Feed the snake!

8-16-12 re:Ma Shuqa & Yosifa's 's Raqs Sharqi Improvisational Taqasim part 1... part 2 is here
Absolutely wonderful article!! 

Marwa
Chile

More from Facebook on this article:
Valerie Lindholm: loved the ney in the forest and would love a LUCY workshop - I am meeting and dancing with more dancers/teachers who share her view / re enforce that spontaneity/improv. is the true essence of belly dance = its a challenge to channel that spirit/ energy but certainly very rewarding

Comments from Facebook on Ozel Tribute:
Shadiyah Dances:Great to have this article re-posted from Bennu as it's wonderful and I've loved reading all the copies I have of Bennu plus the archives of GS! So much fantastic info!
Also, FYI: Lynette Harris, so happy to see you used my photo of our class with Ozel at Anahid's. It was a simply amazing and magical day and one I will never forget! Ozel was so sweet and gracious and full of humor! She will truly be missed. Blessings, Shadiyah

Leyla M Matsueda The article inspired me to buy 2 of Özel's CDs.

8-13-12re: DaVid's Article on Sashar Zarif

Great summary of the workshops, I'm glad you took the to e to write this up! I left the classes sincerely wishing I could take a year off to come learn more- or at least check out the weeklong intensive he mentioned.

Lara
Alaska

YouTube comment on video embedded in article
TheLampDancer has made a comment on Sashar Zarif teaches and performs at IBCC 2012:
"Da'Vid is too cute!!!!"

7-21-12 Re:Jhaiva's and Najia's articles
I read the article “Superstars:  What Sets Them Apart?”  That led me to the article “This is Not a Review: Bellydance Superstars”.  Both led me think about the following:
Since retiring from dance I’ve sometimes considered what I miss the most about it.  I always come up with the same answer; working with good musicians.  There’s something magical that happens when you suddenly find yourself totally in sync with the musicians that are working with you.  At the risk of sounding corny or like I’m exaggerating, it’s akin to a spiritual experience.  To feel like you’re “one” with someone and communicating with them without words, to feel like you both (or all) “understand” at the same time what the music means to you is illuminating.  I don’t know if I imagined it or not, but on those rare occasions, the entire room would hush as if the audience became a part of that understanding, too. 

That, to me, is the reason B.D.S.S. is not the true raqs experience.  Yes, they are beautiful and technically perfect and it is a lovely “picture” to watch, but we are only observing.  The difference between the Western concept of dance and that of the Middle East is the acknowledgement and expectation of that experience.  I see young dancers these days trying desperately to capture the expression they’ve been taught by Egyptian dancers as they perform to canned music, but it only succeeds in looking fake because, although you can get into a spiritual state, it rarely happens to recorded music while you have to stay in the moment to perform for an audience.  However, live music allows for a different dynamic.  When others are “making” that music with you, watching you as you are listening and communicating with them in order to allow for improvisation, that magic can happen when you find that connection.  At that point, something else takes over and you are no longer “in your head”.

Vilia
Atlanta

7-16-12 FB comments re: various articles
Yosifah and MaShuqa's article on Tarab-

• Yolanda- All Belly dance should be improvisational, unless it is a troop or folk dance!
• Rebelle Rebel- awesome article, I want everyone to read it!
• Sherry Jeffries- I love dancing to live music for this reason and taxsim is most beautiful.

Melina's article

• Aziza Parker- Excellent article/speech!
• Naomi- Amazing! Thank you so much for sharing this entire experience!
• Jhavia Nayeli Such a great article!!!

Amara's article

• Valerie Lindholm- lets avoid rigid, contentious judgements and strive to be supportive . Critique can be straightforward & inspire controversy without condemning negatively " do unto others " etc.

Cairo streets article, part 1 on the CK

• Sierra Suraci -That's a great video. Where were you? Khan el Khalili market? If so, it sure changed when I went in 2008....it was dusk though and we were running after our tour guide who just incidentally took us only to the places he wanted us to see before we had to board the train. It was dirty, crowded, and very unsafe feeling.
• Yolanda- You're so brave.
• Brigid- It looks so cool!

7-14-12 re: Journey into Womanhood by Artemis Mourat

Hello! I loved the article called Journey To Womanhood that Elizabeth Artemis Mourat wrote. I am 46 and her attitude is wonderful and loving.
Thank you for such a warm and enthusiastic look at being a woman.

