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Ivizia Dakini
204 Plays4 years ago
“‘Ivizia is a gorgeous-witty-wild-flower plucked from the fields of Mars for our astral entertainment.” - An awestruck podcast host
“The episode is shockingly cryptic about whether it was recorded in the nude or not’” - An awestruck podcast listener
Ivizia Dakini is your rabble rousing roller girl! She is 2016 Miss Exotic Oregon, and won “Most Extreme Show” in 2017 EDI Awards. You can watch Ivizia on the Netflix documentary “Burlesque: Heart of the Glitter Tribe”. Specializing in fire performance, roller skating & puppetry, Ivizia has become one of the premiere variety entertainers around the US, calling Las Vegas her home.
https://www.youtube.com/watch?v=Jv8JY4imD2o
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Transcript
Introduction to 'Something Rather Than Nothing'
00:00:03
Speaker
You are listening to something rather than nothing. Creator and host, Ken Delante. Editor and producer, Peter Bauer.
00:00:18
Speaker
This is Ken Vellante with the Something Rather Than Nothing podcast. And special guest here, we have Avizia Pacini, a performer, dancer, entertainer, everything. Avizia, welcome to the Something Rather Than Nothing podcast. Yeah, thanks for having me.
00:00:38
Speaker
Yeah, absolutely.
Artistic Identity and Punk Rock Origins
00:00:40
Speaker
And, um, I start off with the, the, the big, well, a big question is, uh, so you're born, uh, is there something about you as soon as you're born that you're an artist? Well, I used to joke funny enough is this was a joke before I became a professional entertainer.
00:01:05
Speaker
is that I came out of the womb on a motorcycle with a leather jacket. Because I was a punk rock teenager and that was like, you know, at the time that this thing was created, that was my identity. I was like a punk rocker. But the idea is that, yes, I came out of the womb like with a purpose and just ready to like, you know, charge into the world.
00:01:30
Speaker
full blown. I obviously as an infant I had no idea what was going on. Maybe somewhere in like my body or spirit there was a divine recognition of what my life was to be. Yeah.
00:01:50
Speaker
Yeah, well, we had talked a little bit before popping on here, Vizia, and I think we agreed to a certain randomness and a back and forth about the questions. So I'm going to ask a question that I think if I don't ask it, now I'm going to actually forget to ask.
Roller Skating and Career Transitions
00:02:10
Speaker
And in a lot of your performances and everything that you do, you like
00:02:16
Speaker
roll around on roller skates with such grace as if you're walking and stuff like that. Before something rather than nothing, how the heck are you able to maneuver on roller skates like that?
00:02:29
Speaker
Um, well, I'll just start out by saying that roller skating is not easy. Um, it's not a skill that it's a fad now, which is funny. Cause everyone's like, I'm going to be a roller skater. I'm going to buy roller skates. And I'm like, go ahead. And then they get out there and they're like, um, a baby dealer, like BMB. Um, so it's not easy. So to become an athletic roller skater or any type of.
00:02:54
Speaker
person who is comfortable on roller skates takes quite a bit of time and effort. That being said, I would say the first year I was on roller skates, I was not good. I was that baby deer out on stage.
00:03:07
Speaker
pretty much fake it till you make it. And that's what I did. And the reason I started roller skating is because we lost our fire permit to perform with fire while working at Devil's Point. And I don't want to get too much into that story, but in the short, fire was taken away from me, which was my identity as an entertainer in the sex industry and the strip clubs.
00:03:36
Speaker
When I went to work after not being able to use fire, I was like, what am I going to do? And serendipitously, I had purchased a pair of roller skates from a friend that I took to work that night. And I remember going into the dressing room and looking at my skates and saying, well, this is it. This is what I'm going to learn to do. So the stars were really aligned in that. But I was not good. I didn't have great roller skates. I didn't know anything about it. And I just went up on stage and was like, here we go.
00:04:04
Speaker
Yeah, I find it, and it's a question or two later, I mean, I'm on the show, I'm very interested in the aspects of live performance and how, at least for me, observing how tremendously
00:04:22
Speaker
difficult and how exposed you are in performing that. I will tell you one roller skating story. I made the one mistake that when I was about 13, I went on a date to a roller skating rink, and I had never roller skated. So I'm like, OK, so for a state, you obviously want to be impressive, right? It's like, no. Teach me how to roller skate. And the punchline is, I did not know how to roller skate and never could.
