REVIEW: THE PUMPS PIN-UPS present LADIES OF THE DEAD

"Last Caress" by Aubrey Roemer. Intentional or not, I love Misfits references.

No contest, Halloween is the best holiday of the year, if not for the actual day-of celebration, for the multiple weeks of Halloween-related events we can all enjoy. Apart from Zombiecon, Ladies of the Dead, featuring the Pumps Pin-Ups performing spooky burlesque, has been my favorite event this season.

With Pumps (a casually awesome Brooklyn strip joint) decorated with gnarly cobwebs and macabre artwork, the Pinups performed a variety of songs, skits, and dance numbers, ranging from campy to genuinely creepy. Before detailing the performances I have to mention Aubrey Roemer’s amazing art, with photography of undead Pinups printed on old quilts. There’s a gentle, quiet eroticism in her print series, combining the calm of a midnight cemetery with the carnality of an old Jean Rollin film.

Once the show began, it was time for co-hosts Joey Nova, playing a Vincent Price-esque millionaire, and Heidi Glum (recently voted Washington DC’s top drag queen), playing his devilish wife, to really shine. Recreating the plot of House on Haunted Hill, picture Nova and Glum as Gomez and Morticia Addams, then remove the undying love. The plot: Survive the night in Pumps, receive a massive sum of money.

The performances that followed allowed the Pumps Pin-Ups to share their talents, assets, and eventually, exquisite deaths. It played like a Russian Roulette talent show, where fates are determined randomly, with tragically low chances of survival as the performers are poisoned, shot, stabbed, strangled, and harmed in numerous other ways that arouse creeps like me. Little by little, each performer closed in on the fortune promised by Nova, but the suspense was largely due to the crowd’s anticipation of clothing removal. Honestly, it took the crowd a little while to loosen up and it was sepulcher-silent for the first few numbers, so instead of a chronological review like usual, I’m going to focus on each performer that left a bloody handprint on my memory.

Sunny de la Vega, apart from warming the crowd up with graceful pole-dancing, also took part in the most unsettling song of the night, as one half of a wind-up toy dancing team with Alyssa Calypso. She seemed to levitate as she danced, and makes everything seem deceptively easy. She had a smile for everyone, and anyone who appreciates the pleasure of watching exceptional dancing and form had a smile for her too.

Speaking of Alyssa Calypso, she had the performance of the night with a werewolf-themed striptease and dance routine to a Lon Chaney-sampling dubstep song. The crowd howled as she revealed her werewolf-hair pasties and tail beneath her Red Riding Hood costume. It was funny, unfairly sexy, and received a huge ovation from my fellow lycanthrope lovers in the audience. Nova quipped at the song’s close, “Well, I guess someone got some tail.”

Spanx Sinatra, whose vocal talents light up every event, shared some impressive improvisational skills to match her pipes. Playing characters ranging from a gal mourning “her broke as fuck unemployed musician boyfriend” to a pouty deceased child to a lounge superstar, she showed dynamic range and a gift for tongue-in-cheek self-aware humor. She also nailed singing “The Truth,” giving it Prohibition-era class. You ever see mug shots of criminals back in the 20s? They look snazzy as fuck.

Scarlett la Rosa, apart from being the director of the show and the captain of the Pinups, also delivers memorable music performances at every event. Unfortunately her customized version of “Mack the Knife” occurred while the crowd was still sleepwalking in the beginning. Shame too, because that song is the one of my favorites and ranks as one of the coolest songs ever written. Still, her show design was fantastic and filled with old-Hollywood glamor and kitsch, along with doses of Rocky Horror mischief and sleaze.

Three other dancers that totally owned the stage were the lovely Sophie Von Z (performing a really fun marionette-inspired routine with supporting help from tattooed beauty Rose), Sinister Shabzz (who looks like nothing, including a zombie outbreak, could rattle her as she dances with focus and confidence), the awesome Ariel Wolf (dancing to Redbone’s “The Witch Queen of New Orleans” as a white-clad voodoo priestess torturing an anatomically-correct doll’s genitals), and Sandra, who is hands-down one of the most seductive dancers I’ve seen, and could inspire the dead to rise, in every meaning of the word.

