Diva skills - Keep your wig on

Continuing with my series about the stage skills we can learn from drag queens.

I like it when you don’t touch my hair.

Wigs are an important part of a drag queen’s arsenal. Although there are a few who style their own hair (not to mention Ongina, who is often bald in drag) wigs are so much a part of the drag queen deal that many even wear more than one at once!

Bellydancers often utilise hairpieces, usually in a more subtle or natural way, to enhance their look or give versatility between looks. On stage you need to be larger than life, and even if you have amazing hair, you may want to give it a bit of a boost. I also always carry an emergency wig in my gig bag, in case I run out of time to style my hair, get caught in the rain or otherwise might struggle to get a satisfactory ‘do for the performance.

I love hairpieces and I have an enormous collection in different colours and textures that reflects the evolution of my stage look. The range of hairpieces available is enormous and can be overwhelming. There’s a lot of great resources out there that provide you with a tonne of detail about different hairpieces, but I’m going to give you a quick rundown from a bellydancer’s perspective.

Real or synthetic.

In theory real human hair is the ultimate in terms of quality and look.

Human hair wigs can be washed, dyed or styled just like your own hair. Human hair falls or clip in extensions will blend well with your hair in terms of texture. As a performer though, you aren’t looking for up close, daytime realness.

On the downside this is a very expensive option. You aren’t going to save time with these, in fact you’ve got a whole extra bunch of hair to style and keep in good condition. If you have especially fine, or curly hair, you might find it hard to get a good match for partial hairpieces, most human hair for wigs is straight, thick and initially dark. Fine, lighter hair is even more expensive. There are also ethical issues with cheaper human hair.

There are different classes of synthetic hair. Traditional synthetic wigs tangle easily, don’t retain a style well and generally look like fancy dress accessories.

Can I just take a moment here to tell you, though it should not need saying: Never wear a fancy dress wig on stage. They are thin, poorly styled and generally awful.

“GO BACK TO PARTY CITY WHERE YOU BELONG” - Phi Phi O Hara.

No. Just no.

Japanese wig makers have more recently been using some excellent synthetics. The original is a fibre called Kankelon. It is soft and silky. The style is baked in, so even if you wash it, you just have to let it drip dry then run your fingers through it. You can stuff it in the bottom of your gig bag, shake it out and it’s ready to go. It’s as natural as you need for stage. There are also other fibres coming onto the market off the back of Kankelon's success, which really raise the bar in synthetic wigs.

Another benefit of synthetic fibre is that you can get it in any colour, or length you fancy. Down to your knees and bright blue if that’s your thing!

Which hairpiece is for you?

Depending on your natural hair and your needs you have a variety of choices:

Clip in extensions

These are wefts of hair with clips sewn on. If you want to add extra volume or a little extra length to your natural hair, this is a great option.

Apply them by parting your hair horizontally and clipping them in close to the scalp. Start at the nape and work up. A spritz of hairspray before you clip them in will stop them slipping.

You’ll need to match the colour and texture closely. It is possible to get a good finish with shorter hair and clips, but if you are not a whizz with hairpieces I would recommend that you either have natural hair past your shoulders, or only opt for a couple of inches extra length.

Falls

Falls are hairpieces that encompass only the “free” part of a ponytail. Some clip in with a crocodile clip, some have a drawstring that fits around a bun made of your own hair. Falls are also available as dreadlocks, which are popular among tribal style dancers for a temporary dreaded look.

You will need to style the rest of your hair as usual, then make sure you have a firm base to fix your fall onto. The colour match needs to be good, although you can get away with a texture difference. Hide the seam with flowers or hair decorations for ponytail realness.

This fall clips into a chignon or bun 

½ or ¾ wigs

Partial wigs are an excellent introduction to wig wearing as you don’t need to worry so much about your hairline.

These hairpieces fit onto the back part of your head, but the front inch or few of the style is formed from your own hair. You can sweep your hair back over the seam to cover it, or use a hairband. Usually you will use a wig that matches your hair colour, but it is also possible to use a broad hairband which comes right onto your brow, with no visible hairline to cover your hair for a completely different colour.

These wigs are easiest to style, but they are still quite heavy and hot to dance in.

In this image I am wearing a 3/4 wig, the hair in front of the band is my own.

Full wigs

If you are going for a full cap wig, your biggest challenge is going to be the hairline. I would recommend a lace front wig, unless your wig has a fringe/bangs, as the artificial hairline will give you away.

