different.

830
00:44:40,799 --> 00:44:45,680
Speaker 1: And then the women, because you're beloved of women, the

831
00:44:45,840 --> 00:44:50,760
Speaker 1: energy from that feels like what in comparison.

832
00:44:50,640 --> 00:44:53,719
Speaker 2: There's just a different like feeling. I think part of

833
00:44:53,759 --> 00:44:56,239
Speaker 2: it is because I do have the knowledge of no,

834
00:44:56,400 --> 00:45:00,520
Speaker 2: you know, interacting with my fans verbally or the letters

835
00:45:00,560 --> 00:45:03,680
Speaker 2: they send me, and I do have an understanding of

836
00:45:03,759 --> 00:45:07,800
Speaker 2: where a lot of the like meaning for people comes from,

837
00:45:08,000 --> 00:45:11,640
Speaker 2: whether it's watching me or just watching the show that

838
00:45:11,680 --> 00:45:15,480
Speaker 2: I'm presenting, which tends to be you know, the best

839
00:45:15,480 --> 00:45:18,320
Speaker 2: bur lesqued performers in the world that are different types

840
00:45:18,360 --> 00:45:21,000
Speaker 2: of people than me. I don't it's not like a

841
00:45:21,120 --> 00:45:23,400
Speaker 2: just a girly show. I've always tried to cast like

842
00:45:23,440 --> 00:45:26,319
Speaker 2: the show with regard for people who I think are

843
00:45:26,360 --> 00:45:29,879
Speaker 2: really interesting and different and unique. So I feel like

844
00:45:29,920 --> 00:45:33,919
Speaker 2: it's you can feel that there is like something, there's

845
00:45:33,920 --> 00:45:35,879
Speaker 2: a reason people are coming to a show like this,

846
00:45:36,000 --> 00:45:39,160
Speaker 2: and it's not just to like watch, you know, me

847
00:45:39,400 --> 00:45:42,359
Speaker 2: do a striptease. I think it does have like the

848
00:45:42,400 --> 00:45:47,080
Speaker 2: backstory of the books I've written, or my lingerie brand,

849
00:45:47,120 --> 00:45:49,719
Speaker 2: or the things that I say that maybe resonate with

850
00:45:49,799 --> 00:45:54,440
Speaker 2: other people. Me giving permission for people to embrace their

851
00:45:54,880 --> 00:45:59,080
Speaker 2: erotic side, their sensual side, to permission to wear cat

852
00:45:59,160 --> 00:46:01,640
Speaker 2: I eyeliner and red lipstick in a world where it's

853
00:46:01,640 --> 00:46:06,399
Speaker 2: not altogether been always acceptable. You know, sometimes you get

854
00:46:06,400 --> 00:46:08,719
Speaker 2: made fun of for those things. So I think there's

855
00:46:08,759 --> 00:46:11,480
Speaker 2: things different things resonate for different people, you know. So

856
00:46:11,920 --> 00:46:14,359
Speaker 2: it's definitely I think it's part of the key to

857
00:46:14,440 --> 00:46:17,520
Speaker 2: my longevity is that it's more than just you know,

858
00:46:18,080 --> 00:46:18,959
Speaker 2: a burlesque show.

859
00:46:19,200 --> 00:46:23,080
Speaker 1: Yes, and I think people also love that about you.

860
00:46:23,080 --> 00:46:26,520
Speaker 1: You know, women particularly get the message that these are

861
00:46:26,640 --> 00:46:30,520
Speaker 1: used by date or that you know, after a certain date,

862
00:46:30,759 --> 00:46:33,520
Speaker 1: we sort of shrivel up like a piece of desiccated coconut,

863
00:46:34,520 --> 00:46:38,760
Speaker 1: you know, and then to see you now in your

864
00:46:38,960 --> 00:46:44,760
Speaker 1: like third decade of bringing this, it's quite inspirational.

865
00:46:45,400 --> 00:46:49,239
Speaker 2: Well, first of all, let me say, dried coconut is

866
00:46:49,320 --> 00:46:55,439
Speaker 2: tastier than we all know that. It's tastier dehydrated with

867
00:46:55,480 --> 00:46:58,879
Speaker 2: a little bit of sweetener on it. Anyway, I'm a

868
00:46:58,880 --> 00:47:01,359
Speaker 2: big coconut fan. Yeah, I mean I think like when

869
00:47:01,400 --> 00:47:05,040
Speaker 2: I was first creating my shows and casting other formers

870
00:47:05,080 --> 00:47:08,959
Speaker 2: around me, I definitely, you know, I didn't really think

871
00:47:09,000 --> 00:47:12,720
Speaker 2: about diversity and inclusion. I certainly didn't think about age

872
00:47:12,920 --> 00:47:16,999
Speaker 2: diversity at that time, like you know, two decades ago.