Jennifer Schelter,
Philadelphia, PA

4-24-12 re: Yasmina Ramzy's Column- Is Bellydance in a Downward Spiral?
So regarding the excellent article Yasmina wrote in TGS:
My thoughts:

1) Using "Bellydance" or as Morocco puts it, "that horrible misnomer" is our first mistake. Whether it's the name most Americans recognize or not, we should have been steering away from it, a la Morocco and Ibrahim Farrah did, decades ago. It's inaccurate, and is a foolish, silly, snicker-inducing title for a dance form with ancient roots and a lot of technique to learn to do it properly.

2) Substandard performers/performances in inappropriate costuming for style of dance or body type undercuts us in the eyes of the public

3) As noted in some of the comments on the article  - this latest bit about combining "bellydance" and "burlesque" is a dangerous road to go down. We have fought for decades to get away from the "exotic dancer/stripper" notion, and then fools out there start offering burlesque classes at Oriental Dance workshops or performances. Just what we freaking need - NOT.
  I feel the same way about the extreme Goth/Tribal/Fusion stuff. Let it spin off and be its own thing - it certainly isn't Oriental Dance.

Pauline Costianes

4-18-12 re: Yasmina Ramzy's Column- Is Bellydance in a Downward Spiral?
Thanks for this interesting story. I have been a bellydance student since 1997 and teacher for the last 11 years. I am sad but happy to see there are other people who feel the same as me about this beautiful artform. When I first started to bellydance I was determined as a performer to change peoples perception of this style and make them see the tradition, history and health benefits of the style.

After maybe 4 years of performing I felt the frustration grow that people still scoffed when I said the word bellydance. Then I went to Egypt to see some of the "stars"and left disgusted thinking that I had just basically seen a strip tease on stage from one of the stars who bellydancers around the world rave about.

In the classroom there is no doubt they have talent - on stage why why why is everyone undoing so many years hardwork that industry leaders have put in to make people see how special this artform is.

I made the decision to stop performing unless its in traditional gear - you can imagine that dosent sit well with people but that is the only way I found people focus on the dance and not the past perceptions they had. Everytime I look at photos or videos of bellydancers I feel so sad and sometimes even ashamed to say that I am a bellydancer - they are dressing and behaving cheaply and showing no respect to themselves or the artform.

The younger generation of dancers coming through -  the costumes are getting skimpier, breasts are nearly falling out, botox seems to be more common and its a real embarressment to the industry.

Its such a beautiful art Im trying to turn a blind eye to how I feel and whats going on, but right now I feel the industry is projecting a soft porn image of the dancers and making everyone feel this is how you should look.

I long for the day we see a young dancer covering up, respecting herself and the art and showing the audience what bellydancers can really do.

Perhaps a competition where the requirment is to wear a galabia is the way to go! Im sure many people will disagree with how I feel but Im sorry it had to be said - I find myself exploring other dance styles now days as I dont want to be associated with the image the bellydance world is currently projecting in 2012 when we talk about women respecting and empowering themselves.

Thanks,
Katerina
Australia

More comments on this article-

You ask thought provoking questions, Yasmina.  I started bellydancing to improve my confidence and explore my femininity.  At the same time, I found dance and a what I thought was a beautiful art form.  During the 5 years I spent at my studio I saw it get increasingly “sexed” up.  There was an emphasis on being sexy over dancing well.  Our costumes began to show more and more skin, despite the presence of children.  Finally, we started offering an increased number of burlesque and striptease classes.  

It is impossible to defend bellydance as a true art form when studios are offering bellydance classes alongside striptease classes.  Further, the more dancers emphasize their cleavage and thighs over skill and grace, the less the arts foundations are going to be willing to offer up grants.  

I consistently argue with dancers from the studio I left that bellydancers need to learn some basic dance fundamentals, and I am told that bellydance is an ancient dance that should stay that way.  Dance evolves.  Until instructors learn more than how to teach hip drops and shimmies we will never be taken seriously.  I am sorry to tell you that is just the fact.  

And yes, I have seen plenty of dancers accepting money in all sorts of places on their costumes.  Until dancers stop dancing for tips — PERIOD — you will never be seen as a serious dancer.  Have you ever seen a ballerina or a jazz dancer picking up tips in a restaurant?  

