Carmen Holiday was a Mexican-American dancer whose career blurred the lines between striptease, theater, and social commentary. Born and raised in Los Angeles, she trained in Latin, jazz, and belly dance before launching into the spotlight with a spontaneous striptease that won her a go-go contest in 1960s Las Vegas. From that moment on, Carmen wasn’t just performing—she was rewriting the rules of exotic entertainment.
Performing at Circus Circus
Carmen began performing at Circus Circus around 1968 when it opened as a casino.
Carmen Holiday advertised in an Walnut Creek, California newspaper as performing topless for 4 nights only!
By the end of 1971 Carmen was traveling from California to Canada as an exotic dancer.
In December 1972, Carmen performed at the Nitery Club in Atlanta, GA. She had wavy dark brown hair and her body measurements were advertised as 36-24-36.
She was quoted in the Tampa Times, “I think there’s a little stripper in every woman.” (The Tampa Times. Page 24. May 14, 1973)
(The Atlanta Journal. Carmen Holiday. Page 44. December 16, 1972)
In 1973 alone, she performed in Iowa, Illinois, Indiana, Kentucky, Nebraska, Ohio, Florida, and Oklahoma. She received the monikers “She’s the Real Thing”, “The Darling of the Strip,” “The Spanish Spitfire”, and “Miss Brazil” in advertisements.
Carmen’s Acts
Salomé
Carmen combined the art of belly dancing and exotic movements with her “Salomé” act. In an interview with the Lincoln Star, Carmen stated, “I love to dance, to feel my body moving. Athletes and dancers know the feeling. I could dance all night.” She garnished a curved sword as she danced her Salomé.
(The Courier. Carmen Holiday dressed as “Salomé.” Page 10. July 29, 1974)
(The Tampa Times. Carmen Holiday dressed as “Salome.” Page 24. May 14, 1973)
Carmen was well paid as she was one of the top exotic acts during this time. It’s rumored in the newspapers that she was getting as much as $7,000-$10,000 a week (about $51,000-$73,000 in 2025 buying power).
“Strip-O-Drama”
Carmen was managed by a writer/agent named Lloyd Kavich. Along with Kavich, Carmen created her five “Strip-O-Drama” acts. These acts were short skits which led to Carmen seducing to the bare minimum. The skits included comedy and drama. Carmen was adamant in the papers about not stripping to complete nudity, ‘imagination often proves better.’
Her acts included:
- The Naughty Secretary
- Salomé
- Hot Pants!
- Her Magic Box
- The Chambermaid
- The Happy Hooker
She took her Strip-O-Drama on the road! Performing throughout the United States, gracing the stages of the East Coast, Chicago, Iowa and West Virginia. She also toured Canada and France by 1973.
The Hexorcist
In 1976, Carmen debuted “The Hexorcist,” a provocative parody of The Exorcist. Advertisements promised an “authentic Magical Ceremony” where she would “attempt to actually RAISE THE DEVIL on stage.” Audiences received mystical amulets for protection, and the act included:
- Dance of the 7 Veils
- Oil Dance
- Sword Dance
- LOVE DEATH finale
It was camp, kink, and catharsis rolled into one—a spectacle that blurred the line between satire and seduction.
The Sexorcist
A few months after debuting “The Hexorcist”, the Paper Doll Lounge began advertising Carmen’s “Sexorcist” in August 1976! Her act included:
- The Naughty Secretary
- Salomé
- The Obscene Phone call
- Happy Hooker
Carmen in Ohio
Carmen’s Ohio run included performances at Nix Bourbon Street in Newport and other Cincinnati venues. Local papers hailed her as “a newcomer to the entertainment scene,” though her reputation preceded her.
Carmen in Nebraska
In 1973, Carmen made her Nebraska debut at the Lariat Club in Fremont. Her semi-nude act ignited a firestorm in the local political sphere—while the club owner defended her performance as constitutionally protected, the city council deemed it obscene. Carmen’s manager called it “artistic and therapeutic,” and Carmen herself stood firm in her belief that dance was a form of expression.
“The audiences are very lively. They’re looser than in cities. They like to whoop and holler and have a good time. They give you a lot of support!” — Carmen Holiday to the Lincoln Star, 1973
She returned to Nebraska in 1975 to perform at the Fireside Inn in Kearney, continuing to challenge local norms with her theatrical sensuality.
Carmen commented to a Lincoln Star reporter, “The audiences are very lively. They’re looser than in cities. They like to whoop and holler and have a good time. They give you a lot of support!”
Carmen in Iowa
Carmen’s Iowa appearances were equally memorable. At Cedar Rapids’ The Meeting Place inside the Unique Motel in 1972, she began cultivating a loyal following. In 1973, she invited Daily Iowan reporter Bob Craig to witness her act firsthand and interview her. His account painted a vivid picture of Carmen emerging with her character “The Naughty Secretary,” while Lloyd Kavich orchestrated lights, music, and costume design from backstage.
“Stripping is audience therapy,” Carmen told Craig. “Some are lonely and want to be near a woman. So I dance for them and later talk to them.”
