Led by veteran entertainers Bambi Wilde and Michelle Lynn, ED’s “Stripper 101” seminar explored everything from on-stage personas and stage fright to overcoming rejection.
(Note: This article was originally published in the January issue of ED Magazine.)
Each year, the “Dancers Only” EXPO seminars offer entertainers the opportunity to bond, network and gain valuable insights from industry veterans, and this last tradeshow was no exception. Among our lineup of panels was “Stripper 101,” offering dancers practical guidance and useful tips for both rookies trying to find their footing and experienced performers looking to brush up on the fundamentals.
Moderated by ED Managing Editor Kris Kay, the discussion was led by former Miss Nude World and Mons Venus General Manager Bambi Wilde and ED’s 2024 Feature Entertainer of the Year and 2025’s bikini contest winner Michelle Lynn. In this EXPO recap, you’ll discover their thoughts on embodying a stage persona, connecting with the audience, overcoming the fear of rejection, navigating dressing-room dynamics and more.
KAY: What advice would you give new dancers who struggle with stage fright or self-doubt during a performance?
BAMBI: Connect with your audience. Making eye contact with people in the crowd, whether you are house dancing, go-go dancing or putting on a feature performance, is an integral part of making that connection. If you are up on the pole the entire time, you can do the most amazing tricks, but it doesn’t necessarily translate the way you think it’s going to if you’re not engaging with people one-on-one.
At the start, what made me feel more comfortable and ultimately improved my whole performance was just acknowledging people in the audience. Smiling and letting them know that I can see them and that I want them to enjoy the show as much as I’m enjoying it.
MICHELLE: This is why we have stages, right? You’re not you when you’re up there; you’re the character you’ve created. And that’s how I have always conveyed myself when I’m dancing. I’m not me. I’m performing. I’m my character. And I know it’s hard sometimes when the club is slow, but when you hear the music, you just have to lock in on the persona you’ve created. When you put out that energy, more often than not, you’re going to get that in return.
“Everybody outside the industry thinks we are selling ourselves. We’re not. We’re selling our time.”
— Bambi Wilde
KAY: What signs can you spot immediately that tell you a dancer hasn’t found their footing yet? And what do they need to do to feel sure-footed?
BAMBI: I think anxiety over approaching customers is a sign of inexperience. Everybody outside the industry thinks we are selling ourselves. We’re not. We’re selling our time. And when we first start, we get nervous about rejection because women aren’t naturally used to being rejected. But strippers get rejected more than any other group of women, I think, on the planet.
So, the best advice I can give you is, when you first start to feel nervous, just go up to the customer and say hi. Because they’re more scared of you than you are of them. You are going to get shot down. You are going to hear a lot of nos, but the more people you approach, the less nervous you’ll get over time and you’ll start to learn what works for you and your personality.
MICHELLE: It also just comes with time. The first time I ever stepped foot inside a strip club was the day I started working at one. When I walked in, I saw this girl with beautiful blonde hair giving this guy a lap dance who looked like he could be 500 years old. I remember looking at my friend in that moment and saying, “I’m only doing stage.”
That obviously changed. But everyone’s approach will be different, and practicing will help you overcome that fear of rejection. It’s inevitable, but we can’t let it ruin our night. For me, it’s journaling, but how you choose to process and reflect on that rejection will help in the long run. It’s okay to be afraid. Anything new is scary, but how are you supposed to know who you are as an entertainer, as a performer or even as a woman if you don’t keep trying?
KAY: Talk to me about the relationship between dancers. Is there a sisterhood, or is there more toxicity?
BAMBI: If a club has an incredibly toxic backstage area, then that is something that we, as house moms or managers, step in to handle. Over the 23 years I’ve been in this industry, the toxicity level has definitely decreased. Dancers are far more supportive these days. But as an entertainer, it’s important to remember why you’re there and not get wrapped up in someone not liking you or taking your spot.
You have work friends, and it’s mutually beneficial for you in the club to have those relationships, but it doesn’t have to consume your whole life. You can appreciate that person without being dragged into their drama.
“Anything new is scary, but how are you supposed to know who you are as an entertainer, as a performer or even as a woman if you don’t keep trying?”
— Michelle Lynn
MICHELLE: At the end of the day, we’re at work. This is a job, right? We’re there to make money. And yes, you’re going to click with some people and not others. That’s just life.
KAY: A lot of what we’re talking about at this EXPO is the next generation, as we’re seeing a new set of customers in clubs aged 24 to 35 who lack social skills. As entertainers, how can you make them feel comfortable?
MICHELLE: I know you don’t want to spend your whole night with one guest, but sometimes what they really need is conversation. There have been plenty of times when I sat in the VIP room for two hours with someone just listening, because maybe they don’t have someone in their life who listens to them. A conversation can go a long way, and then he or she might come back just because they enjoyed their time with you.
BAMBI: I’ve noticed a cross-section of 20-somethings who walk in with a lot of false bravado. They’re generally disrespectful off the bat because they don’t know how to interact with women, and they’re overcompensating for it. So, when they come to the stage and ask you to do something inappropriate for $1, you can call them a fucking wanker and walk away, or you can use this as a teaching moment.
Remind them about consent and the fact that you are a person. The benefit of this particular generation is that they have had those conversations before, so reminding them of these things will quite often bring them back to Earth. Then, because you haven’t snapped at them right away, they often want to make it up to you with tips.
KAY: With the resources to bring people into the club through social media, how would you recommend house dancers safely promote themselves?
BAMBI: Social media is a phenomenal tool, but it definitely has a dark side. It opens the possibility of being stalked or harassed. Then there are the people who just want to be mean to you online, right? It also adds a whole other level of work that requires more of your time. So, if you are a house dancer and you want to do social media, I recommend creating a separate profile under your stage name. Pay attention to who is commenting on your posts, though, and don’t give too much away for free!
MICHELLE: I just really want to emphasize the separation. A lot of my customers think I’m always in seven-inch heels and wearing false eyelashes, but that’s my character. I don’t post my significant other. I don’t post what I’m doing with my day. So if you take the social media route and want to have an online presence as a dancer, make sure to keep your true self separate.
KAY: Who’s your biggest ally in the club? Who offers a sense of comfort that dancers can gravitate towards if they’re just starting out?
MICHELLE: This may be a little old school, but this industry is heavily dependent on “You scratch my back, I’ll scratch yours.” We tip our DJs, we tip our floor guys, whoever. It really depends on the situation, but I truly believe this industry relies on scratching each other’s backs.
BAMBI: Monetary appreciation is definitely important, but that person, for me, has been different depending on the club I’m in. Sometimes it’s the house mom, and sometimes it’s the DJ.
The last time I was a house dancer was in 2001, and the DJ that I worked with was my go-to guy. He’d ask me about my day, and I’d unleash whatever I needed to talk about. Then we’d laugh, hug and get on with it. But it’s not always the DJ, and it’s a different person for everyone, depending on who you vibe with. There is almost always that one person on staff who you care about and who cares about you, though. There’s always somebody there.
For information on EXPO 2026, visit theedexpo.com.
