Lucy Lawless
Dinah Shore Weekend
30 March 2007

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Lucy Sang:

"Black Velvet"
(Alannah Myles)

"I'm the Only One"
(Melissa Etheridge)

"Rag Doll"

Dinah Shore Weekend

30 March 2007

Report from the
PURE White Party at Dinah Shore Weekend 2007

by Teresa Ortega

The first of the themed parties at the girlbar Dinah Shore Weekend also turned out to be the most glamorous of the parties I've attended so far, a view echoed by many of the attendees I've spoken with since that night. The all-white costume that was requested by the promoters lent an otherworldly air to the event. Most women adhered to the all-white theme, with most deviations either black-and-white or all
black. The walls and stage were also hung with white, airy fabric, which allowed the evening's performers to create a maximum impact.

On the terrace of the hotel, a VIP pool party took place between 8-10pm for those who had purchased the VIP package. Two open bars served drinks and two models dressed in all white served cranberry vodka shots from a unique ice statue across from a continually restocked hors d'ouerves table. A fire pit blazed while a live DJ
played lounge-style music. Some celebrity appearances were scheduled, but not Lucy. However, as the clock neared ten, Lucy came down with an entourage to meet and greet attendees. She was wearing a dark blue leotard-style top with dark pants and sandals and her hair was swept up dramatically in back.

Once the VIP party broke up, we entered the large main ballroom, hung with chandeliers. The room was packed with dancing women in various stages of inebriation while a live DJ played pumping dance music. The main stage was the focus for most, where teams of burlesque dancers offered enthusiastic and elaborate dance routines for the next several hours. The teams were incredibly various in their themed costumes and dances. For example, one team of muscular women in white wigs and lingerie emphasized spanking, while another team styled as Bowie-esque "Space Oddities" offered kinkier routines with lots of touching and
interaction with the audience.

Watching the dance routines, the audience became increasingly wound up, especially when the dancers simulated sex by grinding on each others thighs or nuzzling close between their partners' undulating legs. Women in the audience would reach out to slip bills into the girls' lace panties and perhaps get some skin contact with a favored dancer. Periodically, a snow machine would rain down white flakes into the excited audience. It reminded me a lot of the mood that New York's
original Clit Club used to create when it was located in the meat packing district back in the 80s. I mentioned this to a woman I met that night and she agreed wholeheartedly, "YES!"


The most elaborate of these dance burlesque routines was by a group I came to think of as "the Akemi dancers." Set up as a mini-drama of sorts, the action began with a young woman in a white Japanese robe and parasol taking center stage. Several women dressed in traditional Japanese attire surround her, dancing formally. Suddenly, the young woman begins to take a more monstrous shape, her hair becoming wild and unkempt, her robe becoming loose from her waist. Somehow, she seems to be rising from the stage. During this transformation, the
other women throw back their heads dramatically and begin to snap and flash red fans to signal the change. Then the music switched suddenly from Asian to pounding dance music and the women ripped off their robes to reveal black and red lingerie as they vamped before the screaming crowd.


All this is to say that the sizable audience of women was worked up into a formidable frenzy of sexual energy by the time Lucy was introduced. I think it's safe to say that the audience had one thing on their mind at this point, and then in steps Lucy, wearing a Warrior-evoking chainmail halter and ready to conquer. From the front of the stage, where the Xenites gathered, it was possible to get lost in the many muscular planes and soft swells of Lucy's abdomen, which peeked out from underneath the swinging beads of her halter top and stretched down to the beltline. There the cut of her chaps also offered a guideline for the eyes. As she turned, the long stretch of Lucy's back became visible, only interrupted by the line of a black bra and the halter strings. In front, the deep V of her lace bra
seemed to invite stares.

Lucy's shoulders were lightly dusted with the gold body glitter visible on her face and throat at the Roxy, making them glimmer softly under the lights. Her hair was a buttery yellow and hung in loose curls around her shoulders. All in all, it was a perfect combination of hard and soft (with the possible exception of the long FW fingernails--kind of a fantasy-killer in my book, but at least we were warned, weren't we ladies?) Lucy began her act with "Black Velvet" and the positive response from the audience was immediate. You've seen the clips already, so I won't restate the obvious. Instead, I'll highlight what you might not have gotten from the clip.

Since the camera is on Lucy, you can't see the look in the first dancer's face when she crawls out onto the stage. Throughout "Black Velvet," the two dancers are fixing Lucy with the most sensual, inviting, fuck-me looks imaginable. We'd seen looks like that on the dancers' faces all night long, but now those looks were trained directly on Lucy. Watching their dramatization of quivering need, fear
and submission in response to Lucy's hell-on-fire song renditions and sly, teasing gestures made the whole ballroom pulsate with desire. The final Aerosmith song ended the evening with an absolutely crazed intensity. I'm sure Lucy made a few new fans that night; and for her old fans, it was incredible to watch her once again and see her in command of such a large and appreciate crowd.