She returned to Iowa City in 1974, performing at the Sportsmen’s Lounge & Supper Club.
Carmen later graced the Doll House in Sioux City, Iowa in 1975 and 1976.
Carmen in Hawaii
In 1974, Carmen brought her act to Honolulu’s famed Club Hubba Hubba and later to Club Dunes.
One ad featured her fully nude, strategically obscured by text—“She’s the Real Thing!” Her tropical tour added another layer of mystique to her already eclectic career.
Carmen in Tennessee
Carmen Holiday moved to Nashville, TN and becomes a full time dancer at the Black Poodle. She performed there from 1975-1980.
Carmen also performed at “Superchicks” in Memphis, TN in 1976.
Carmen’s Politics of Performance
Beyond the spotlight, Carmen Holiday was a sharp, self-aware artist who used her platform to challenge societal norms. Her interviews reveal a woman deeply engaged with questions of feminism, censorship, and gender expression—often decades ahead of her time.
Feminism on Her Terms
Carmen rejected the notion that exotic dancing was inherently exploitative. In a 1973 Lincoln Star interview, she posed a pointed question:
“Who’s being exploited—me or a girl who works in an office from nine to five every day and doesn’t get paid as much as a man?”
She aligned herself with the women’s liberation movement, not in spite of her profession, but because of it. Her autonomy, financial success, and refusal to strip to full nudity were all part of a deliberate stance: sensuality could be empowering, not degrading.
Defying Censorship
Carmen was outspoken about the dangers of censorship, especially in the wake of Supreme Court decisions that threatened artistic expression. She saw her performances as therapeutic, not obscene:
“My whole routine is to make people happy. I want to entertain people with my own form of expression which happens to be in humor and my body.”
She believed in the “porcupine theory”—“I won’t bother anyone as long as they don’t bother me”—and joined the American Civil Liberties Union to defend her right to perform.
Solidarity with Drag Artists
In a 1973 Tampa Times interview, Carmen voiced support for “female impressionists,” now known as drag queens. She objected to the hostility they faced and saw them as fellow performers challenging gender norms through art. This solidarity was rare at the time, especially in mainstream press coverage of exotic dancers. Carmen’s empathy and inclusivity extended beyond her own stage.
Spirituality and Self-Expression
Carmen and her manager Lloyd were both practicing Buddhists. Their belief in positive thinking infused Carmen’s performances with intention and care. She saw her work as emotional labor—connecting with lonely audience members, offering joy, and creating space for self-expression.
“Some are lonely and want to be near a woman. So I dance for them and later talk to them.” and “I believe in the ‘porcupine’ theory – I won’t bother anyone as long as they don’t bother me.”
The York Dispatch. “She’s ‘Not Exploited’; Exotic Dancer is Happy for Women’s Lib.” Page 30. March 20, 1976
Advertisements for Carmen Holiday
Carmen Holiday’s story is more than a tour of stages and spotlight—it’s a testament to self-expression and resilience. She danced through decades of shifting cultural norms, refusing to be boxed in by censorship, moral panic, or narrow definitions of womanhood.
Her acts weren’t just entertainment—they were declarations. Whether she was raising the devil in “The Hexorcist,” teasing with theatrical flair in “Strip-O-Drama,” or defending drag artists and dancers alike, Carmen embodied a kind of unapologetic artistry that blurred the line between performer and provocateur.
She challenged audiences to rethink what it meant to be empowered, sensual, and seen. She spoke up for women’s liberation, spiritual autonomy, and the right to be outrageous. And she did it all with wavy dark hair, a flair for costuming, and a belief that imagination was more powerful than nudity.
From Fremont, Nebraska to Club Hubba Hubba in Honolulu, Carmen Holiday left behind more than newspaper clippings—she left a legacy of boldness, theatricality, and defiant self-love. Her story reminds us that performance can be protest, and that even the most controversial acts can carry truth, humor, and healing.
Sources
Newspapers:
- Contra Costa Times. Ad for Carmen Holiday. Page 30. February 17, 1971
- Edmonton Journal. Ad for Embers. Page 18. May 20, 1971
- The Gazette. Ad for the Meeting Place. Page 13. February 11, 1972
- Belvidere Daily Republican. Ad for Frank Gay’s Marquee. Page 8. October 26, 1973
- Evansville Press. Ad for Carmen Holiday at the Exotic Play Girl. Page 13. September 5, 1973
- Evansville Press. Ad for Carmen Holiday at the Exotic Play Girl. Page 6. September 7, 1973
- Evansville Press. Ad for Carmen Holiday at the Exotic Play Girl. Page 11. November 12, 1973
- Lexington Herald Leader. Ad for the Red Lion Lounge. Page 13. July 13, 1973
- Omaha World Herald. Ad for the Lariat Club and El Coco Lounge. Page 26. July 5, 1973
- Omaha World Herald. Ad for the Lariat Club. Page 29. July 12, 1973
- Omaha World Herald. Ad for the Lariat Club. Page 20. October 2, 1973
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