Lace front wigs come with a section of mesh at the hairline which firstly needs to be cut to a width you feel you can work with. The lace is fixed to the forehead with wig/toupee/body tape and you’ll need to use make up to blend it.

It’s a bit of a fuss to get right, and hot to dance in, but this is your best bet for a totally different look, or to avoid having to use your own hair at all.

Choosing your style

Traditional convention says that bellydancers have long, loose hair. This is still the case for some traditional styles such as khaleegi, but fashions in bellydance include updos and short hair too. Unless you are aiming for an authentic, culturally representative look, your choice is up to your personal aesthetic.

Drag queens wear enormous (and multiple wigs) to, as Courteney Act puts it “disguise their big man faces”.

The proportions of your hair need to be taken into account in balancing your face and your body. As Courteney explains, heavy, masculine features are balanced by voluminous hair-dos. Like any hairstyle, make sure that your wig compliments your features, play with sweeping back, trailing tendrils etc. Think about where the strands lie in terms of your cheek or jaw bone, see what works for you.

If you want to give an impression of height, you can add height to your hair in terms of high ponytails, tiaras, pomps, rolls or beehive style bumps.

You can balance a juicier figure with volume in the hair, though be wary that very long, very voluminous hair will swamp you, especially if you ar not tall, so keep it above the bra strap or even shoulders. Width up top will balance broader shoulders and emphasise the narrowing of your waist.

Long, straight hair elongates the body, especially with a little height on top.

Practical wig wearing

Make sure your hairpieces are secure. Use plenty of hairspray with clips, use more hairpins than you think you need. Beauty suppliers also sell wig hairpins, which are larger, to help secure wigs.

Secure your hair underneath, I usually pincurl under a wig for an even finish that the wig can be pinned to. Pin through the wig into your hair, all around the edges and through the centre of the cap.

Like any part of your costume, always stress test your hairpieces. If you are partial to hair tossing, make sure that you give your head a good shake, then check in the mirror before you hit the stage (and with enough time to set it right if it shifts!)

As Mama Ru says, it’s only acceptable to take your wig off on stage, if you have another on underneath.

Diva skills, Don't be shady, be a lady!

Continuing with my series about making yourself a better dancer and performer through the example of drag queens.

Today we are looking at shade.

It is well understood that drag queens can be mean and catty, sometimes this is intentionally mean, sometimes it is friendly banter, often it is somewhere inbetween. In fact "reading", the art of wittily and incisively pointing out someone's flaws as seen in Paris is Burning, is pretty much a sport in itself (that link has NSFW language). Being read is the natural companion to the important performer/artist skill, of not taking yourself too seriously; it's interesting to watch the reading challenge on Drag Race, and note the queens who really get in on the joke - they are often the better entertainers. A good read makes everyone laugh, even the subject, but when an insult it blunt, vicious and not intended lightly, it becomes "shade". The title of this post comes from Stacey Lane Matthews, who in season 3 of RuPaul's Drag race made a point of rising above the shade-throwing antics of her peers, and it is this that I would like to focus on.

So what has shade got to do with bellydance?

Quite a lot actually. We are part of a diverse but tight knit community of passionate artists, so sometimes people disagree. Bellydancers are all kinds of people, different ages, different music tastes, different aesthetics and different dance styles, so it is human nature that "tribes" and cliques will form.

The dance circles I move in are generally very pleasant and supportive. We recognise our shared love of the dance and celebrate our differences. I do occasionally encounter a shady dancer, or find myself witnessing a fevered debate between dancers whose ethos or opinions clash. I also know dancers who have been involved in more unpleasant rivalries within the community and it gives pause for thought.

Shade is not good for the community.

It appears that a lot of shade comes out of a perceived competition between dancers. Insecurity or a need to "get ahead" sometimes leads to dancers putting each other down. The truth however is that there is not a limited amount of talent to go around. You are not going to get better by dragging others down, and if you could, would that be a sweet victory? Only you can dance your dance. Bring others up with you, don't trample them, raising the quality of dance performances in general is good for all of us. If you really wish to get ahead, save the energy and use it productively to become a better dancer instead.