I can’t forget Rocket Shippes, also a great MC, who spent the night playing Boris, a drunken, bearded Soviet sailor who sees the homicidal plot unfolding. One of my favorite moments of the night belonged to Boris, unsoberly bellowing/death metal growling “Only Fools Russian” to woo Heidi Glum. It was a demented, no-holds-barred performance that may have been fueled by vodka, but anyone who has seen Rocket perform before knows that a drunken bearded sailor is pretty much her spirit animal.

While the show certainly felt disjointed at times, with some delays and occasional screeches of feedback, there was a charming sense of lunacy abound, with great quips from Nova and Glum keeping the action moving, and silliness permeating the sensual, gothic proceedings. It was a night of surprises and clashing imagery, from the dangerous crypt setting contrasting with the warm, welcoming smiles of the bodice-wearing bartending tandem of Kat and Vanessa, to the soundtrack of screams and chainsaws melting into the soothing blues of a graveyard lounge club. Simply, and homicidally said: Aubrey Roemer and the Pumps Pin-Ups killed it again.

Follow the Pumps Pin-Ups over here on Facebook for future events: https://www.facebook.com/PumpsPinUps

And check out more of Aubrey Roemer’s amazing work here:  http://www.aubreyroemer.com/wp/

REVIEW: THE PUMPS PIN-UPS - DAMN EVERYTHING BUT THE CIRCUS

“…damn everything that is grim, dull, motionless, unrisking, inward turning, damn everything that won’t get into the circle, that won’t enjoy, that won’t throw its heart into the tension, surprise, fear and delight of the circus, the round world, the full existence…” - e.e. cummings

Sunday evening in Bushwick, with the hospital halogen glow of a gas station illuminating the Pumps Exotic Dancing banner on the side of the building, I enter the third show from The Pumps Pin-Ups, entitled “Damn Everything But the Circus.” The casual bar has been transformed into a neon graffiti palace, with grotesque, macabre, inspired creatures and profane scrawlings adorning every centimeter of mirror on both sides of the stage. The artwork ranges from psychedelic foliage and casually satanic symbolism to characters that look like Robert Crumb portraits drawn for a Butthole Surfers album cover. Wise words above urge the audience to “Iggy Pop Til You Drop.” The show’s art curator, Aubrey Roemer, glides through the crowd and applies glow-in-the-dark ink to their faces with glee. She adds a few decorations to my forehead and cheeks and they feel like inverted crosses, which makes me feel like she’s seen deep into my evil soul and understands exactly who I am. When I examine the symbols they’re more like addition signs (+ + +), but what the hell, close enough. Sunny de la Vega entertains the crowd before the show officially starts and every person who came early rejoices in their decision to arrive before showtime. She seems effortless as she displays grace and impressive and strength while pole-dancing, seemingly defying gravity while the red flower in her hair impossibly stays in place. But this is the brilliance of The Pumps Pin-Ups: They make everything difficult and challenging and anxiety-inducing seems calculatedly cool and easy.

The show’s MCs, the wise-cracking Rocket Ships (rocking neon green/black lingerie and teased pigtails) and new team member Evan Von Doomstein, looking slick in a suit and combed mustache, welcome the audience to feast their eyes on Sinister Shabzzz, Harley Quin, and Foxy Highroller, each posing in their own spotlight while Scarlett la Rosa, the troup’s fearless leader and director, circled them with a whip as the evening’s Ringmistress.

The first half of the show was full of inspired performances, including: Ariel Wolf’s inventive routine in a white gown of balloons, popped one by one by a peacock-feathered quill; Scarlett la Rosa’s sultry rendition of Peggy Lee’s “Fever” concluding with a triumphant drag of a cigarette; Bella Boop transporting us all to Burning Man with an impressive display of neon hula-hooping in her awesome horned demon outfit.

Around this point Von Doomstein appropriately asked the crowd if anyone was willing to share their drugs, and received one whistle. Selfish bastards.

Sinister Shabzzz took the stage in a black corset and pink heart pasties as a spellbinding black metal siren looking for her “pussy,” who subsequently returned in the form of Harley Quin wearing a cat costume and purring. I have friends whose first crushes were anthropomorphic animated bunnies and cats who would replay their heart-warming exchange over and over, with even less clothing in mind. Shanlita Bandita then  sizzled in a pink onesie, guiding Von Doomstein to a chair and giving him a private dance, if you ignore the bar full of ogling people. My friend leaned in and whispered, “The irony of paying to watch another guy get a lapdance.” Shanlita stole a flask from her mark’s pocket and proceeded to rob him at gunpoint, requesting he strip to a leopard-print thong, to the delight of the scowling guys stationed in front of him. Come on guys, you could do worse, and you probably have. If anything, this routine, apart from being incredible fun and slyly humorous, should also inspire some guys to come open their wallets when lapdances are available.