873
00:47:17,200 --> 00:47:18,759
Speaker 1: You don't have to when you're young.

874
00:47:18,719 --> 00:47:20,680
Speaker 2: Right, right, You don't think about it all when you're

875
00:47:20,719 --> 00:47:22,759
Speaker 2: young until you're in it and you're like, oh, this

876
00:47:22,880 --> 00:47:26,359
Speaker 2: is matters and yeah, and I you know, I have

877
00:47:26,520 --> 00:47:31,960
Speaker 2: definitely been guilty of conditioning when it comes to myself.

878
00:47:32,000 --> 00:47:34,600
Speaker 2: Like I said, not that long ago, I said to

879
00:47:34,680 --> 00:47:38,200
Speaker 2: my bosses and Las Vegas, the Venetian, I said, for

880
00:47:38,440 --> 00:47:41,359
Speaker 2: you know, my show is going on two years there,

881
00:47:41,400 --> 00:47:43,799
Speaker 2: and I said, oh, maybe this show could be like

882
00:47:43,799 --> 00:47:46,000
Speaker 2: a standalone and we can hire other, like, you know,

883
00:47:46,120 --> 00:47:48,359
Speaker 2: younger dancers to do my parts and then they can

884
00:47:48,440 --> 00:47:50,640
Speaker 2: just be a beautiful, like sexy, standalone show. And they

885
00:47:50,640 --> 00:47:53,960
Speaker 2: were like, no, yes, people want to see you, and

886
00:47:54,000 --> 00:47:56,680
Speaker 2: I was like they do, you know, So I'm kind

887
00:47:56,719 --> 00:47:59,600
Speaker 2: of always like checking myself to make sure, you know,

888
00:47:59,840 --> 00:48:03,799
Speaker 2: like I but it is. It is an interesting thing,

889
00:48:03,840 --> 00:48:07,759
Speaker 2: and I feel very lucky to be performing through this

890
00:48:08,040 --> 00:48:12,239
Speaker 2: like different phases of life, and definitely lucky to see, like,

891
00:48:13,480 --> 00:48:15,480
Speaker 2: you know, what it means for people to see I'm

892
00:48:15,520 --> 00:48:18,160
Speaker 2: fifty three, what it means for people. But you know,

893
00:48:18,200 --> 00:48:20,719
Speaker 2: when I look out into the audience and I see

894
00:48:20,759 --> 00:48:23,120
Speaker 2: people of all ages and younger people who are just

895
00:48:23,239 --> 00:48:26,719
Speaker 2: learning about burlesque, and you know, my show is the

896
00:48:27,080 --> 00:48:31,560
Speaker 2: you know, there's not another show like mine anywhere else.

897
00:48:31,600 --> 00:48:33,719
Speaker 2: So a lot of young people come to see it.

898
00:48:34,279 --> 00:48:36,480
Speaker 2: And then the people who are are older or my

899
00:48:36,560 --> 00:48:39,000
Speaker 2: age or you know that have been watching me for

900
00:48:39,080 --> 00:48:41,719
Speaker 2: twenty five years, and so I just think, like it

901
00:48:41,759 --> 00:48:44,640
Speaker 2: does matter, like I have to when it comes to

902
00:48:44,719 --> 00:48:48,520
Speaker 2: like diversity. I've had a choice, and I have retired

903
00:48:48,520 --> 00:48:52,319
Speaker 2: myself a couple times. And then one day I thought like, oh,

904
00:48:52,360 --> 00:48:55,440
Speaker 2: what if you just keep like evolving your art and

905
00:48:55,520 --> 00:48:59,560
Speaker 2: keep evolving and learning new things and becoming better and

906
00:48:59,600 --> 00:49:01,640
Speaker 2: making the show bigger and bigger and bigger. And that's

907
00:49:01,719 --> 00:49:03,959
Speaker 2: kind of what my goal has been. Like a few

908
00:49:04,040 --> 00:49:06,279
Speaker 2: years ago, I put in like a you know, a

909
00:49:06,320 --> 00:49:10,200
Speaker 2: big ballroom dance number strip tease after I did Dancing

910
00:49:10,239 --> 00:49:11,919
Speaker 2: with the Stars, and I was like, let's do this

911
00:49:11,960 --> 00:49:15,359
Speaker 2: with the clothes cut flying off and you know, or

912
00:49:15,400 --> 00:49:19,440
Speaker 2: like with infusing the grand illusions into my show, with

913
00:49:19,600 --> 00:49:23,520
Speaker 2: putting magic in the show, it's learning magic tricks is

914
00:49:23,600 --> 00:49:26,160
Speaker 2: very difficult. So I thought, I'm going to challenge myself