Marie

Thanks so much for writing about this issue. I won’t hide being a bellydancer, but it always seems like the image of bellydancing needs constant correction in the mind of the public – something I naively thought we wouldn’t have to do forever.
I also know bellydancers who won’t use their real names out of fear of what might happen to their jobs, or what their co-workers would say. I’m sorry they feel they have to do that.
One of the reasons is as you put it, “Bellydancers cheapening and selling out their feminine sensuality” and no doubt thinking they are somehow empowered by doing so. I don’t think it’s all about the economy although I’m sure that plays a large part in what type of behavior some bellydancers put in their act as well as what types of dance studio owners promote. I’m so glad I don’t have to run a studio and make those decisions!

Anthea

4-7-12 Comments re: Katalin's Article about Festivals that Could Have Been

Zummarand- I can’t help but feel that Katalin just did not do enough research before embarking on this. And a woman *has* done it before – Raqia Hassan. Yasmina Ramzy. Many many other women.
Probably the biggest mistake was picking a foreign country. Organising a festival is hard enough without factoring a country you don’t know inside and out into the mix. 
But I feel sorry Katrin lost so much in the deal!

IsisDancer28- BRAVO, Katalin to your courage, perseverance. PLEASE keep on dreaming and dancing, you’re a beautiful artist with grand vision. 
Business and arts are two polar mates that can create the most dynamic synergy but needs experienced hands in both. Finding a business partner in bellydance is like finding a diamond in the roughs. Perhaps, Katalin should try it in her home country to start, a more familiar territory to start.
The current economic condition in the world has definitely put a big damper effect on the attendance. Additionally, competing with established international festivals is not easy. Perhaps, Katalin would like form a partnership with other dancers who have been organizing dance festival in this scale first before venturing on her own.

Samira Tu'Ala- I take issue with #3 in her article.  Katalin is blaming other experienced organizers for setting standards that are too high for her to meet, when in truth it’s her lack of experience that was the major culprit here.

I am so tired of artists blaming organizers for being money-mongers who don’t care about the art. That is so ridiculous. There is no reason that organizer can’t love the art AND make money with their time & effort.

Additionally, I’ve found that it’s the inexperienced organizers who do more harm to our community than good.  It’s especially frustrating to hear the stories about organizers who don’t want to make a profit.  They just want to study with their favorite artist.  This is the equivalent of undercutting and makes it much more difficult for experienced organizers to set prices that will reasonably cover the cost of running a sustainable and quality event.

Author's response- Dear Samira! 
Can you send me please where i blaming the organizers with anything in the article? I just wrote my experience and my mistakes and the situations with to many festivals which shares the dancers… I wrote also that this was not good time to organize a new one, mainly to that i am not a business women just an artist…
I am sorry if you bought yourself anything, but it is just about me and my mistakes, i never want to judge anyone else, i have enough tasks with myself! 
Warm Regards 
Katalin

Anthea/Kawakib- I’m goggling at #2: teachers are traveling to teach at workshops without compensation? Is that true? Please go on – I’d love to hear more about that. 

Barbara Grant- Katalin,
There is nothing wrong with dreaming big, putting your passion behind what you want to do, and putting all your effort behind it. Any entrepreneur in any field goes through this, but success is not assured. Most important thing is that you learn from your mistakes, which you seem to be doing here. In your next effort, I’m sure you will be wiser for what you have learned.

Author's Response-
Thanks a lot for all encouraging words i am touched by the thought that artists from different countries and with different history understand and help each other! And yes this was the first plan for the title: “Lesson Learned!” 
It was just very good feeling to write about my mistakes to and during this i know more myself… (just more, not all…:)

Amira- Read more: Dear Katalin,
I understand what you have been going through. It is too difficult to open a festival without your own following. I have tried to do the same thing, failed, and not giving up. The big factor might be ego of local dancers who may feel omitted or undercutted. Please do not give up, work on organizing your event step by step, promoting, educating, looking for co-organizers. I will contact you through Facebook if you want some more ideas. Have a great day everybody!

4-6-12 Response to Rebaba's exciting chapter in Iraq!

Georgi- Memories of Baghdad……great story, want more!!!!