Spanx Sinatra then sang a song possibly titled “Creep,” which was not a Radiohead cover, but a brutal and totally deserved skewering of cheap, shady, disrespectful tools that occasionally wander into Pumps. She has natural ability that just dazzles and transforms any space she inhabits into a high-class speakeasy. Sasha Berkowitz danced to Marilyn Manson’s “Dope Show” (guessing her name was inspired by Daisy Berkowitz a bit) with makeup that invoked either a seductive clown or the sidekick we all wish The Crow had. With chains draped from her black collar to her negligee bracelets, she had my favorite outfit of the night. Heidi Glum, dubbed “Supermodel of the Underworld” and dressed like a 60s pin-up homemaker, steered the show to its intermission, where Kill ‘Em All-era Metallica had me drumming on the bar top while Kat and Vanessa, the establishment’s amazing bartenders, served up cold drinks with corsets and a smile.

Act Two, and Scarlett la Rosa is knocking ‘em dead again with her smooth voice and her white boa, draped over black & white bra top. Rocket insists that the audience is “Ten years younger and 20% more cancer free” after hearing Scarlett’s voice, and I have toa dmit it’s a pretty damn good tonic. Shanlita then downs half of a bottle of some anonymous liquid while donning a gol leopard-print dress. The audience thought it might be water, someone verified it’s not. My money’s on absinthe. Whatever it was, she sought escape near Dom, from Air of Ants, hiding in the shadow of his keyboard.

The performance of the evening may go to the tag-team rendition of “Don’t Tell Mama” that the lovely Ivy Nyx, Spanx Sinatra, and Scarlett la Rosa unleashed on the crowd. There was a huge reaction as each of them dared the other to sing louder and with unparalleled amounts of charisma and sass, and holy shit were each of them up to the challenge. I don’t have many notes written because I was applauding and throwing money in a nearby top hat, but in my notebook I have written down: HUGE. That could be describing the applause, their voices, their busts, or perhaps I glanced down at my own crotch.

Foxy Highroller made her Pumps Pin-Ups debut and was fantastic, pole-dancing to Radiohead’s “Talk Show Host.” With a rose-print dress, cigarette holder, and tattooed wings, she looked like she was floating and enjoying high society at the same time. Ivy Nyx was kind enough to grace us with another sing, belting out “Hit the Road, Jack” while Sinister Shabzzz brought howls and hollers from the crowd with her patented vertical split against the pole, which sounds less impressive than it looks. Seriously, watch that shit in person and tell me that pole dancing isn’t an art and a sport at once. The music wasn’t finished, as Spanx Sinatra sang one of my favorite songs ever, “Dream a Little Dream of Me,” with support from Jerry, an unfairly talented clarinetist who made that instrument sing and scat with impossible dexterity. I played the clarinet for years and it was one of my favorite moments of the night.

Before Rocket could round up a pack of “cats and small rodents to overpower her lifeless body,” Shanlita awoke from her alcoholic slumber in a sailor hat and polka dot bathing suit. With Gogol Bordello cranking out their unique brand of cabaret punk she spray-painted “see the spectacle” over the mirror artwork. The spray-paint leaked red all over her hands and chest like she was stuck in a crime scene from Dexter, which a creep like me finds very alluring. After her performance Evan Von Doomstein had his revenge, forcing her to strip with her own gun pointed at her, completing one of my darker fantasies in front of me. Who am I kidding, that’s kid stuff compared to what gets me off.

Spanx Sinatra sang a song while Sunny de la Vega, the Barcelonian dancer of undebatable skill, did a dramatic routine that was classy and captivating. I particularly liked the percussion of her opening and closing her fan as she slid pole to pole. I wasn’t sure of the song and just wrote down that it was “exotic,” a code word for “foreign” because I’m an ethnocentric douche. Rocket followed with her first solo dancing performance as a Pumps Pin-Up, entertaining the crowd in gold lingerie and headbnging like the black-souled metalhead we all know she is to “Minnie the Moocher.” At some point Evan Von Doomstein broke out the line “In Soviet Russia, Rocket fires you” and I laughed and raised my Bud in appreciation of his joke.