915
00:49:26,160 --> 00:49:28,839
Speaker 2: and I'm going to bring together new things and new

916
00:49:28,880 --> 00:49:32,680
Speaker 2: elements into my show because I don't think it's just

917
00:49:32,759 --> 00:49:36,919
Speaker 2: about like looking a certain way, like I mean, I think,

918
00:49:37,360 --> 00:49:40,840
Speaker 2: you know, I feel strong. I think I feel confident

919
00:49:42,360 --> 00:49:45,080
Speaker 2: on stage. I don't feel like, of course, if I

920
00:49:45,120 --> 00:49:48,240
Speaker 2: don't feel like I want to be taking my clothes

921
00:49:48,279 --> 00:49:50,680
Speaker 2: off on stage, I won't. But I keep thinking like,

922
00:49:50,840 --> 00:49:53,760
Speaker 2: oh wow, okay, why was I so afraid of forty?

923
00:49:54,960 --> 00:49:58,600
Speaker 2: Why was I so afraid of fifty? Now? You know,

924
00:49:58,719 --> 00:50:01,680
Speaker 2: like it just is I get it, Like, you know,

925
00:50:01,880 --> 00:50:04,600
Speaker 2: I do not think I'm going to be like parading

926
00:50:04,640 --> 00:50:08,719
Speaker 2: around on stage wearing with a sixty five pound Swarowski

927
00:50:08,759 --> 00:50:13,200
Speaker 2: crystallized costume. When I'm, you know, seventy eighty, I don't

928
00:50:13,239 --> 00:50:16,279
Speaker 2: think that's going up to the boy. How would I know?

929
00:50:16,880 --> 00:50:19,600
Speaker 2: You know, don't I don't. I've always been wrong, you know.

930
00:50:19,719 --> 00:50:23,600
Speaker 2: We put this idea in young women's heads from when

931
00:50:23,640 --> 00:50:27,479
Speaker 2: we are seventeen years old. They always say, oh, you're

932
00:50:27,520 --> 00:50:30,120
Speaker 2: going to be twenty. Oh, you're going to be twenty five,

933
00:50:30,160 --> 00:50:33,160
Speaker 2: you're halfway to thirty, you're going to be thirty, you're

934
00:50:33,200 --> 00:50:36,799
Speaker 2: getting older. What are you going to do when you're forty? Oh,

935
00:50:36,840 --> 00:50:39,040
Speaker 2: it's all going to be over That's how we are

936
00:50:39,200 --> 00:50:41,480
Speaker 2: trained to think. And I wish we could get rid

937
00:50:41,520 --> 00:50:45,560
Speaker 2: of that. I wish we could stop teaching women, especially

938
00:50:46,040 --> 00:50:48,640
Speaker 2: that they're over the hill as soon as they turn thirty,

939
00:50:48,680 --> 00:50:51,000
Speaker 2: and getting us afraid of every decade, you know, And

940
00:50:51,040 --> 00:50:52,600
Speaker 2: so it is my I feel like it's kind of

941
00:50:52,600 --> 00:50:55,239
Speaker 2: my job to be up there going here. I am

942
00:50:55,279 --> 00:50:58,320
Speaker 2: at fifty, I'm wearing a gee string and pasties. Don't

943
00:50:58,320 --> 00:51:01,200
Speaker 2: be afraid, you know, Like it's just like a thing

944
00:51:01,239 --> 00:51:03,839
Speaker 2: where you're taught to be afraid. And I would like

945
00:51:03,920 --> 00:51:05,319
Speaker 2: that not for the way to be.

946
00:51:05,799 --> 00:51:09,600
Speaker 1: Where do you think that comes from? Because it's not

947
00:51:10,400 --> 00:51:12,320
Speaker 1: you know, we were talking about the male gaze before

948
00:51:12,360 --> 00:51:16,000
Speaker 1: and actually saying that doesn't necessarily align with the truth

949
00:51:16,040 --> 00:51:19,520
Speaker 1: of what you do or who appreciates you. I don't

950
00:51:19,560 --> 00:51:23,600
Speaker 1: think that fear of aging comes from men either necessarily.

951
00:51:23,640 --> 00:51:25,640
Speaker 1: I think women also do it to each other.