When dancers consider themselves rivals, it divides the community. Teachers who support each others events, haflas and workshops aren't sending their students away, they are igniting and rekindling their enthusiasm for the dance by offering them increased opportunities. If we trust our students to recognise the value of our classes, and endeavour to deliver good teaching whilst working on our own dance and knowledge, they will come back. If they don't enjoy our classes, then they won't keep coming, whether there is another teacher to go to or not. If we introduce them to a teacher who suits them better however, we keep them in the community. Maybe they will come back for our workshops and events. Maybe they will come back to class if, in future, their interest shifts more towards our speciality. By helping our students to find their niche, even if that is with another teacher, we nourish our students, we strengthen our community and we earn their trust.

Shade is not professional

It should be go without saying that public, uncivil arguments, spreading gossip rumours or insulting individuals is ungraceful and ugly. I don't want to take classes with a teacher who is unpleasant, whether that be in person, or passive aggressively on social media, to me or anyone else. Dance takes up a huge amount of my time, I'm going to spend it with people who are positive and enthusiastic. Professionalism is not just for people who make their living through dance either. Being pleasant, tolerant and tactful opens doors and is a great way for every dancer to help make everyone's dance experience better.

Is shade ever OK?

So is it ever ok to throw shade as a dancer? Or are there better alternatives? Sometimes it's not entirely appropriate or healthy to be all sweetness and light, is shade sometimes appropriate?

Counters and defence

Sometimes people behave in a way that damages our community, like undercutting, behaving unprofessionally (tarring the reputation of other performers by association) or presenting poor quality or sleazy performances in a professional setting. Many of us work very hard to ensure our dance is perceived as the skilled and serious artform that it is, and it can be immensely frustrating to see people damaging our reputation and livelihood, either willfully or through ignorance.

Another instance you might consider is when an individual is throwing a lot of shade themselves. Should you counter it? Or find another way?

The truth of it is, that if you start badmouthing (or badtyping) other people, you are not going to come out of it well. You can't sling mud without getting your hands dirty.  When people hear you say bad things about other people, the bad feeling that comes from that ends up being associated with you, not your subject, no matter how much they might deserve it. So first and foremost, consider your audience. It's probably OK to whine about the dancer who behaved badly at your local restaurant leaving the organiser sworn off bellydancers forever.... in private, in your own circles, to others who share your disappointment. It's not OK to post about it all over your professional Facebook page. If you have to vent, do it to someone you trust, who knows you well.

It might be appropriate to tactfully approach the individual and explain the issue to them. Most good teachers and mentors school their students in professionalism and etiquette, some slip through the net. Be gentle and supportive and you might be helping them on the path of being a great member of the community.

Some individuals know better, but refuse to do better. You can't change their mind, but going around warning people off them isn't going to help you either. What you can do is demonstrate your own values, professionalism and skill. People aren't daft, they'll realise for themselves.

When is shade not shade? When it's T.

There's a phrase that you will hear amongst drag queens: No T no shade. It's like the drag equivalent of "no offence but...." T stands for truth, and sometimes we need a good tactful dose of truth for our own good. There is a fine line however between being honest and being rude.

I have a few close dance-friends who I trust to "serve T" in a supportive and enriching manner. They get to be brutally honest because I can trust them not to break me in the process. We all need people like this, at the very least someone who will tell you if you are about to make an almighty fool of yourself or drag you off stage if your skirt is tucked into your knickers.

But this sort of truth shouldn't come unsolicited. Don't critique a performance unless you are asked for your opinion, that's rude and potentially damaging. Similarly it is better to walk away than give a half hearted or backhanded compliment. One of my favourite instances of shade was Aretha Franklin's clipped response to a question about Taylor Swift "Great gowns. Beautiful gowns."  Technically a compliment, but with scandalously shady intent. Make sure that your feedback is heartfelt and clear.

So this brings us full circle. While bantering or giving honest feedback with your closest dance buddies is great, there is really no situation in dance when putting down another person is the optimal route to take.

Don't be shady, be a lady!

Diva skills - Don't hold back

Continuing my series on improving your performance through inspiration from drag queens. So far we've looked at make up, and we've looked at how to hold your nerve in the face of adversity. So let's move on.

Committing to the process

On Ru Paul's Drag Race, contestants are often given challenges involving acting, singing, modelling etc, and one of the most commonly repeated pieces of advice, from judges, coaches and Ru is "don't hold back, we'll let you know if you need to rein it in".

I can only recall one instance, in 6 seasons, where a queen was asked to tone down her performance. I have a theory that if you have enough self-awareness to realise that holding it back might be an option, you probably don't need to. In every other case on the show where a performer has gone all out and given everything she's got, the result has been outstanding.