Heidi Glum brought hard rock and heavy metal back into the fray by dancing to “Living Dead Girl” by Rob Zombie while dressed like vintage Marilyn Manson with a Frankenstein’s monster twist. It was an inspired performance but mostly made me miss the days when Marilyn Manson wasn’t so chubby that he had to draw in a jaw line to try and convince people he was still thin. Ariel Wolf then illuminated the room with a fire-eating and breathing act to another song I love, Louis Armstrong’s “Kiss of Fire.” Damn everything but the circus indeed, and Ariel held the spirit of the evening in high regard with her two amazing sets.

The audience showed their appreciation with cat-calls and crumpled dollars as Scarlett la Rosa invited the performers back on stage while she sang “Calendar Girl.” Having seen the two prior shows, I had high expectations for the night and they exceeded every one. The admission was raised $5 (to $12 at the door), but that increase could be seen in the additional performers and artwork, the improved sound quality (especially in the show’s second half), steadier work from the new MC duo, and the lighting that seemed seamless. This is exactly the sort of event that people in New York/Brooklyn write home about to brag about the benefits of being in the city. I can’t recommend it enough.

Go follow The Pumps Pin-Ups over on Facebook so you don’t miss a show. Even if you’re dumb as hell, you can do this one smart thing in your rotten life and turn it all around:  https://www.facebook.com/PumpsPinUps

REVIEW: PUMPED UP - A BACCHANALIA by the PUMPS PINUPS

Last week I handed in a review of a recent metal concert to the editor-in-chief at Decibel Magazine. I was asked to describe 4+ hours of music and moshing in 450 words. While that was a challenge, the real kicker was that when I attended the show I wasn’t aware I’d be reviewing it later. This lead to many (MANY) beers beforehand. I’m proud of the final product, but I have no doubt my journalistic skills were severely corroded with each $1 PBR/shot of Jack I enjoyed over at Duff’s.

When I arrived at Pumps, the “anti-gentleman’s club” of Brooklyn, I was entirely dedicated to staying sober and reporting the events with unrelenting accuracy. Several empty shot glasses of Jameson later, here are my notes regarding the second performance of the Pumps Pinups, the burlesque ensemble lead by show director/creator Scarlett la Rosa. Some may be out of chronological order, because there was a strange whiskey stain (I hope?) on a few of the pages:

It’s 8:45 PM, I’ve perused the assortment of sexually-charged artwork (curated by the talented Aubrey Roemer) featuring blacklight paints, and I’m sipping a Bud while Jesse McCloskey’s charcoal drawing of a seriously unhinged witch stares at me from the wall.

Kat, who befriends everyone within thirty seconds and one smile, bartends the event with the lovely Vanessa. Kat tells me she’s “way ahead of me” and has downed several shot of Patron. She declines taking a shot with me, but changes her mind about fifty seconds later. Vanessa grimaces as she joins for a shot, with orange nails glowing in the dimness.

The girls take the stage and they’re breathtaking, all writhing against the three poles positioned on the stage. Scarlett la Rosa belts out a gentle version of Guns ‘N Roses’ “Sweet Child O’ Mine” with piano accompaniment (from Dom of the band Air of Ants). The hardcore band I drummed for in high school used to cover the song as well, but without the grace and originality.

Spank Sinatra summons the spirit of Jessica Rabbit by way of Etta James for a smoky, seductive version of “Why Don’t You Do Right?” Jessica Rabbit was my first crush, and it was deeply tragic when I learned I could not date, marry, or fuck a cartoon senseless. This song just reaffirmed my love for that bad girl, even if she was just drawn that way.

Gypsy Nyx follows with two smoothly sung songs, “Burlesque” and “All That Jazz,” while the smirking and exceptionally strong Harley Quinn stuns the audience with acrobatic pole dancing. Gypsy owns an effortless sultry confidence and sounds like she’d be perfect for a James Bond theme song.

Sophie Von Z  dances with the dangerous appeal of a Prohibition era speakeasy back room striptease. Transports me to a time where I need to whisper a password through a hole in a brick wall to a scarfaced lug in a fedora to earn entrance. Luckily, liquor is easier to come by now, and entrance to see Sophie Von Z is a modest $7 cover charge.

Spank Sinatra returns to the stage, declaring after some banter with Rockett that her drug of choice is “dick.” She launches into a crowd-pleasing number I will refer to as “I Want To Be Fucked By You,” a song that fills the air with howls, whistles, and (allegedly) semen. Pure brilliance, an ode to submissive sensuality and a blunt injection of libido that shows sometimes innuendo is totally overrated.