00:04:50
Speaker
That was the last time you ever did a first date on roller skates. That is the first, last date, the whole thing with roller skates. So we're going to bop back and forth between the conceptual and learning about you.
Defining Art and Personal Expression
00:05:07
Speaker
But I want to ask a big question early on here as a big part of the show is, what is art? I see you as like,
00:05:19
Speaker
incredibly gifted performance artist, live performance. Like a lot of times people think of a piece of art as, you know, like that painting and obviously point to the Mona Lisa and say what that is. But I think when there's like this kinetic energy and stuff and like movement and performance, I think people get a little bit confused. So I wanted to ask you and how you do things. What is art?
00:05:48
Speaker
That is a really great question that I think has an infinite number of answers that are all equally correct. I suppose art to me is the manifestation of creative ideas that have been influenced from a person's life.
00:06:16
Speaker
And that's why it's different for each person is we all have different backgrounds. We all have different upbringings and parents and things that cause us joy or pain and suffering. And these reside in our minds. It's very cerebral. You know, we think about our art and sometimes we don't think about it before it comes out, but it's the art that we create is the manifestation of all of those influences.
00:06:46
Speaker
Yeah, yeah. And I like the personal that's built into that because I feel that a lot when I talk to artists or talk about art is I'm going to see particular things that are because of my background.
00:07:03
Speaker
Following up from that, Avisia, what do you think the role of art is?
Art as Escape and Reflection
00:07:08
Speaker
This question's come up a whole bunch, like recently, I guess maybe a little bit more pointed during the pandemic and kind of like this social upheaval where, you know, my observation is that
00:07:23
Speaker
art is super important or it could be viewed as being kind of like unnecessary. Like people are dying. Why are we concerned about art and performance, that type of thing. So what do you think the role of art is? It doesn't have to be right now, but like, what do you think art's supposed to be doing for for us? You know, when we go to watch a movie at a theater, for example,
00:07:49
Speaker
It's an opportunity for us to get out of our own lives and experience something else that has nothing to do with us. And there is an escape there. And I talk about myself as an entertainer, as an experience creator. When you come to see me, I'm creating an experience and presenting a show for you. And in that moment, you are allowed to either enjoy it or not.
00:08:18
Speaker
Either way, something's happening where you are either hyper-tuned into your life and really connected with what's happening in that moment or not. And that is also like if you like the art or not. Same thing when you look at, you know, if you go to a gallery and you look at a painting on a wall, you're like, I really like this painting. I'm identifying with this. I like the colors. I like what's going on here. And you start to feel something internally.
00:08:49
Speaker
that in our lives, if you just look at it as an escape from our lives in general, that is extremely important. It serves a lot of other purposes as well, but just that one thing I think is very important. Yeah, and I know over time I've attached that piece kind of like
00:09:14
Speaker
thinking about myself at like 10 or 12 years old with like War of the Worlds or science fiction, just like reading there being like, yeah, this is cool. Like, you know, let me let me let me be a citizen of like this weird place for a while. Yeah, I mean, why like the gaming industry is huge. And people will zone out and escape their lives almost to
00:09:37
Speaker
a fault. It can be very dangerous to become addicted to these things. I mean, porn is the same way. Drugs and alcohol is the same way, but it's doing something inside of our bodies. It's like doing something out to our brains and how we think about the world and about life. And I had a boyfriend years ago who was so critical about art. He said, if nobody likes it, is it still art?
00:10:08
Speaker
And I used to laugh at that, like, well, yeah, somebody could create a piece. And like, let's just say that collectively zero people in the world don't like it, except for that one person. But yeah, it's still art. You don't have to like it. Yeah, yeah. Well, on that, I wanted to jump in on a particular, you know, particular question.
00:10:30
Speaker
that I'm interested in. And I want to just quickly tell you why I'm interested in it. It's kind of like the element of shock or bringing attention that I know you use as part of your art.