952
00:51:25,960 --> 00:51:28,040
Speaker 2: Well you know what, I was just thinking, Yes, I

953
00:51:28,040 --> 00:51:31,440
Speaker 2: think it's women, but also please know And I had

954
00:51:31,440 --> 00:51:33,719
Speaker 2: this conversation this morning when I was looking through like

955
00:51:34,080 --> 00:51:37,239
Speaker 2: a book of like I get this beauty magazine and

956
00:51:37,239 --> 00:51:39,680
Speaker 2: it had all these like clastic surgery before and afters,

957
00:51:39,719 --> 00:51:41,480
Speaker 2: and there's a lot of men that have facelifts. And

958
00:51:41,799 --> 00:51:44,160
Speaker 2: my partner said, oh, yeah, but it's like a lot

959
00:51:44,160 --> 00:51:45,800
Speaker 2: of gay meen. And I was like, okay, wait, let's

960
00:51:45,840 --> 00:51:48,560
Speaker 2: talk about that for a second. It is a lot

961
00:51:48,600 --> 00:51:52,080
Speaker 2: of gay men that are getting work done. What does

962
00:51:52,120 --> 00:51:55,879
Speaker 2: that say about the being male driven? Because I don't

963
00:51:55,880 --> 00:51:59,239
Speaker 2: hear about any lesbians. Kid, you don't hear about many

964
00:51:59,360 --> 00:52:04,279
Speaker 2: but lesbians getting right. Yeah, that's interesting. I'm just spitballing

965
00:52:04,320 --> 00:52:07,480
Speaker 2: again I had today. I have not like researched it

966
00:52:07,520 --> 00:52:08,960
Speaker 2: before I talked about him, But do you know what

967
00:52:08,960 --> 00:52:12,200
Speaker 2: I'm saying, It's like, we don't really talk about like

968
00:52:12,360 --> 00:52:13,879
Speaker 2: one of my best friends in the world is a

969
00:52:13,880 --> 00:52:16,319
Speaker 2: butcher lesbian, and it would never occur to her or

970
00:52:16,360 --> 00:52:18,959
Speaker 2: any of her friends that they are going to get

971
00:52:19,360 --> 00:52:21,560
Speaker 2: a facelift. However, I have a lot of gay male

972
00:52:21,600 --> 00:52:24,719
Speaker 2: friends who are getting facelifts, yes, who feel that sign.

973
00:52:25,719 --> 00:52:29,120
Speaker 2: What is this is it? Maybe? Could it maybe be

974
00:52:29,360 --> 00:52:33,400
Speaker 2: men in general that are a little more youth obsessed

975
00:52:33,440 --> 00:52:36,000
Speaker 2: than anybody else? I don't know. I don't know the answer,

976
00:52:36,120 --> 00:52:38,440
Speaker 2: and I know it could be is a generalization always,

977
00:52:38,480 --> 00:52:40,200
Speaker 2: but I'm just just a thought.

978
00:52:40,560 --> 00:52:42,959
Speaker 1: So the conversation, this is what we're going to take

979
00:52:43,000 --> 00:52:45,439
Speaker 1: a while, and this is going to be the headline.

980
00:52:45,920 --> 00:52:48,400
Speaker 1: Dejavonte says, be more lesbian.

981
00:52:49,040 --> 00:52:53,480
Speaker 2: No, if only we could. We can't. We can't. We

982
00:52:53,520 --> 00:52:56,040
Speaker 2: don't get to decide who we're with, right.

983
00:52:56,320 --> 00:53:01,480
Speaker 1: Yeah, Hey, you're coming to Australia next g Yes, I am,

984
00:53:01,640 --> 00:53:03,800
Speaker 1: which is very thrilling.

985
00:53:04,000 --> 00:53:06,519
Speaker 2: I'm excited. It's been seven years since I've been there

986
00:53:06,560 --> 00:53:06,879
Speaker 2: with my.

987
00:53:06,880 --> 00:53:12,480
Speaker 1: Show and you're playing big venues. Yes, what is the

988
00:53:12,480 --> 00:53:15,120
Speaker 1: the theme of these shows? So you don't really talk

989
00:53:15,200 --> 00:53:16,080
Speaker 1: in your shows?

990
00:53:16,400 --> 00:53:19,439
Speaker 2: No, I don't, and you know I've been I get

991
00:53:19,480 --> 00:53:22,359
Speaker 2: pressured sometimes too, but I always think like, oh, you

992
00:53:22,400 --> 00:53:26,000
Speaker 2: know what though it's kind of like in Las Vegas,

993
00:53:26,040 --> 00:53:27,920
Speaker 2: I don't have a host at all, but on the

994
00:53:27,920 --> 00:53:30,000
Speaker 2: tours I have a host because it is like a

995
00:53:30,000 --> 00:53:32,600
Speaker 2: big there are big crowds, and I like the host,

996
00:53:32,680 --> 00:53:36,040
Speaker 2: like holding things together. Yes, but I do think it's

997
00:53:36,080 --> 00:53:39,200
Speaker 2: a little bit like going to a ballet performance or

998
00:53:39,320 --> 00:53:42,440
Speaker 2: it's a dance performance, and I like the feeling and

999
00:53:42,480 --> 00:53:47,080
Speaker 2: the idea of like telling a story without talking, you know,

1000
00:53:47,759 --> 00:53:50,360
Speaker 2: I don't know, It's like I like it also because

1001
00:53:50,400 --> 00:53:54,480
Speaker 2: it is a unique perspective and you can go to

1002
00:53:55,640 --> 00:53:57,440
Speaker 2: a show from a singer and they'll talk to you

1003
00:53:57,480 --> 00:53:59,839
Speaker 2: and tell you some stories and stuff. But I don't know.