Shanlita Bandita graces the stage for the first time as a recently dumped dame swallowed by depression after her scumbag boyfriend left her at a liquor store. She haunts the stage with a flask and a solemn trench coat before attempting the world’s first suicide by water pistol. Luckily for all of us, her aim is horrible.

Sophie Von Z dances for everyone’s communal enjoyment again, in a new golden Romany-inspired outfit with a transparent black cape. It’s a more exotic performance than her previous song, and makes me hear the distant chimes of finger cymbals and ankle bells. She sizzles, all eyes locked on the stage.

Scarlett la Rosa breaks hearts with a gorgeous red over-bust corset. Maybe I’ve frequented too many Renaissance Festivals, maybe it’s my days as a high school goth, but corsets kill me every time. She nailed the mysterious femme fatale quality that made “Sooner or Later” so hot in “Dick Tracy.” Plus, she totally out-sings Madonna.

Shanlita Bandita gleefully comes back to the stage after her successful therapy: Discovering the joys of “returning to her white trash roots” with the pleasures of boxed wine. She dances with pep and passion, rocking platform converse sneakers with clear heels that seem nineteen inches tall. She ends her energetic highlight performance by drenching herself in wine from the box’s lecherous nozzle. It was like “Flashdance” for alcoholics.

More to drink. Harley Quinn in a (crotchless) cat outfit, wiping up the white wine from the ground. She also purrs across the bar top, gathering donations for the girls. I don’t know why men have a primal attraction to women dressed as cats. I tell my girlfriend I think all men are inherently open to beastiality because of this. She says that makes her nervous about us both sharing a pet cat. Shanlita shares the box of wine with adventurous audience members. The wine tastes amazing, which signals I am thoroughly blitzed. While the stage is being cleaned and swept, the blue-haired head-banging beauty (and co-MC) Rocket Shippes pleads, “Get that broom away from me, I’m horny.”

Ms. Quinn (who Rocket claims “puts the Bang in Bangladesh) charms the audience with an erotic calm and a punk rock aesthetic. Heavily tattooed and pierced, the ladies to my left both take note of how striking she is and talk at length about her appeal. I don’t hear much besides a murmured blur and a few key words because I’m too busy staring.

Spank Sinatra again, and she keeps outdoing herself. This time it’s like she crept into my morbid fantasies and mined it for images. She comes to the stage with dramatic skull make-up, looking like the attractive female version of Papa Emeritus from Ghost B.C., which doesn’t sound like much of a compliment until you realize I’m a huge metalhead. She destroys the crowd with a macabre version of the Screamin’ Jay Hawkins classic “I Put A Spell On You,” a song that burns with sex appeal and has never sounded more fiery. Her performance is hotter than a long fuck in a moonlit cemetery.

Pumps owner Andy walks through the crowd and reluctantly accepts applause as Rocket destroys with one of her many viciously awesome one-liners, saying, “He’s done more for us than our dysfunctional fathers.” He’s just as happy letting the girls have the whole spotlight, despite the success of the event in his venue.

Despite some audio issues, first-time Pumps Pinup Bianca Dagga sways in a red skirt before treating the eager crowd to a striptease. She ends the performance by igniting the ends of her pastie tassels and swirling them in a perfect ring of fire that’s way hotter than anything Johnny Cash ever sang about. Huge applause ends the show, everyone’s smiling, more drinks ordered.

This show is a helluva lot of fun. I understand not everyone is as open-minded or sex-positive, but this is celebratory entertainment and a true art form. There was no creepy leering, no heckling, just a crowd totally on-board with pretty girls using their various talents to make everyone smile and go home happy. If you read my interview with Scarlett la Rosa, then you know they all achieved exactly what they wanted. I have no doubt they will overcome the mild technical glitches and obstacles they faced during the show and delight everyone with another performance in the future. This is definitely the sort of creative spirit that made New York/Brooklyn a destination for artists and artistic expression. You can wander into any Starbucks and meet a dozen writers (who haven’t actually written a word of that masterpiece novel they talk about every day for years at a time), or you can wander down to Pumps for these occasional burlesque nights and experience singing, dancing, comedy, stripteasing, photography, and cutting edge artwork all in the same evening. This is why art thrives in communities. Make yourself a part of it, because even audiences are participants.