Shock Art and Controversial Acts
00:10:42
Speaker
I work in the labor movement, and I find that if things go their natural course, then we just lose ground. So it's not like I try to shock, but I try to do something to disrupt, to bring attention to something. Now, when you use just the whole performance, and if you use that type of attention-grabbing in shock,
00:11:12
Speaker
Is it really important for art to do that for you? Because a lot of times people think of art as being a little bit more, maybe it's the escape, or maybe, oh, I feel better by looking at it. And I think performance-wise, you say, like, right at you. So what about shock?
00:11:32
Speaker
Right. Well, that's an interesting element that you can bring into your art as well. I don't think it's always necessary. I think it's kind of like, who's the artist? What are you trying to say? What in what context it is? I like shock and I like kind of I like I liked it more when I was a
00:11:56
Speaker
a younger entertainer. I like defending people because to me that means that the person watching me is thinking about what's happening. And if you don't like it, well, why don't you like it? You know, my Jesus puppet, for example, I do that in strip clubs and people would be like, walk out of the strip club when I have a Jesus puppet going down on me. They're like, oh my God, like, I can't believe this. I'm Christian. How dare this naked woman shove a Jesus puppet in her vagina? Like, okay, well, wait.
00:12:26
Speaker
There's so many things that you could talk about here. Like you could talk about the fact that you're at a strip club and what's wrong with, what's wrong with a puppet show? What's wrong with like being Christian? Like what are we actually like talking about here? So when somebody is shocked in a performance or watching an art piece, it's a great opportunity to really like reflect on where that shock is coming from. Is it coming from an idea that you adopted from your parents as a child about the way you think that things should be?
00:12:55
Speaker
Is it coming from an insecurity that you have? Like, oh my God, I can't believe that this person is showing their butthole on stage. I would never do that. Oh my gosh. You know, like there's a lot of different ways that shot can be used. But if it's causing the person to think a little bit, I think that that's a good thing. I just feel that like, you know,
00:13:21
Speaker
For me, it's important that my art, my performance doesn't actually hurt people. It has to be in the greater good. Right. I'm always very intrigued by the ideas of art and performance art that pushes the viewer
00:13:44
Speaker
in a bit more so like one example I think and I don't remember the name of the art piece but it was almost like a formalized like art room and the pieces themselves weren't wild or eccentric or shocking but what was interesting was that you actually had to walk by I think it was like six or ten or twelve naked men and women who were closely lined prior to going in it going into the exhibit and
00:14:09
Speaker
It was provocative of intimacy of being like, I just want to see the paintings that are over there. I don't know how to run. I don't know how to run this. This wasn't part of the entry pass that you told me about. But just in that sense, I thought of similarly of like placing folks in the proximity of others and being like, I'm not sure what I'm supposed to do. How am I supposed to access the art or the naked people of the art? Or is it those paintings over there? I don't know.
00:14:38
Speaker
I really like the amount of questions that that type of thing broke up. And think about, like you said, how many people are just going to leave? They're going to go up to the line and be like, well, not my bag. Not going to run the gauntlet. So I just thought it was an interesting thing that I've thought about for a while that
00:14:57
Speaker
physical proximity. You're given an opportunity to dive in if you decide. And obviously you can leave it any time.
00:15:12
Speaker
We talk about when you're like in the front row of a show, you're kind of in the splash zone. So in a way, it's consent to be part of what's happening. And that's why a lot of people don't like sitting in the front. They're like, I'm just going to sit back here and observe. And some people are like, I'm going in. I'm going. All right. Wait a second, Avizia. Wait a second. How big is the splash zone for everybody to know?
00:15:39
Speaker
Well, it depends on the splasher, I would say. It's definitely the first row, definitely the first row. I think the second row gets a little bit. Third row, maybe they're like the undecided. They're like, I want to be in, but I'm still hesitant.
00:16:01
Speaker
Yeah, I wanted to ask you a question I think that comes up with live performance artists and your use of your body in the vulnerability within that. Is that something like,
Nudity, Vulnerability, and Performance
00:16:22
Speaker
Every time that you do that, do you feel like you have to get over this performance bit to be able to be exposed and open that way? Because that type of performance, for me, what I'm focusing on is so completely different than the tangible object I've created. And I put it, there's a painting behind me. That's a lot easier for display. Nothing wrong with it. But for you, you're part of it. So how's that work out? And what's that like for you as being part of the performance art?