Barbara Grant- I’m glad, once again, to read that Rebaba made it out of difficult circumstances without any harm to her. But I think a little more historical basis is important. The recent (several decade) history of the U. S. to Iraq is a bit complicated. For instance, 1983 and Iran-Contra did not occur during a Bush presidency, but during Ronald Reagan’s time in office, long before we sent troops to Baghdad during the tenure of George W. Bush. Why did the Iraqis feel betrayed by the U. S. in 1983? Was it arms sales to their opponents, the Iranians, or something additional? Again, given recent history, I think their opinions are important to note and recall.

Author's response- Thank you Barbara Grant for your comment above. My memory of Iran Contra here in the USA, made public many years after I returned home to California, is most likely the reason I remembered President Bush’s involvement…What I know is that during my stay in Baghdad, Saddam Hussein broadcasted to the Iraqi people on his two TV stations that the weapons Iranian soldiers were using to kill Iraqi soldiers were originally sold to them by the USA via a host of others.  This “betrayal” as Saddam called it is what I know and experienced while in Baghdad.  No American troops were there when I was there, just plenty of American business men and journalists as the USA was publicly on Iraq’s side and publicly funding their war effort against Iran.  The betrayal Saddam Hussein broadcasted to the Iraqi people said that the USA was playing “both sides of the coin”.  What was later publicized in the USA as the “Iran Contra” affair told a story far too similar to be ignored by me, and hence my referral to it in my story.

Barbara Grant- Thank you, Rita! That is very helpful.

3-10-12 re: Nelly Fouad Interview by Caroline Evanoff
Caroline Evanoff's article "Nelly, Beloved Star of Egypt" sets a standard that I wish all GS writers would try to emulate.  It's easy reading but also packed with "hard data":  information on Nili's training, career, films, signature moves, costumers, and choreographers.  Where other writers, interviewing a dancer, devote paragraphs to the dancer's apartment decor or what she served the writer for dinner, Caroline gives us Nili's advice for the foreign dancer -- "Learn Arabic!" -- and why (though here most readers would admittedly need more explanation).  Am I the only person who appreciates this kind of writing?  Readers, tell the writers what you want; they need feedback in order to do better . . .

Edwina Nearing
Chico, California

1-1-2012 re: interview with Jacqueline by Kamala
Hello.  I just watched a clip on YouTube from "The Man With Bogart's Face."  Someone named the three belly dancers in the scene, one of whom is Jacqueline Lombard.

I was amazed to see her name.  I saw her perform in early April 1977, I believe, at the Seventh Veil on Sunset Blvd. in Hollywood.  The year is certain.  I was in LA on spring break.  I was about to start my last term of college.  The LA trip was a big adventure.

Performance details--lost to history.  She was wonderful. I have remembered her name ever since.  Thank you for putting the interview with Jacqueline on your site.  The Gilded Serpent is a terrific resource and great site.

Sincerely,
Jeff Wilson
Age 56
Portland, Oregon
Loyal Fan of Belly Dancing

11-18-11 re: Nanna's "How Much Do You Charge?"
I haven't been dancing long... 3 years... and at times on & off... but when I began to consider professionally dancing at restaurants and private parties I wondered why there wasn't any standard, and that's when I started to see the "belly dance world" its a world (from my experience) where there is so much cattiness, uncertainty and disloyalty that we can't even get along with each other long enough to team up and work together. I must admit over the past year I haven't been dancing because my experience left such a "bad taste in my mouth". The woman I learned from was very hesitant to tell me anything about charging or any "secret" rules, maybe I wasn't ready at the time, but I had many people asking me if I danced for events and I thought it was right to say yes so that they would take me seriously when I turned to her for advice. She gave me an attitude and snubbed me off - this is someone I trusted and was very loyal to for years, someone I considered a friend!  So I ended up asking a friend of mine that danced with another instructor how much I should tell people I  charge... well, anyway, long story short I had found myself in the middle of a situation I knew nothing about... I got  blamed for "undercutting" (which never happened) and ridiculed - it was horrible and has effected my trust in other belly dancers and their motives... its so sad that organizations have to be this way sometimes. 