Follow the Pumps Pinups on Twitter: @PumpsPinups

And check out the Pumps page on facebook for more information: https://www.facebook.com/pumpsbarbrooklyn

INTERVIEW: SCARLETT LA ROSA of the PUMPS PINUPS

Hello, creatures. A few weeks ago I had the pleasure of attending the first variety show by the Pumps Pinups, a group of burlesque performers affiliated with the Brooklyn anti-gentleman’s club Pumps. I wrote a brilliantly worded review HERE. I was luckily able to catch up with the show’s founder/director Scarlett la Rosa and ask a few questions about their upcoming show (June 23rd, more details after the interview) and her views on burlesque. Read ahead for all the finer things in life: Love, laughter, and dangerously gorgeous dancing girls.

Mister: What has been your experience and background in the world of burlesque before becoming director/founder of the Pumps Pinups?

Scarlett: My experience in burlesque is none! However, At 3 years old I was already begging my mom to let me take dance lessons, and being amazing, she obliged. I recall never wanting to take off my costume till I absolutely had to go to sleep!  So sequins and fringe have always made me happy. Then I began performing in musical theatre at 9 years old. I studied at the Boston conservatory and got my BFA in musical theatre, with a voice concentrate. I have always admired and respected dancers, and the female body. My wonderful, dearly departed grandpa was an artist...he did a lot of landscapes, still life, and beautiful charcoal nudes which I remember being enamored with. He always taught me that the nude body is a work of art, and instilled this in me. Falling in love with singing jazz, and seeing these talented girls dancing made a little lightbulb go off...actually, my boyfriend Greg planted the seed. I researched burlesque, sang in one show downtown with Joey Nova, and I was hooked. I thought, why not bring together the three things I love most! Jazz, musical theatre, and beautiful dancing girls! I went to Andy (owner of Pumps) with this idea and he was thrilled!  He supported the girls and I 100%, opening the club on Sundays so we could rehearse, giving feedback, etc. I then realized why not incorporate art as well!  Knowing Aubrey for years, having posed for her, seeing her portraits...I realized she could really add another level to the show. And to bring visual art was to honor my Grandfather Joe as well!

Mister: Choosing a burlesque stage name is a serious decision. How did you decide on Scarlett la Rosa?

Scarlett: I have always identified with the color red, and felt it defines my personality. It's a strong sexy color, and the name Scarlett la Rosa is basically "Scarlett the rose" in Italian (the background of my artist grandpa, and my grandma Rita). My grandmother had a rose bush outside and roses make me think of her always.

Mister: What performers have inspired you most?

Scarlett: The first burlesque performer who I saw live was the beautiful Nikki le Villian. She is the epitome of old hollywood glamour, and really puts thought into her performances, doing very traditional burlesque, belly dancing, she dances with snakes even!  I saw her and said, "I wanna be her when I grow up!" Other performers: Dean Martin, Liza Minelli, Alan Cummings (I modeled our MC Harix and much of the show after his performance in the revival of "Cabaret"), Gene Kelly, Fred and Ginger, Donald O'Connor...and of course I grew up listening to Frank Sinatra every time I was at Pop-pop (Grandpa Joe) and Mom-mom (Rita)'s house, gazing at the beautiful nudes while the smells of Sunday "gravy and macaroni" wafted through the house. All of these things and people are the backbone of my inspiration for the Pumps Pinups.

Mister: Each Pumps Pinup has such a unique, distinct style. How would you describe your performance style or approach?

Scarlett: Thank you for noticing! I purposely chose a wide range of girls and really instructed them to find their own "character" and become it!  I would say that my style is sultry and tongue in cheek. I have chosen sexier, traditional jazz songs and also modeled my outfit (hat, little blazer) to compliment Harix and Rocket, and to emulate one of my favorite styles of dance, Fosse. Burlesque can be flashy, which I love. But I've chosen Scarlett's personality to have a "less is more" approach. But expect surprises to come!

Mister: The show on June 23rd will be modeled after last month's debut. What sort of changes should those seeing it a second time expect?

Scarlett: I would like to keep the same formula, and build upon it. There will be some of the same songs, and many different....mostly just the beginning "intro" will remain almost the same..but a new group number is in the works and I'd like to have more comedy between the MCs. There is still a "story" to everyone's character, which I want to really concentrate on keeping because I feel that it's what makes this show a bit different from other burlesque that's happening right now.