1004
00:53:59,880 --> 00:54:02,839
Speaker 1: I like that you love it when they tell the story, Yes.

1005
00:54:02,560 --> 00:54:05,719
Speaker 2: Totally, but I don't. I don't know. I feel like

1006
00:54:07,000 --> 00:54:10,279
Speaker 2: I like the idea of I have a tendency to

1007
00:54:10,320 --> 00:54:12,600
Speaker 2: pivot whenever I see what everybody else is doing. And

1008
00:54:12,640 --> 00:54:15,719
Speaker 2: I just like a variety show, like a fun variety show.

1009
00:54:16,000 --> 00:54:20,120
Speaker 2: When the curtains close, they open again on a new story.

1010
00:54:20,400 --> 00:54:24,200
Speaker 2: Then that story's over, they open again on another new story. Right. Yeah,

1011
00:54:24,200 --> 00:54:26,520
Speaker 2: So like the only times I've really talked in my

1012
00:54:26,600 --> 00:54:29,520
Speaker 2: show is like you hear my voiceover, like all the

1013
00:54:29,600 --> 00:54:32,080
Speaker 2: voiceovers are my voice, or there's songs that have my

1014
00:54:32,160 --> 00:54:36,080
Speaker 2: voice in them. But yeah, generally, I don't know. I

1015
00:54:36,080 --> 00:54:39,520
Speaker 2: guess I just like that it's a different, different perspective

1016
00:54:39,759 --> 00:54:43,320
Speaker 2: and a different different thing, like I don't see myself

1017
00:54:43,400 --> 00:54:46,120
Speaker 2: like putting out a microphone and talking.

1018
00:54:46,200 --> 00:54:50,600
Speaker 1: You know, I don't know people would love it.

1019
00:54:50,680 --> 00:54:51,640
Speaker 2: Well, we'll see.

1020
00:54:51,600 --> 00:54:53,719
Speaker 1: And I actually think you would. I think you would

1021
00:54:53,759 --> 00:54:54,160
Speaker 1: love it.

1022
00:54:54,200 --> 00:54:56,279
Speaker 2: Maybe that'll be my next phase of life. I mean

1023
00:54:56,400 --> 00:54:58,560
Speaker 2: maybe because even when I see like magicians, I really

1024
00:54:58,600 --> 00:55:01,600
Speaker 2: like who do talk through the illusions? I actually because

1025
00:55:01,600 --> 00:55:05,399
Speaker 2: I've been studying magic, the magic world. I really love

1026
00:55:05,440 --> 00:55:06,920
Speaker 2: actually the ones who come out and do it to

1027
00:55:07,040 --> 00:55:09,080
Speaker 2: music and they don't say anything, do you know the

1028
00:55:09,080 --> 00:55:11,120
Speaker 2: ones they have a beautiful music and it's all like

1029
00:55:11,200 --> 00:55:13,960
Speaker 2: it's is dance and like you can read the thoughts

1030
00:55:13,960 --> 00:55:16,919
Speaker 2: on their face. Like I love this. I like disappearing

1031
00:55:16,920 --> 00:55:20,759
Speaker 2: into this like fantasy that isn't like somebody talking and

1032
00:55:20,799 --> 00:55:23,040
Speaker 2: waking you up and telling you what they're going to do.

1033
00:55:24,279 --> 00:55:25,480
Speaker 1: What magic are you learning?

1034
00:55:25,640 --> 00:55:29,480
Speaker 2: Well, I don't want to spoil it the surprises because.

1035
00:55:29,200 --> 00:55:31,160
Speaker 1: Okay, are you getting swored in half?