Well thanks for hearing me out  : ) Im happy there are people like you out there that are addressing these types of things. It give me new motivation to get back to class and DANCE!
Sena
Providence Rhode Island, USA

11-14-11 re: Sausan's Ballet-ification of Bellydance
It's difficult to  respect  an instructor who so blatantly criticizes other dance forms. It comes across as bellydance elitism. Dance is a matter of personal preference. No genre is superior to any other. There may be superior  dancers, but not superior genres of dance. The author should take a ballet class and experience the joy of extension, balance and feminine lines for herself.  Personally, I rejoice in the beauty of ballet and greatly enjoy many other dance forms for what they express culturally and individually. And yes, I actually prefer "old school" egyptian style all the way.
---Frankie

10-19-11 re: Fayruz's "Gotta Have a Gimmick"
I just want to comment on this article by Fayruz.  I thought it touched on a subject that had often frustrated me in the latter years of my dancing days.  I was never a connoisseur of the cane, sword, pot or fire, but I used zills and the veil, which were not considered props back then, but more like extensions of the dancer.  The other props I mentioned were rarely used in clubs and restaurants as part of a regular show.  Many of us kept our zills on throughout our shows, which generally were twenty to thirty minutes long, and it was possible to hold them in a way that did not inhibit graceful hand movements or "clang" when not being used. 

There came a time, however, towards the end of my dance career, when dancers who were not as adept at improvising with live music or were less able to carry a full show began using props as a means to maintain their audience's interest.  This is not to say there are those dancers who are very skilled at using sword/cane/fire etc. who cannot also be wonderful dancers at the same time.  I have seen many who can do it all and do it extremely well.  However, too often these props can be used to mask a lack of skill when it comes to actual dancing, yet the unsophisticated club/restaurant owner and some members of audiences with short attention spans or lack of a discerning eye regarding talent want only the "wow" factor, and consider the ability to manipulate a prop while moving without whacking, stabbing or setting oneself (or others) on fire to be the ultimate test of dancing ability.  In reality, of course, these are two entirely different skills, but the lack of acknowledgement of that fact is one of those unfortunate lessons in showbiz.  Fayruz came at the subject from a slightly different angle, but made the point nevertheless.  Thank you, Fayruz! 

Vilia
Atlanta

10-19-11 re: Katalin's Costume photo spread
....I need to speak up !....the style of ones dance certainly dictates what one wears, I am a middle eastern dancer, pan Arabic....these costumes could not be worn for my studios style. guess I am annoyed that this is presented as what we all WANT to wear ! to me..these look like a hula bd fusion thing. I sincerely want what I wear to reflect what I do..I sincerely do not understand any of what was shown...there is nothing to even pick up movement with the majority of these . i admire every ones creativity...but not insulting others is big with me too. not all styles of MIDDLE EASTERN dance could do much more than just stand in 1 place in these costumes.

Cory Zamora
Fresno ca.

Multiple Comments re Davina's Assuit/Assiut FAQs
8-12-1011:Hi! Thank you for the assuit info. I have a beautiful, very heavy vintage piece (about 3 1/2 yards) that is torn in a few spots. I am debating whether to take the plunge and make a dress out of it, or mend it and leave it as is. Do you have any suggestions or recommendations regarding cutting or mending tears?  I have condidered backing the fabric with another peice of tulle, but am unsure how to proceed. Any info would be greatly appreciated!
Cecile

8-17-2011: Hi, I really enjoyed this article.  I was told that if the designs are geometric that the assuit was made by Muslims and if the designs contain animal or people patterns that the assuit was made by Christians.  Thank you for contributing! 
-Sausan
http://www.sausanacademy.com

8-18-2011: Author response-
Cecile – Oooh.. vintage assiut – how rare and wonderful – you lucky thing!
The first thing I would do is stabilize the fabric by flat mounting it onto modern tulle.  This will support the weight of the fabric and keep it from tearing.   Once it is mounted, carefully hand wash it using some extremely gentle soap.  Vintage clothing enthusiasts swear by a product called Orivis, but I’ve found that Dreft is quite gentle and does a good job for the fraction of the price.
Once it is mounted and cleaned.  Enjoy it.  Wear it out to a dance event as it is as a shawl or scarf.  Or, like my friend Sarah does in the photo in the article, wear it draped over an existing costume.  You can either put it over one shoulder as she demonstrates above.  Or you can wrap it around your neck and tuck it into your hip belt front-to-back or on either side.
Once you’ve worn it and experimented with it as a whole piece, then you will understand it’s drape, nature and value, then consider using it as costume piece.  The easiest tunic is just to open a neck hole at the center and wear it over the head.  It does the least damage to the original shawl, and it creates an amazing tummy cover .   You could also cut it in half and make a lovely skirt from it by simply adding a waistband at the top.
Regardless of what you ultimately choose to do with your vintage assiut shawl, be sure to really enjoy it!
Happy Costuming!  
~ Dawn Devine ~ Davina