Mister: Some people who haven't seen burlesque picture it as some seedy backroom sleaze-fest. Could you describe what the art form means to you?

Scarlett: This is my favorite question. I guess I kinda answered a lot of this referring to my grandpa and growing up with art all around me. But burlesque to me, celebrates the body and sexiness. It's all about showmanship, glamour, and comedy. It’s, to me, the ultimate form of entertainment if done in a true fashion. There is a documentary called The Best of the Burly Q which really inspired me while working on this project. Burlesque started really taking off back in the depression, when men were working and sometimes trying to sell vacuums every day, or what have you. At the end of the day, when as one of the women said in the movie...if he had a nickel in his pocket, at least he could go have a laugh, and see a pretty girl dance. She also said in that time, there wasn't much laughter...but if you fell into one of those shows, you'd definitely have a smile on your face and a hard chuckle! This is why I love this art form. And also why most wonderful theatre comes out of bad times. At the end of the day, don’t we all just want to smile, hear good music and see some pretty girls?

Mister: The show will follow an art exhibit featuring the work of Aubrey Roemer. Could you just share a few thoughts on the artwork that will grace Pumps' walls?

Scarlett: Oh Aubrey!  That's my girl. She really understands how to capture the soul of the people she paints, which is why I love her work. I think this time around, she wants to continue and elaborate. We may have more artists involved, I think there will be more black, white, gunmetal, gray...girls emerging, if you will, from the shadows. The first exhibit was all about glowing and colors...this will give a other feeling...like being in a black and white film. Her work has the dichotomy of grit and class that I want to portray in our show, so it's a perfect collaboration.

Mister: What's your strangest burlesque story and your favorite memory?

Scarlett: My strangest memory! And perhaps most embarrassing!  But I'll share because that's what this about...not taking yourself too seriously. I was asked to sing with Joey Nova (a well known burlesque MC) for a Christmas show. We were to do "Baby, It's Cold Outside,” great old school holiday jazz song. I thought "piece of cake!" I don't know about you, but every time I've thought that, a disaster occurred!  It's really not a piece of cake song, in that it is quite repetitive, with small word changes. I totally blanked on lyrics! I don't know what, if anything, started to come out of my mouth!  Well, that's show business. The show must go on!

Fondest memory...well of course, the way all of the Pumps Pinups pulled it together. This was most of our first time at the opera, and nerves were flying, at times attitudes in full swing, our dress rehearsal the week before was scary!  But at the end of the day, we all really came together and knocked it out of the water. Costume mishap? Spanx Sinatra took out her iPhone and busted out a jazz standard while Rocket found her headpiece! As we left the night of the dress rehearsal, I said to Shanlita Bandita, "Well, we're just gonna do this thing." She said, “Yea. We're gonna do the fuck out of it!" And I think we did! I'll never forget that moment.

Mister: What do you have planned for the future of the Pumps Pinups? What are your short and long-term goals?

Scarlett: Goals...well I really like to think big. I really wanted to use the name Pumps because the significance is huge. We all met at pumps, this wouldn't be possible without Andy and his beautiful wife Kat, who, by the way, was Mama on the day of the show. Pulling out bras and fishnets and eyelashes from her store downstairs, making last minute costume alterations, and generally calming us all down. Anyway, I stray. If it wasn't for their support and time, and their belief in us, we wouldn’t be here. So I plan to continue this show monthly, perhaps talk about touring and recording some of the songs, really getting us out there. I’d say within a year I'd like us to be extremely well known not just in Brooklyn but everywhere. I'd like to feature different vocalists and musicians, I'd love for people to say, "I'm getting to perform with the Pumps Pinups!" I'd like to really break the mold and show that burlesque, music, art, and theatre are all connected. I want to make people happy and for them to come and lose themselves for a couple hours!  Leave your troubles at the door!

Many thanks to Scarlett for taking the time while they’re fiercely working at choreographing their new numbers! As promised, here are the details for the show:

Date: Sunday, June 23rd

Art show: Doors open at 7 PM.

Pumps Pinups: Show starts at 9 PM.

Location: Pumps, 1089 Grand Street, Brooklyn, NY 11211

Cover charge: No official word on admission price yet. Last time it was $7, and as always you should plan on bringing money for drinks, tips for the awesome bartenders, and donations to the Pumps Pinups to promote their sexy brand of entertainment.

For more information on Pumps check out the website here:  http://pumpsbar.com/