1036
00:55:32,360 --> 00:55:35,600
Speaker 2: No? No, I'm kind of like, you know, I can

1037
00:55:35,600 --> 00:55:39,560
Speaker 2: tell you this When you mentioned like the magician sawing

1038
00:55:39,600 --> 00:55:44,400
Speaker 2: somebody in half, I've taken these kind of old tropes

1039
00:55:44,520 --> 00:55:47,319
Speaker 2: like that and I'm flipping the script on them. So

1040
00:55:48,200 --> 00:55:51,240
Speaker 2: we've all seen the show girl getting sawed in half. Well,

1041
00:55:52,320 --> 00:55:54,920
Speaker 2: I'm gonna saw somebody else in half. Maybe you know

1042
00:55:55,360 --> 00:55:57,479
Speaker 2: I'm not going to. I'm just telling you, like I've

1043
00:55:57,520 --> 00:56:00,279
Speaker 2: put I put a lot of thought into like what

1044
00:56:00,279 --> 00:56:02,759
Speaker 2: do I how do I make this different? Like? And

1045
00:56:02,799 --> 00:56:05,760
Speaker 2: I've even asked magician friends of mine, like, we've seen

1046
00:56:05,759 --> 00:56:08,920
Speaker 2: the male magician doing this to the show girl, but

1047
00:56:09,040 --> 00:56:12,080
Speaker 2: have we seen a woman doing this to the show boy?

1048
00:56:12,239 --> 00:56:16,239
Speaker 2: And They're like no. So this is kind of my

1049
00:56:16,440 --> 00:56:19,920
Speaker 2: perspective of where I'm taking things is like just a

1050
00:56:19,960 --> 00:56:22,200
Speaker 2: little bit like different, you know, a little bit.

1051
00:56:22,160 --> 00:56:25,600
Speaker 1: Do you know what? I'm not surprised data you were

1052
00:56:25,640 --> 00:56:27,160
Speaker 1: taking things in a different direction.

1053
00:56:27,480 --> 00:56:29,319
Speaker 2: Yeah. I just thought it would be fun to try

1054
00:56:29,360 --> 00:56:31,640
Speaker 2: something new. And I love to make like a themed

1055
00:56:31,719 --> 00:56:35,120
Speaker 2: variety show. And I like the challenge of magic because

1056
00:56:35,160 --> 00:56:37,919
Speaker 2: it is like it's really complicated and hard, but really

1057
00:56:37,960 --> 00:56:41,719
Speaker 2: fun to work on it with these I've befriended a

1058
00:56:41,759 --> 00:56:44,880
Speaker 2: lot of different magicians. I live near the Magic Castle,

1059
00:56:44,920 --> 00:56:47,640
Speaker 2: which is here in Hollywood, And of course.

1060
00:56:47,440 --> 00:56:52,680
Speaker 1: I know it's amazing, isn't it great? It's incredible? Yeah,

1061
00:56:52,960 --> 00:56:56,800
Speaker 1: And so it's so magical, it's so perfect a castle.

1062
00:56:56,960 --> 00:56:59,120
Speaker 2: Yeah. And I'm friends with many of those magicians, and

1063
00:56:59,160 --> 00:57:03,239
Speaker 2: I'm friends with magicians in Vegas, so it's it's like

1064
00:57:03,279 --> 00:57:05,480
Speaker 2: a fun little thing for me to talk to all

1065
00:57:05,560 --> 00:57:07,920
Speaker 2: of them about like what they think I should do

1066
00:57:08,000 --> 00:57:10,040
Speaker 2: and how I should do it. And some of the

1067
00:57:10,360 --> 00:57:13,839
Speaker 2: illusions are a lot more complicated and difficult than some

1068
00:57:13,880 --> 00:57:14,480
Speaker 2: of the others.

1069
00:57:15,040 --> 00:57:19,000
Speaker 1: Is it protected knowledge? Like how do you learn from

1070
00:57:19,040 --> 00:57:20,600
Speaker 1: a magician because they raise that?

1071
00:57:20,960 --> 00:57:23,640
Speaker 2: Yeah. I mean, I've been lucky enough that like two

1072
00:57:23,680 --> 00:57:25,720
Speaker 2: of the illusions I'm doing, I was taught by some

1073
00:57:25,840 --> 00:57:29,280
Speaker 2: master magicians who I saw actually perform at the Magic Castle,

1074
00:57:29,320 --> 00:57:31,360
Speaker 2: and I start and I found out they were following me,

1075
00:57:31,480 --> 00:57:33,720
Speaker 2: and then I started working with them, right, and they

1076
00:57:33,720 --> 00:57:37,720
Speaker 2: taught me two of their illusions, you know, or you

1077
00:57:37,760 --> 00:57:39,960
Speaker 2: can kind of say like I and I don't want

1078
00:57:40,000 --> 00:57:42,120
Speaker 2: to spoil any surprises, but I said, I have this

1079
00:57:42,240 --> 00:57:45,520
Speaker 2: idea that I want to do this, and then they go, hmm,

1080
00:57:46,400 --> 00:57:48,360
Speaker 2: let me think about that and come back to you.

1081
00:57:48,440 --> 00:57:51,360
Speaker 2: And then they'll come back with like it's like detective work,

1082
00:57:51,400 --> 00:57:53,640
Speaker 2: like they go, here's the three different ways we can

1083
00:57:54,360 --> 00:57:57,360
Speaker 2: maybe do it. And so that's kind of how it works.