00:16:51
Speaker
Yes, well, if I would have had a conversation with my 15-year-old self and say, hey, one day you're going to be naked on stage in front of a lot of people and you're going to like it, I would have been like, fuck you. You are not even in the future. How dare you? You sassy 15-year-old. Yeah, because I was very insecure. As most people growing up, everyone has insecurities, right?
00:17:21
Speaker
Uh, and it took me a while to understand my comfortability being on stage and what it was to be nude on stage. And my best friend started stripping before me and she said to me, she said, look, once people see you, that's it. They can't see anymore. You're just there for them to look at. And I said, well, okay. So it just, you have to get to that point where you're just naked. Okay. Then you can see me and then, okay. And then move on from that.
00:17:50
Speaker
So for me now, getting naked on stage is quite not a big deal. And because it's not a big deal, I'm able to just simply be naked on stage and perform.
00:18:08
Speaker
And on another side of that, I think that it's under noticed, it's not noticed as much when people go into maybe a strip club and they say, wow, the courage or the bravery it took for this person to just get naked and stand in front of me is quite a bit. And then on top of that, they're doing poll tricks or doing acrobatics. And I'll tell you what, like,
00:18:36
Speaker
Being on stage and having like a mishap and falling down is, oh shoot, I just fell down. And doing that naked is a whole different thing. Like fall on your ass naked in roller skates. That's like. That's a full fall. You have nothing left to do but to laugh. There's no, like embarrassment just can't even happen because you're like, well, this is my job. I signed up for this. I might fall.
00:19:04
Speaker
Yeah, one of the things I wanted to mention to you, Vizzia, is I know you perform sometimes with a group, I think Isaiah and Johnny and Boyerism. And one of the things I just kind of like publicly mentioning is I think like my episodes have been like definitely like hetero like
00:19:27
Speaker
White male and so maybe there's kind of a public thing like voyeurisms welcome on the show Because because I think you know for for me it's the the performance art and I can openly say You know at first like seeing that on the glitter tribe documentary of which the Vizio was in glitter tribe documentary that they um
00:19:50
Speaker
that I was like, I hadn't seen that. I hadn't seen a black male in dancing in that way. And I thought it was just really fascinating to ask these type of same questions. So anyways, I know you dance with those folks sometimes. And if you have a great time, mention to them that something rather than nothing is. Yeah. Well, I have to say that voyeurism is one of,
00:20:20
Speaker
In my opinion and in what I've seen in Portland, it's one of the most celebrated shows that is being produced in Portland right now. And if you've ever seen the show, you know why. I mean, that crowd is just in it and they go there and they know that they're going to have the best time and they're going to see just outstanding entertainers who are going to bring 110% on stage. And Johnny and Isaiah, who produce the event,
00:20:50
Speaker
are also as human beings, some of the most kind and compassionate people. So when you get, when you have this, you know, these people that you just love for who they are, and then like what they do, and that combination is just like, it's, it's quite an incredible. Yeah, that's actually that put
00:21:16
Speaker
You know, there's nothing worse than an extremely talented person who's just an asshole. Like you're like, oh my God, you're so amazing. And then they're just a dick. And it just always, the talent, you're like, oh man, well, okay. But there's also- It feels like a brick wall. Yeah, like, but also if you're like that talented, you have to be nice. Like you're just, you know, I guess not.
00:21:50
Speaker
Yeah, well, how does the audience have anything left after boyarism in a vizier? Well, on the contrary, I think that they're more fulfilled. Like you don't walk away from those shows feeling empty. You are like filled up. Your love cup's overflowing. You might be like Yokee Eromas type of thing. I want some more.
00:22:11
Speaker
But that is not the case. Well, I'll do that.
00:22:17
Speaker
So I got another kind of like a bit of an origin type of question, like the artist one.
Family Influence and Stage Persona
00:22:24
Speaker
It's very general though. Vizia, who or what made you who you are? Wow, I don't think I've ever been asked this question.