I realised in a dance class this week, that holding back isn't just a performance issue. Sometimes, when I am learning something new, I am reluctant to go all out, and truly commit to every movement and every zill clap. Fear of making a mistake can make us hold back, and holding back means not getting the most out of a learning opportunity.

I hope that in this year to come, you make mistakes. Because if you are making mistakes, then you are making new things, trying new things, learning, living, pushing yourself, changing yourself, changing your world. You're doing things you've never done before, and more importantly, you're doing something. Neil Gaiman

Missing the mark sometimes is OK, it's part of the process. If you are throwing yourself into your learning and getting the most out of it. Your eventual success will be the product of multiple mistakes, it's better to get it wrong and have something to improve upon, than to sit on the sidelines or give the kind of halfhearted effort that results in something so non-committal that it's hard to tell what it is, let alone how to make it better. I don't expect my students to turn up to class already polished and perfect on today's material, I'm learning not to expect that of myself either.

Often people who don't understand are quick to criticise or revel in the apparent "failures" of others. We have already established that this is none of our business. If they aren't making any mistakes, then they clearly aren't pushing their own boundaries, and if they are, then pointing out yours while ignoring their own is hardly something to be proud of.

Being "larger than life" is a stage essential.

When we perform we have to project our message out to the audience. Just like how public speaking is a very different animal to having a conversation with a friend, projecting your personality and telling your story in a dance performance, requires a little amplification.

In the make up installment, I talked about "beating for the back row" because distance and strong lighting can wash out your make up and erase your features. In much the same way, a stage setting can "wash out" your performance, so don't be afraid to make it that little bit stronger. Subtle nuances and gentle emotions are an important part of Raqs Sharqui, but the beauty of your performance can be lost or diluted. Don't be afraid to emote that little bigger, or to save your most subtle performances for your most intimate venues.

Who are you when you are on the stage?

Some drag queens have a completely different personality for stage, a whole character who may have certain things in common with the performer, but is, in their mind, a completely different individual. If you like, you can do this in dance too, it's certainly the case for certain character pieces where the dancer is effectively telling someone else's story, or acting as a particular stereotype (such as in a Melaya Leff).

Other queens simply amplify (often with a good deal of distortion) their own personality. They become bigger, louder, snarkier perhaps, but they are effectively still themselves. Often, in fact, they are more themselves in drag than they are out of drag, where the costume and performance settings allows them to say and do things without facing the same judgement or consequences that they might if they did the same off-stage. Michelle Visage once commented that Bianca Del Rio's greatest talent, was that she had people lining up begging her to insult them, I can guarantee that her alter ego, Roy, would not get away with saying those same things in an everyday setting!

For any performer, a solid stage persona can act like an armour, giving us the confidence to put ourselves out there and "speak our truth". Don't be afraid to be fabulous, don't be afraid to be proud of the work you have done to get yourself up there. This is your spotlight, take it fearlessly.

Diva inspiration - beat that mug.

[A note to the uninitiated: "Beating your mug" is drag-speak for putting make-up on. In no way do I wish to encourage violence against crockery]

Continuing on my Drag Queen inspired series, today we are moving on to one of the most important things a bellydancer can learn from Drag Divas: Stage makeup!

Putting your game face on. Make up to dazzle your audience.

A really common issue for new performers, and many experienced ones, is learning how to create a stageworthy make-up look. I teach a workshop to help dancers create their performance face, but it's not something that usually comes into regular bellydance classes.

I developed my make up skills from a mixture of theatrical make up, character make up for LARP and fancy dress, inspiration from performers and sheer experimentation. Then I started looking more closely at not just the finished looks, but the process by which the look is created. There are literally thousands of tutorials on YouTube, with everything from subtle tricks to dramatic transformations. Drag queens are a brilliant resource for this. There are a lot of drag tutorials out there and they are useful to performers because:

• The make up is usually styled for performance, not everyday wear
• The make up is designed to last through sweating under lights
• It has to disguise superficial flaws (like skintone and 5 o' clock shadow) flawlessly
• It also has to adjust face shape and structure, emphasizing key features
• Facial expressions are highlighted and exaggerated 

A lady knows how to wear make up tastefully for daytime, dramatically for evening, and theatrically for the stage" - Dita Von Teese

Many dancers do great daytime or evening make up, but are not sure how, or nervous to ramp it up for the stage.