1084
00:57:57,400 --> 00:58:00,439
Speaker 2: It's like you come up with fantastical ideas and then

1085
00:58:00,480 --> 00:58:02,960
Speaker 2: somebody says, like you could do it, but it's you

1086
00:58:03,040 --> 00:58:05,720
Speaker 2: need this, that and the other. Some of it is

1087
00:58:06,120 --> 00:58:09,280
Speaker 2: like you know, equipment, some of it is just practicing

1088
00:58:09,480 --> 00:58:13,280
Speaker 2: and like you know it's smoking mirrors, right, But yeah,

1089
00:58:13,320 --> 00:58:15,480
Speaker 2: Like so I just kind of came up with a

1090
00:58:15,520 --> 00:58:18,560
Speaker 2: few different things that I wanted to do, and I've

1091
00:58:18,600 --> 00:58:22,960
Speaker 2: consult consulted with six or seven different magicians. Some people

1092
00:58:23,040 --> 00:58:26,880
Speaker 2: build these illusions and some people perform them, and some

1093
00:58:26,920 --> 00:58:29,360
Speaker 2: people are the ones that used to perform that maybe

1094
00:58:29,400 --> 00:58:34,280
Speaker 2: just coach people. So I have. Yeah, it's like a

1095
00:58:34,320 --> 00:58:38,360
Speaker 2: combo of like maybe uh probably like in general for

1096
00:58:38,800 --> 00:58:40,800
Speaker 2: magicians who are really coaching me on.

1097
00:58:40,720 --> 00:58:44,080
Speaker 1: This, I think this is your next incarnation. This is

1098
00:58:44,200 --> 00:58:45,120
Speaker 1: like it could be.

1099
00:58:45,280 --> 00:58:46,920
Speaker 2: I did say that. I said one day, I go,

1100
00:58:47,160 --> 00:58:49,960
Speaker 2: should I be a magician in my into my sixties?

1101
00:58:49,960 --> 00:58:53,680
Speaker 2: And they're like you already are, but yes, why don't

1102
00:58:53,720 --> 00:58:55,560
Speaker 2: you feel? Yeah? I feel free?

1103
00:58:55,720 --> 00:59:02,240
Speaker 1: And also right costume, yeah, data Vonte as magician magnificent costumes.

1104
00:59:02,320 --> 00:59:04,280
Speaker 2: Yeah, I mean I like that, you know it. A

1105
00:59:04,320 --> 00:59:08,480
Speaker 2: lot of things are about how you present them, you know,

1106
00:59:09,480 --> 00:59:10,200
Speaker 2: so I love.

1107
00:59:10,080 --> 00:59:14,600
Speaker 1: That everything nearly everything is about how you present it. Really,

1108
00:59:14,680 --> 00:59:17,400
Speaker 1: I mean it has to have a heart, but everything

1109
00:59:17,480 --> 00:59:20,240
Speaker 1: is Shakespeare's seed is entrances and exits.

1110
00:59:20,840 --> 00:59:23,720
Speaker 2: Yeah, I like that. Well, this could be my next ye,

1111
00:59:24,240 --> 00:59:26,400
Speaker 2: my next thing. But I do keep saying to people,

1112
00:59:26,440 --> 00:59:29,320
Speaker 2: don't worry, I'm not quitting my day job. This is

1113
00:59:29,440 --> 00:59:34,680
Speaker 2: a burlesque show with some punchlines of magic in it,

1114
00:59:34,840 --> 00:59:37,360
Speaker 2: so I'm still people are still going to see me

1115
00:59:37,440 --> 00:59:39,240
Speaker 2: do the best of what I do. It's just a

1116
00:59:39,280 --> 00:59:42,120
Speaker 2: little moments that are extra magical.

1117
00:59:42,240 --> 00:59:45,200
Speaker 1: And also, don't forget your day job is a night job.

1118
00:59:45,680 --> 00:59:48,320
Speaker 2: Yeah, exactly, Well it is really a day job because

1119
00:59:48,480 --> 00:59:50,720
Speaker 2: you can't see it. But I have a whole table

1120
00:59:50,800 --> 00:59:53,439
Speaker 2: full of to do lists that are my day job,

1121
00:59:53,520 --> 00:59:54,760
Speaker 2: which leads to the night.

1122
00:59:54,680 --> 00:59:59,040
Speaker 1: Job, I'm sure. And even just your if your day

1123
00:59:59,160 --> 01:00:02,800
Speaker 1: job was nothing more than your beautiful house, which I

1124
01:00:02,840 --> 01:00:07,240
Speaker 1: think our produce A Bree was has been Architectural Digest's

1125
01:00:07,240 --> 01:00:09,560
Speaker 1: most popular video that they've made.

