|
Dixie
Evans, by Michelle Carr
This
interview was originally published
in the June 22, 1999
Velvet Hammer souvenir programme.
|
Velvet
Hammer: And the song?
Dixie Evans:
I was doing a little number about trying to get a job in the
motion pictures. I used to come out to “You Are My Lucky
Star.” When the curtain opened I’d walk over to
the producer’s chair and then the band would launch into
“You Oughta Be in Pictures” and I’d say ‘who
me?’ and they’d say ‘yes, you!’ Then I
had a little movie camera and I’d run over and take a
screen test to “You Must Have Been a Beautiful Baby”
and I’d take a few more things off, then I would go to
the center stage, I’d fall down and have a violent tantrum.
“Just One More Chance” would play and then I would
crawl to the producer’s chair and then proceed to work
it over pretty good. But that wasn’t enough. I still
had to get to the couch. ‘Waaaaaa-hoooo!’ Then with
my black panties swinging in my hand, I’d go over to
the producer’s chair and sign the contract and leave.
The first time I did this they said, ‘Will you stop that?!’
(Keep in mind while reading this, dear readers, that this
lady is a firecracker in person animated as all get out and
over the top.)
Velvet Hammer:
What gave you the foresight
to start the burlesque museum?
Dixie Evans:
Well, Jennie Lee aka “the bazoom girl” actually
started the museum in a little bar that she owned in San Pedro.
She had a reunion once a year for all us gals to get together
and drink. So I came out and said ‘Where’s the membership?’
There was Tai Ping and Janine France, she’s quite a character.
She always had a bible in one hand and a bottle of vodka in
the other. She’s always saying she’s going to be
a Carmelite nun. She worked with Lenny Bruce a lot in San
Francisco. Anyway, it was a small group of us and I said,
‘You know what? We’ll do a Miss Exotic World pageant,
and we’ll have a crown, and then we’ll get some
young girls to join.’
Velvet Hammer:
How did the museum end up in Helendale?!
Dixie Evans:
Jennie Lee and her husband bought these 40 acres to retire
on, but she developed breast cancer. She’d been a friend
of mine since 1951 and when I heard she was dying I came out
here to spur her on. I offered Charlie $5000 to take the boxes
of costumes and memorabilia for the museum and that was in
’91Ð’92.
Velvet Hammer: When you were getting started,
was there a dancer who was like a mentor?
Dixie Evans: Gracie Hathaway in San Francisco. They
called her Dimples. She had a lot of dimples on her kiester.
She was an Irish red-headed girl a lot older than I. She was
a pretty good mixer in the joints of San Francisco and a real
good personality. Everybody loved her. I’d go over to
her house on Sunday afternoons. There were a couple of other
gals who would go over and help me with my costumes. A lot
of girls would say ‘Oh, I did it all myself, I didn’t
have anyone help me.’ Well, I don’t think so.
Velvet Hammer:
What heavy hitters did you work with?
Dixie Evans:
If you’re referring to any kind of an exotic dancer,
like Tempest Storm or Lili St. Cyr, sometimes you’d work
on a bill with them, maybe co-feature or something for a couple
of years. Lili had it all, she had the class and grace. Sheer
perfection. She really did project a beautiful act.
click
to continue
|