It's really important to adjust your make up for the setting. Daytime, evening, photography, close up performance and stage faces need to be adjusted to give the best result for the medium.

Everyday make up will wash out and disappear completely under stage lighting, or even just in subdued evening light, but close up and under natural lighting, stage make up can appear over the top or even clownish. It takes practice, judgement and nerve to do a good stage face when the lighting necessary to apply it is not the lighting it will be viewed under.

Beat for the back row

Image from http://www.dragofficial.com/

So here is your first Diva tip. It comes from Alyssa Edwards, who made her name of the pageant circuit.

It's no good if your make up is fabulous, but only the people sitting at the very front can see it. If you are dancing, and emoting with your face, you need your expressions to be clear, right to the back of the room. This means strong brows, open eyes, strong lips and deep contours.

Add a little extra if you need it to translate to video. It will feel like too much. If it feels like too much, it's probably almost enough.

Always do your 'brows

So carrying on from that, brows are compulsory. Always.

I have always done my brows, I have to because mine are white-blonde and as soon as I put on any make up they become invisible and I look like an alien, but even if you have good brows for daylight, you need extra for photos or stage.

It helps if you have a head start by shaping your brows well. If you are scared to take the tweezers to your face, get a beautician to, even just once, then maintain the shape yourself. If your brows are pale, you can dye them a little darker too.

Queens usually glue down their brows. Yes, with actual glue stick. Then they draw them on higher. Doing this gives a more open expression, allows you to really exaggerate the socket line of your eye make up. It also re-proportions manly facial features. You can try raising your brow level and see how it works for you. I usually draw my brows to the higher part of my natural browline, and I maintain a pretty high arch regardless. Go careful on this though, you want expressive eyes, not permanent surprise.

You can do your brows with pencil (sharp, little strokes to look like hairs) and/or powder pigment (narrow, angled brush, slightly damp). Powder is great for filling in brows that already have good shape.

Maybe she's born with it, maybe it's contouring

Image from http://ongina.tumblr.com/
Ongina's contouring, pre-blending

People are catching onto this more now, but the right shading can do wonders for your face. You can use contouring to completely change key features like jawline and nose shape, or just to enhance your natural bone structure so that it doesn't get "lost".

Flash photography or stage lighting will wash out the natural shadows in your face, making you look like a pale pancake. You can counter this by constructing artificial shadows and highlights that restore the 3 dimensional nature of your face. Take a look at these images if you aren't convinced yet.

It can be a case of applying a subtle, non-sparkly/shiny bronzer in the right areas, or going full on "cutting" lines with a dark pigment. Most queens seem to use several shades of panstick to create their contours from the foundation up. You need to highlight the areas that need to look "raised" and darken the areas that are in shadow.

It is usual to contour the sides of the nose, cheekbones, jawline and hairline. There is a tonne of resources on the internet to help you learn about contouring, but it also takes practice. Every unique face needs to be contoured differently, so you can gather tips and experiment, or book an appointment with a make up artist who can show you what works on you.

Let it cook

Cooking was something I had never heard of before Drag Race. Well, I knew that make up behaves differently at different temperatures, and often kept my pencils near my body heat prior to application, but the queens take it a step further by letting their make up sit on the skin to adjust before blending and shading, as in the image above. It makes it a bit easier to work with and gives it staying power. I have found it works for creams and powders, give it a try.

Flutter those lashes

"If you think you look good without lashes, imagine how good you will look with lashes" - Courtney Act

Image from www.thebiancadelrio.com/

Courtney is right, false lashes are amazing. Even if you have amazing natural lashes, and mascara, remember, you are beating for the back row. You don't need to go as far as Bianca here, who tends to wear at least 5 pairs.

Lashes come in all kinds of styles, you can get tiny bunches to just add a few extra, natural looking lashes, winged lashes that get longer to the outer corner (my favourite), thick lashes, spikey lashes, coloured lashes, lashes with gems or sequins built in.

It takes a bit of practice to get them right, but I bet you have a dance-friend who uses them already and can show you how. Pre-glued lashes are a bit easier to use, but be careful when you get them out of the packet as you can accidentally separate the lashes from the adhesive tape. Lash glue isn't too hard to get used to, if you have sensitive eyes though, be aware that most lash glue contains latex, but alternatives are widely available.

