By Barbara "Scout" Deer & Gery L. Deer
Published in “Mach One” Magazine in February 2007

Most people in the whip arts community know the names of Mike Murphy, Alex Green, and John Brady. Those who have seen Mark Allen’s “The Art of the Bullwhip” video are familiar with many other names, such as Vince Bruce and Joyce Rice. But do you remember the guy in the suit who was slapped by his assistant after doing multiple body wraps on her? That well-dressed gentleman was none other than whip artist and entertainer Brian Chic of Burbank, California.  (Photo Left : Whip Artist & Entertainer Brian Chic)

Brian says his favorite time of day to practice his craft is “in the sun, alone on a grassy bit of area in, maybe, someone’s back yard or a park. No paycheck, no pretty partner, no audience, and no low ceilings.” These words give lots of insight into Brian as a man who values his first childhood experiences learning to use whips as much as his distinguished career entertaining with them. 

Born in April, 1956 in Louisville, Kentucky, Brian picked up his first whip at the age of 5 after a trip to the circus, and thus began his lifetime of pursuit of the mastery of the braid. The whip became his favorite pastime, and he played and practiced with the enthusiasm that other boys his age devoted to baseball, slingshots, or toy guns.

As Brian grew and learned, his skills progressed.  Around 1978 he moved to Los Angeles to start his career, and was soon building a name for himself in the entertainment industry.

In a recent interview with the Mach 1 editor, Barbara 'Scout' Deer, Brian spoke about his lifetime of work in the whip arts.
 
MACH 1: What is your favorite whip of all time?
BC: I am honored to have a good many whips in my ‘arsenal’, but my absolute, 100% favorite whip of all time was my first Bucheimer, a black, sleek, revolutionary-handled affair that my late father helped me get not long after my 12th birthday. (Photo Left : Brian Chic with his first Bucheimer bullwhip.)

MACH 1: What is your favorite whip to use today, and why?
BC: That’s a hard question. I love and am so proud of all my whips that they actually get ‘jealous’ when I tend to favor one whip over another. Whenever I get a gig, I review – in advance, mind you – the stage’s dimensions, how high the ceiling is, my partner’s physique and apparel, and the acoustics. Upon testing out a few, I then deliberate to see which is the most accommodating for that particular performance.

MACH 1:  Describe the kind of whip artistry you practice, such as performer, teacher, or hobbyist.
BC:  Interestingly, when I first came to California, I didn’t bring a whip. I was bound to impress the world with my other skills. And as the years passed, the only time my phone would ring would be for whip gigs, so like it or not, I got wise. I’ve doubled and done stunt work for movies, television, music videos, and some stage. Some were famous, some were not. I learned how “good” I was when I wound up getting royally “whipped off” by the more brash whip artist wannabes. Since then, as a performer, I practice a dignified, G rated appearance in my efforts to elevate the whip and its status in the art world. As a teacher, I’m not very good; as teaching in itself is another enviable skill altogether and I admire those who CAN teach.

MACH 1: As a performer, do you work with a partner? What do you do in your performances together?
BC:  At age 50, I’m happy to say I have the privilege of working with a good number of partners, the majority of which are as lovely on the inside as they are externally. Our format, generally, is an updated edition of the Argentine “Gaucho Dance” which is over 400 years old. At present, I’m “ring master” cracking the whip at six “pony girls” for four shows this month and in November.*

MACH 1: Do you have a particular whip move that you consider YOUR invention or specialty?
BC: Actually, I have several. “Shoulder Shot”, “Cut Back”, and the elaborate “Come Back to Sorrento”, which I also sometimes call “Come to Papa”, are a few.

Although it would be easy to spend an entire interview talking with Brian about his own performing experiences, he had even more to say about the performers and whip artists that he admires as well. Brian is a consummate professional, and he is the first to give credit and acclaim where it’s due, although it is clear that he doesn’t offer praise lightly.

MACH 1:  Do you have a favorite whip artist you admire?
BC: I have several. In my opinion, Joyce Rice is THE leading whip artist of our generation and is much admired. Also, Vince Bruce is a true ‘whip’ man in novel approach and sheer skill. The late Troy Davis, who could create a vacuum suction with his whip and pull a feather from out of a bottle laying on its side gave me a compliment I’ll never forget. The late Dave Kashner, “Whip Master From Hollywood’s Golden Age”, whom I’d so often emulate in the yard as a child after seeing him do this or that in some old movie on television. Alex Green? There aren’t enough words. The most loving, best “old boy” of the whip biz there is. Like me, the whip was his childhood friend. And finally, John Brady, Grand Old Man Of The Whip. A living testament to true showmanship, one need only watch this man with his effervescent smile and a whip in each hand and you KNOW you’re seeing the best in entertainment. While Alex Green assures me that I’ll eventually hear from J.B., I’m happy to say that (with the exception of Dave Kashner), I not only have the great honor of knowing but am much inspired in the example set by all whom I’d just mentioned.

Brian also had thoughts about the future of whip artistry, and some sound advice for those learning and performing the art.

MACH 1:  What do you think of the concept of the Society of American Whip Artistry?
BC: I am SO all for the (Society) MACH 1. Before I met Gary Houston Phillips, late of Hollywoods former “Swashbuckler’s Workshop”, I was terribly frustrated and lonely. I wasn’t a buffalo scout, nor was I a driver for the Overland Stage.  And I was NO stunt man. It felt good meeting with others who connected. Gery (Deer) struck me as a good sort and LORDY, can he do those candles (like Joyce Rice, I think he’s just plain fun to watch!) By his sincerity and approach, I feel he’s the best in the league with me and others in helping to elevate the status of the whip in the “art world”.

MACH 1:  Do you have any advice for up-and-coming whip artists?
BC: When you perform, its okay to be a LITTLE racy, but keep it G rated, you can never tell when they might want you on television. KEEP ORIGINAL. Like penmanship, the style you develop with your whip can become your own personal signature. Whip handlers who steal others’ tricks and figures generally fall into two categories: 1) the late comer who feels he or she has a biological clock ticking and must, therefore, make up for lost time, and 2) the outright thieves, and there’s no other word for it. They’ll take your years of perfection and make it THEIRS overnight. Yes, they’re out there. (Photo Left : Promo photo from Brian Chic's night club show "Lipstick & Lashes")

MACH 1:  Where can we learn more about your work, appearances, and how can fans contact you?
BC: My web site is www.brianchic.com

"Brian Chic is just one of the nicest people I have ever had the privilege to get to know. His professionalism and experience has taught him the good and bad about the business and it's an honor that he passes that experience along to me. I consider Brian a good friend and a consummate professional." - Gery L. Deer

END  
 
*Interview was conducted in December of 2006. Article is the property of Society of American Whip Artistry Magazine MACH 1 ( http://www.thewhipstudio.com ).

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