8-20-11 re: Caroline's "Permits, IDs, Licensing, Foreign Dancer's in Cairo"
Letter to the Editor, Readers of G.S., and Caroline Evanoff,

Thank you for your informative article posted in the G.S. 7-7-11 Belly Dance News and Events, “Permits, IDs, Licensing: Foreign Dancers in Cairo.” It immediately revived my memory of the frustrating and sometimes harrowing experiences of getting that elusive pink “Artist” card. I, too, had to surrender my passport as the final step in receiving official permission to dance in Egypt. It was a traumatic day, I well remember.

Just to clarify, I was not one of the lucky diplomats and journalists to have a second passport issued. Rather, following travel advice for U.S. citizens staying more than one month in Egypt, I had gone to our Consulate in Cairo to have my passport copied—photocopied, not duplicated—to have on file. There were international tensions during this time, and it was a precaution that in the event Americans were asked to leave the country quickly, I would be able to prove U.S. citizenship with a 24 hour turnaround and board a plane.

And like you, Caroline, I was very aware of the scary reality that a nightclub owner could refuse to give his permission to terminate the contract, and for any number of reasons, prevent a dancer from retrieving her passport and leaving. So having a copy on file at the embassy would be helpful, if the need arose.  Fortunately, my first contract was with Lucy’s Parisianna; their club manager accompanied me through the endless bureaucratic licensing steps. Subsequently I danced at other nightclubs when official permissions were extended to El Leil, Sunset and Siag Pyramids based on the first contract. When it was time to go back home, I was thankfully released from my contractual obligations with formal letters and documentation that all government taxes had been paid (48% for a foreigner). It took about two weeks for the paperwork to be processed, and returning to the frightening Mogamma, I handed in the little pink card. The safe, burgeoning with multicolored international passports of foreign entertainers, was opened and my navy blue one retrieved. I was overjoyed, kissing my passport with tears in my eyes. They must have thought I was crazy, but they already knew that about us dancers!

Shareen El Safy
Santa Barbara, CA, U.S.A.

8-16-11 Re: Hana's Article about Egyptian Music Choices
This is a really interesting article. I was particularly struck by this comment:
‘Mergencies tend to have a lot of rhythmic variety built into the format, often with varying tempos and energy levels, so are ready-to-use versus the extra burden involved in devising one’s own cocktail or medley’.

A good point well made, and I can’t help thinking, isn’t the ‘burden’ the whole point?!! In that actually, engaging with the music in a dynamic way should not BE a burden to a professional dancer, it should be part of our job, right? ‘Taleta wa bass’ – it’s a 3-way performance, inextricably linked and a constant flow between the 3 elements. I recently had a very interesting conversation with a Gnawa musician about ME dance/music and we came to the conclusion that the art is all about ‘poesie‘..poetry. The lyrics, music and dance are all expressions of this. Sad that so many choose to disregard it.

Shema

8-2-11 re: Surreyya's article on Helena Vlahos

Thank you for showcasing Helena – not only a real innovator (with the quarter tricks), but an accomplished Oriental dancer. I hope all teachers & students of Belly Dance take a long look in the mirror and heed her advice “…stay true to the dance & make it better & not obscure”.  In the last few years as some dancers are fancying (or deluding) themselves as innovators, they are instead taking our dance down a mediocre & obscure path – & they are teaching it in classes & doing it in public. Our community in the USA  has been so welcoming of all comers, that we’ve  allowed this to flourish & become the norm. Fusing styles is fun – but make it great! If you fuse hip hop for example – we watch America’s Best Dance Crews – so make it impressive. If you are a belly dance student & wondering “where’s the belly dance” as your teacher is having you do bad hip hop moves to Michael Jackson, trust your instincts and seek out a real Middle Eastern Dance teacher. I just can’t keep my mouth shut any longer!

Kamala Almanzar
Los Angeles, CA

8-3-11 re: Surreyya's article on Helena Vlahos
I too remember watching this great  lady on tv as a kid…she was my idol next to I dream of Jeannie!! Except she was/is real!!!  Can’t wait to see her in person!

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