1126
01:00:09,720 --> 01:00:12,800
Speaker 2: Oh really, yeah, it's still the most popular.

1127
01:00:13,200 --> 01:00:18,320
Speaker 1: Spectacular thank you and a true kind of fusion of

1128
01:00:18,560 --> 01:00:23,520
Speaker 1: your artistry and your sweet self. Thank you, thank you

1129
01:00:23,760 --> 01:00:26,080
Speaker 1: as you have been and I thank you for sharing

1130
01:00:26,120 --> 01:00:29,840
Speaker 1: yourself within you no filter, and we can't wait to

1131
01:00:29,880 --> 01:00:33,400
Speaker 1: see you in Australia. Will you bring your partner with you?

1132
01:00:33,440 --> 01:00:34,720
Speaker 1: Will Adam come with you?

1133
01:00:34,760 --> 01:00:38,520
Speaker 2: Oh no, he probably won't come. It's so far and

1134
01:00:38,640 --> 01:00:41,440
Speaker 2: he works, and I don't know. I always think, like,

1135
01:00:41,840 --> 01:00:45,360
Speaker 2: I mean, he's never been to Australia or New Zealand.

1136
01:00:45,400 --> 01:00:48,280
Speaker 2: And I know it is really exciting for people, but

1137
01:00:48,640 --> 01:00:51,360
Speaker 2: it is. It's like a big long haul, as you know.

1138
01:00:51,840 --> 01:00:53,520
Speaker 1: All the more reason to bring company.

1139
01:00:53,920 --> 01:00:56,840
Speaker 2: I know it's true. We'll see, we'll see. I'll check

1140
01:00:56,880 --> 01:00:57,240
Speaker 2: with him.

1141
01:00:57,440 --> 01:01:01,760
Speaker 1: And when you do come. There's an Australian delicacy. It's

1142
01:01:01,760 --> 01:01:07,200
Speaker 1: as called a Lamington, which she is a beautiful sponge

1143
01:01:07,640 --> 01:01:14,160
Speaker 1: rolled in chocolate icing and then rolled in desiccated coconut.

1144
01:01:14,720 --> 01:01:15,440
Speaker 2: We love.

1145
01:01:17,720 --> 01:01:23,080
Speaker 1: We love it. Thank you so much, Thank you very much.

1146
01:01:25,800 --> 01:01:29,680
Speaker 1: I've interviewed a lot of women on this show. Very

1147
01:01:29,720 --> 01:01:33,480
Speaker 1: few live their lives with the kind of intention and

1148
01:01:33,600 --> 01:01:37,400
Speaker 1: focus that Dita Vontees does. Like every choice she makes,

1149
01:01:37,440 --> 01:01:40,120
Speaker 1: from the color of her lipstick to the way she

1150
01:01:40,360 --> 01:01:44,640
Speaker 1: arranges a vintage lamp shade feels like an act of

1151
01:01:44,920 --> 01:01:49,200
Speaker 1: self respect, or of reclaiming control over how she moves

1152
01:01:49,240 --> 01:01:52,400
Speaker 1: through the world. And what I love most about her

1153
01:01:52,680 --> 01:01:57,760
Speaker 1: isn't just the glamour or the feathers or the fantasy.

1154
01:01:58,440 --> 01:02:02,280
Speaker 1: It's the discipline. It's that she's built her power quietly

1155
01:02:02,480 --> 01:02:06,960
Speaker 1: with that discipline, and with patients, and with total authorship

1156
01:02:07,040 --> 01:02:10,960
Speaker 1: over her own story. I hope you loved this conversation

1157
01:02:11,040 --> 01:02:14,280
Speaker 1: as much as I did. Dita Vonteza's news show is

1158
01:02:14,280 --> 01:02:17,919
Speaker 1: coming to Australia next year. Will include information on where

1159
01:02:17,960 --> 01:02:21,280
Speaker 1: you can see her in the show notes, Thanks for

1160
01:02:21,360 --> 01:02:24,560
Speaker 1: listening to No Filter. The executive producer of No Filter

1161
01:02:24,640 --> 01:02:28,760
Speaker 1: is Nama Brown, The senior producer is Bree Player. Audio

1162
01:02:28,800 --> 01:02:32,120
Speaker 1: production is by Tina Mattloff and video editing is by

1163
01:02:32,160 --> 01:02:36,560
Speaker 1: Josh Green. This episode was recorded at Castaway Studios and

1164
01:02:36,760 --> 01:02:40,360
Speaker 1: I am your host Kate Langbrook and I will see

1165
01:02:40,360 --> 01:02:45,160
Speaker 1: you next Monday.