00:22:38
Speaker
Um, so yeah, there's, uh, there's maybe quite a few layers here. So if I, my first influence would be my family. Um, my parents allowed us to be very creative and independent. I'm the youngest of four. So I was always, you know, the child who's like stubborn. I'm going to do this on my own. Um,
00:23:07
Speaker
And I get my work ethic from my pop, you know, he taught me to work hard and he get that he gets that from his dad as well. You know, you work hard to get the things in life that you need to survive and you have loyalty to your family and
00:23:23
Speaker
your friends. And my mom was also a very hard worker. She was a homemaker. So she stayed home and she took care of all of us. And she was very nurturing in all of our needs. So having an environment to grow up in where I was so supported in being like an absolute weirdo is really where it started. I never had anyone tell me no, except for my brother when I said,
00:23:53
Speaker
I said, I think I want to be a model. I was like 12. I was like, I want to be a model. And he goes, well, you have to be pretty. And my mom was there. And she laughed. And I remember thinking, oh, I'm crushed. Because I never saw myself as a pretty person. I was a very awkward teenager. So that was the first influence in developing me into who I am.
00:24:20
Speaker
Just exploring all the weird things I did in my young adult life and going to underground shows, Portland in the early 2000s was incredible for the type of performances that we would see, house parties, weird stuff. I didn't know what Buto was. When I first saw Buto, I was like, what is happening here?
00:24:44
Speaker
Myself as an entertainer is simply an exaggerated version of who I truly am inside of my core. When you see me on stage, it's not somebody else. I'm not playing a different character. Like you're actually getting me and all of the exaggerated weirdness that I have.
00:25:08
Speaker
I like that distinction too, because I think sometimes we see parts of ourselves and be like, I want to be like really funny and entertaining, at least in my head, if I exaggerated, if I exaggerated like,
00:25:24
Speaker
this quirk, like this quirk is like really entertaining at least to me. Let's see if it is for others. Right. Well, and my superhero name is The Exaggerator. So I am The Exaggerator and my catchphrase is, watch me as I impress you with less than you thought I could do. So I'm taking like, I can go on stage with nothing, nothing.
00:26:11
Speaker
teetering on it on it there. Well, you know, one of one of the things I wanted to I wanted to ask you, you know what, let's go into the something rather than nothing. I'm going to do it now. Like this is the question. This is the question where people like either get a little frustrated or laugh or say, like,
00:26:21
Speaker
and make a show out of it, literally naked with nothing.
00:26:32
Speaker
I'm tired of this interview, but it's a great question. Let's ask it now. Avizia, why do you think there's something rather than nothing?
Existence, Reality, and Simulations
00:26:42
Speaker
Well, I'm not so sure there's something rather than nothing, and I feel like I have enough data to scientifically answer that question. We're starting with data. Avizia, we're awesome.
00:26:57
Speaker
So, you know, I am a very introspective person. I am a deep thinker. I like questions like this that are ongoing that like in my lifetime and in our lifetimes, we will never actually really have the answer to it. And I think that questions like this are really fascinating because we can explore a lot of different variants about it. So why is there something rather than nothing?
00:27:25
Speaker
Well, existence is something. So that in itself is not nothing. And why are we here? I mean, like, what's what the fuck is going on? Are we in a simulation? Well, a simulation is something like our experience is something like, am I real?
00:27:52
Speaker
Fuck, I don't know. I could be a total simulation. I mean, I'm a good one, right? Like... I mean, the video simulation is working completely fine. It's working, yeah. If I start glitching for a second here and then come back again, then you'll never see me. I did do a minute and a half interview, which nobody knows about. Not nobody, maybe a few people. I posted it on my page, but it was within...
00:28:19
Speaker
I, gosh, I'm sorry I forgot my AI friend's name. I forget her name, but she's an AI, and I asked her these questions. So it was a minute and a half interview. So I have the AI answers to these questions. Oh, yes. I want that information, because I don't know. I mean, what does it all mean? Why are we here? These are really deep questions. So something rather than nothing.
00:28:48
Speaker
I don't know. And I don't care if I know or not. Like, that's another thing is like sometimes I don't need answers like. You can get to that point. I have that attitude to sometimes like, you know, I keep, you know, asking particular questions over 100 times on a show is a is a, you know, a form of eccentricity. And I think the ultimate funny piece about it is we all know we all know that we don't know.