Adding the sparkle

Glitter and gems are part and parcel of the bellydancer's loadout, don't leave your face behind. In season one of Drag Race, I was immensely impressed with Shannel's ability to apply a large number of crystals to her face, in a relatively unobtrusive manner. The make up she designed for her team in episode 2 was beautiful and included around 10 AB gems, carefully positioned to add subtle sparkle as they performed. It's a good episode to watch because you get to see the process of designing make up for a group of performers.

If you aren't sure about gluing things on yet, try a little glitter to really bring out your highlights or eye make up. Use proper cosmetic glitter, not craft glitter though!

Now go and practice

Hopefully this has given you a bit of an idea where to start, but ultimately you need to go and do your homework now. Don't try a new look out an hour before a big performance, play about at home and do some practice runs until you are comfortable with your look.

If you are looking for inspiration, and arn't sure where to start, I'm going to recommend James St James Transformations, for some fabulous and often downright wacky makeovers, which allow you to see the process and get tips from some great make up artists.

Now, go beat that mug!

Diva inspiration - performance lessons from drag queens

Those who know me will be aware that I am quite an enormous fan of the art of drag. Bellydancers and drag queens have a lot in common, we suffer from glitter dandruff and are among the few professions where gluing gems to your face it not only acceptable but considered very positively. If I want to share the joy of my new wig storage system, then I'll talk to a queen.

I am a huge fan of RuPaul's Drag Race, and its various spin offs, and I have found so much inspiration in terms of make up, costuming and performance skills. Being inspired by our dance idols is great, but sometimes the elements that turn us into great entertainers and unique performers, come from quite different places. So I have decided to start a series of blog posts to share the love.

Part 1 - Nerve

When I decided I wanted to put together a workshop to help shy dancers find their stage mojo, I realised I had to turn to the greatest divas for inspiration, and Fierce and Fearless started to fall into place.

Never let a b**** see you sweat - Bianca Del Rio

Ru often says that when a man puts on a wig and a dress and leaves the house, he's already a hero. It takes nerve. Are you scared to get up on stage and dance your first solo? How about a dose of whatever tonic it takes to do that when simply stepping outside the door in costume is a scary prospect?

What happens when you a criticised? It's really hard to hear someone telling you that your performance, something you are passionate about and worked hard to achieve, isn't hitting the mark - no matter how well intended or gently presented.

I know that for me, the wrong kind of feedback has knocked me for six, left me unmotivated to keep working and even made me consider giving up performing altogether.

Water off a duck's back - Jinkx Monsoon

Everyone has their own way of dealing with this. Ultimately I think it comes back to you. Decide whose opinion matters to you, work on the constructive feedback, but everything else, toss it aside. Use your passion for your performance to drive you on. Not everyone will "get" you. Do your best, train, find out about the roots of the dance you love and do it justice as best you can, but work to your own aspirations and expectations with the support of people who care about your goals more than their egos. Be true to yourself, in fact, let Ru say it (this is marginally sweary):

It's worth remembering here that your critic might not even be someone else. Is it ever? How you respond to criticism, whether it is genuine shade, tactless criticism, a backhanded compliment ("that was brave") or a standoffish audience, is your choice. But our worst critics are usually ourselves. We see an audience member with a sour face, and we assume we aren't good enough. Don't forget you are fabulous. You put in the work, you give your best performance, keep striving, but do that because you are passionate and dedicated and want to give your best, not because you need someone else's approval. Don't forget to appreciate how awesome you are, because if you don't believe it, how are you going to persuade an audience?

Sometimes a comment or a slip up really throws you. You forget your choreography, or your music messes up, or your costume malfunctions. It is very easy to stew on that, and make it very hard to get back up on stage again. When I get into a funk like that I watch this video. This is Alyssa Edwards. She is a FIERCE queen. In her season of Drag Race she had the misfortune to be competing alongside her arch nemesis (because clearly, if you are that fierce, you have a nemesis). Oh the shade of it all! Alyssa's competition was blighted by arguments, backbiting and humiliating criticism. In the first episode she was cruelly called out by another queen for her figure and costume choice, she snarks back, but you can see that it cut her. So what did she do when she was invited back as a warm up to a later season finale? She dances to music mixed with soundbites from her on-screen altercations. And she nails it.

So there it is. Know that you are fabulous. Be fabulous. But if the sound tech puts on the wrong music, or your hairpiece falls off, or your act is poorly received, don't get down, get drop dead gorgeous.