00:29:18
Speaker
Or at least that's what I feel. I could ask it a lot more, but I might not be... No, I get great answers in different ways of thinking about it, and particularly with creation. I get a different type of question for you, Avisia, because I have to ask it. So you use fire in your act. So let's... Big question, because we're talking about elements, right? Fire.
00:29:44
Speaker
Do you have a cool fire story from your performance? Oh my gosh, do I? I have a bunch of fire stories. They're all like this one time I burned myself. That's how they all start out. This one time I burned myself doing dot, dot, dot. Or this one time I thought it was a great idea to do dot, dot, dot.
00:30:06
Speaker
Um, you know, there was a time, I want to say it was like 2000. Um, I think it was about 2006 and I was doing quite a few shows and we had been, had a film crew from BBC out and they were filming us as fire fetishists. And, um, we were, you know, show after show after show after show and
00:30:33
Speaker
being a little reckless in it because, you know, we want to do our best and, you know, we would light our nipples on fire and like do transfers across our body. And one during that week, my nipple had like a scab on it from being burned so bad.
00:30:52
Speaker
So that's a notable story of, you know, working with fire. I should think about the questions I'm going to ask when you don't know the answer to the question, right? Yeah. I mean, I hope that's OK. Like saying like scabby nipple and butthole and all this stuff. No, no, this is totally. I mean, look, part of my thing is at the beginning of the interview with you, I'm going to be like, say whatever you want. But I actually thought that was superfluous because say what you want. Yeah, say what you want. But yeah, fire stories.
00:31:19
Speaker
But here's another thing about fire and my journey with it is that I started out as a poi spinner.
Mastery and Dedication to Fire Eating
00:31:29
Speaker
And for those of you who don't know what poi is, it's basically the fireball at the end of the chain and you spin it around. So that's what I started with. And I got my first set of poi in 98 or 99. So 2001, spring of 2001 was when I first got hired
00:31:46
Speaker
to be a fire performer in Portland. I got my first gig. And at the time I didn't know that it would be an occupation. In 2004 or five is when I started learning the art of fire eating, which is what I primarily do now. I very rarely do place spinning. I'm mostly doing fire eating now. So since then,
00:32:10
Speaker
I did a calculation of the amount of shows that I've done. So I'm going to kind of follow along on my phone because I have to do the math for you. So for about 10 years when I was working at Devil's Point. So about 10 years I worked at Devil's Point and I was doing fire shows. First it started out as Monday nights and then we were doing Friday, Saturday, Monday. So three nights a week.
00:32:39
Speaker
So every time I would go on stage, I would put a fire torch in my mouth on average 15 times, sometimes more. So let's just knock that average down to 10, just shits and giggles, follow along with me. So let's say every time I go on stage, I'm gonna torch in my mouth five times. I would do about five to seven shows a night. So let's just go, let's round it down, let's go five.
00:33:08
Speaker
So every night I put a torch in my mouth about 50 times. I was doing that three nights a week for 10 years. So how many, how many weeks are in, in 10 years? I got to do them out. Okay. So let's three nights, three nights a week, 52 weeks in a year. So three times a week times.
00:33:30
Speaker
52 weeks. 15, 1560. So every year we're putting a torch in my mouth about low balling 7,800 times. Let's times that by 10 years. I've been doing fire for 20 years.
00:33:45
Speaker
So now we're at 78,000 times I've put a fire torch in my mouth just for this particular job. That's not including private parties, other, you know, fireworks, like practicing, like anything. So I'm probably, I mean, definitely over a hundred thousand times in my mouth. I would actually say that I've done it closer to 200,000 times.
00:34:12
Speaker
because I teach it and I've done all these gigs. So yeah, keep in mind that's only for 10 years of my 15 years of fire eating.
00:34:22
Speaker
if that's not something what the hell is what the hell I mean jeez what do the people want right yeah what else do you want from me guys I mean like what what what dedication to art and performance do you need yeah from a vizier yeah and then countless burns and like singed hair I mean like but you know
00:34:49
Speaker
It's an excellent job. I am overjoyed at the fact that I am able to do this, you know, still unique performance, even though there's a lot of dancers out there and there's a lot of fire performers out there. I'm still able to do this and make a living at it. And turning 43 in a couple of weeks, you know, when I was 30, I retired and I said, oh, I'm getting too old for this, especially like working in the sex industry. I'm like, I thought that being a 30 year old stripper was old. And then I came back to work and I had this aha moment and I said, oh my gosh, like,
00:35:19
Speaker
This is what I'm supposed to be doing. And I made a goal. I said, I'm going to strip till I'm 40. And I did. And now that I'm like, it's going to turn 43. I'm like, should I? Should I strip till I'm 50? What does that look like? Because my body is fine. It hurt. You know, sometimes it hurts. Sure. But I could tell you. You're still a kid at 50. I'm still a kid. Yeah. I could do it.
00:35:43
Speaker
I'm 49, and look at what, I mean, there's zany stuff I'm up to, so. In the next 10 years, you're 59? Yeah, 49. 49, I was gonna say, you don't look 59, what the heck. Thank you, thank you. The listeners don't know this is video, and thank you. Yeah, yeah, yeah, yeah. You're like a solid 35, I'm gonna give it back. Thank you, thank you.
00:36:07
Speaker
This wasn't pre-planned. The exchange was a pre-planned. Well, if they're not looking at us, then I can pretend like I'm totally naked right now, and so are you. And there's other weird stuff going on in the background. They wouldn't know right now whether the premise of something rather than nothing is, they wouldn't know. They actually want to know. So sorry, listeners. You don't know what's happening on video. Well. All right. Visia. Yeah, go ahead. I was going to say, well, I think they trust us by now.
00:36:37
Speaker
I think they trust us. They're believing everything that's coming out of our mouths. Yeah. Avizia, I want you to take the time here to tell listeners and audience ways to find you as social media, performance, what you do, what you'd like to highlight. Let the listeners know how to encounter the art of Avizia da Quina.
Connect with Avizia
00:37:06
Speaker
Sure. Well, I'm pretty easy to find online. Ivisia is spelled I-V-I-Z-I-A, Dakini. So everything is IvisiaDakini.com, IvisiaDakini on Instagram, IvisiaDakini on Facebook, IvisiaDakini at Gmail.com. And if you spell my name wrong, I'm sure it would just come up.
00:37:30
Speaker
It would probably auto-correct and direct you. But what's interesting is back in the early Google days, when people say, oh, I'm going to Google myself and see what comes up. So when you would Google Ibiza, the Google would say, did you mean evil? Yes, I did. Now it says, well, now I come up. It'll say, did you mean Ibiza or Ibiza?
00:37:57
Speaker
Talk about a nice philosophical question, right? Anytime you Google me, you encounter evil. Yeah. I'm relatively easy to find all on the social medias. The most challenging thing is like, well, how the heck do you spell her name? So just give it a shot. Just try it. It starts with an I and ends with an I. Yeah.
00:38:24
Speaker
Well, Visia, I've had a great pleasure talking to you about these questions. And I really appreciate your time. And honestly, you're such a wildly entertaining and fun person.
00:38:41
Speaker
just want to thank you for popping on my strange show and talking some cool art and philosophy. I just wanted to let you know it's been a pleasure to meet you. I don't tell the listeners, if you type in Google and you end up with evil, that's an old search. Or just type evil and say, did you mean Evisia? Did you mean Evisia di Kini?
00:39:07
Speaker
She's the top five. But it's great. It's great to meet you. And I just want to thank you for talking on the show. Yeah, thank you. I love that you're doing this. I love that you're talking to all the weirdos and keeping us alive. And I appreciate you as well. It's been a pleasure to talk with you. I've quite enjoyed myself. Thank you. I appreciate your words. I think that's kind of what I'm doing. So thank you for capturing that.
00:39:38
Speaker
Thanks so much, Vizia. Great luck and to the best of your ability, no burns, right? Well, we'll see. I got seven more years as a stripper eating fire, so we'll see. Thanks so much, Vizia. We'll talk soon. Thank you. This is something rather than nothing.