MODELS CONNECT: HOW TO FIND AN AGENCY

In the search for an agency, technology can be your best friend. However, typing in ‘modelling agency’ into any search engine will result in you getting more information than you can handle, and much of it, indiscriminate and irrelevant to the type of career you want.

Research

Start off by researching models you admire. Find out who represents them – this is a good starting point to ensure you only make contact with legitimate agencies. Do your homework, find out who the top agencies are and visit creditable sites like www.models.com to see which agencies hire models that most closely represent your look. Success in modelling is all about marketing, and doing it with insight and intelligence. Try to imagine your own look in an existing market – where would you place it? High fashion, commercial, plus-size, sports and athletic modelling – it’s a big modelling world out there. Having an awareness of where you might fit in is crucial.

Don’t be afraid to contact the bigger agency names. Yes, they are inundated with photos every day, but each one of these is checked to see if that person has modelling potential. Don’t assume that you’re better off trying just the smaller agencies. Be ambitious for yourself, contact every relevant agency, but be prepared for knockbacks. They come with the territory, and this point in your career is just the beginning. Try not to take rejection personally, because it rarely is. It’s just business.

Modelling may seem like an artistic pursuit, but the fact is for everybody concerned, it is a money-making venture. Think ahead: formulate, plan and plot your course of action, even if it’s only week by week.

Enthusiasm is infectious, and showing agencies that you have a ‘game plan’ can be the thing that tips the decision in your favour. If you’re really serious about becoming a model, make fashion your business. Read the trade publications (Vogue, W, Elle, Nylon, Harper’s Bazaar). Study who is out there, and why they keep getting re-hired. What are they doing that’s right? It’s rarely down to dumb genetic luck. The very best models get to the top because they are fearless about pursuing their goals. If you are really passionate about a career in fashion, let it show.

In person

When you’ve found an agency that captures your interest, look closely at their website. Many model agencies have very specific means of application. Some like you to send in a couple of photos in the mail: usually one head-shot and a full-length body shot. Others prefer you to upload a recent photo of yourself onto an online form, plus your personal details such as age and height. Others hold regular Open Days where would-be models are invited to attend an appointment with a booker to assess their suitability.

Open Days are becoming increasingly rare, with limits on time and resources to carry them out. If the agency you’ve found specifies a particular date and time, stick to it. Don’t assume that the booker will still be free to see you half an hour after the set time has elapsed.

Treat an Open Day appointment like a prospective go-see, only this time the agency is the client. Be friendly, attentive and polite. Mounting a charm offensive won’t hurt your chances one bit, and shows you understand what kind of behaviour would be required at a real life go-see.

Go prepared and present yourself as a model: your hair pulled back, clean, moisturised skin and no make-up. When picking clothes, it pays to go simpler. A vest and a decent pair of jeans are classics for a reason. Don’t make the rookie mistake of piling on every fashionable item in your wardrobe. An agent isn’t interested in admiring your fashion mojo: they just want to see potential.

Whatever the outcome of approaching an agency ‘in person’, don’t be afraid to ask for feedback. This can provide invaluable insight in helping you find a model agency sooner rather than later. Learning what you do wrong can really help you in the long-term. Mistakes can be corrected, but a know-it-all attitude? That’s not so easy to fix.

The key thing to understand about finding an agency is that to find success, a multi-angled form of attack is advisable. There are the lucky souls who get snapped up by the first agency they approach, but the reality is that for most people, it takes a little more work.

To get the result you want, it pays to cover your bases. After all, if you were job-hunting, no sane person would download their CV onto a recruitment website, sit back and wait for the phone calls to come pouring in. As with most things in life, if something’s worth having, it’s worth that extra effort to get it.

New technology: online model agencies

One angle you may not have considered is online model agency. They are steadily growing in profile, and while never a guarantee of securing work, it is definitely worthwhile exploring this option.

When looking for representation, it is important to know that the role of an online modelling agency is very different to that of a traditional agency. The main role of an online modelling agency is to primarily house electronic portfolios. They provide online space for you to display your photos on the internet.

The agency will offer a basic portfolio space on their website for little or no cost, and if you want something a bit more advanced, be prepared to pay an additional fee for running costs. This is a legitimate expense, as the more involved a person’s e-portfolio becomes, the more space and upkeep it requires.

The benefit of using this type of agency is that your work can be viewed by interested parties from around the world, thus maximising your earning potential. But online modelling agencies do not offer any of the other services routinely featured by more traditional agencies – do not confuse the two, or risk disappointment.

However, there are some similarities to bear in mind when shopping for an online agency. As with normal agencies, NEVER sign up to any agency that promises you work. No agency, however prolific, can guarantee a model work. The industry is notoriously fast-paced, and work fluctuates at all levels.

When choosing an online agency, look at the e-portfolios of other models on the website. Do their photos suggest that this model aspires to be in the same sector as you? Always try to match yourself to an agency’s existing book of models – you are far more likely to get work this way than trying to squeeze a square peg into a round hole. Also, if the agency seems clearly focused, in terms of what is offers prospective clients, this is also good news as a client will be more inclined to scout the better-developed sites for talent than the ones that are clumsily managed.

When selecting portfolio shots, keep in mind what constitutes a portfolio shot. Beware any e-portfolios with models posing with parasols or staring winsomely off-camera. This is the calling card of a makeover shoot, and as such is completely unsuitable for a professional portfolio. Whatever the cost of the shoot, a soft-focus glamour shot of you wrapped in a feather boa is unlikely to win over any client. Models Connect offers specific advice on the difference between portfolio and makeover photos. If in doubt, keep your fledgling portfolio shots simple, direct and uncluttered. No parasols necessary.

Keeping your expectations in line is another thing to remember when posting your shots to an online agency. As a method of securing work, it can be a long shot, but something worth doing if you are serious about securing a foothold in the industry. The more methods you try, the higher the likelihood of securing a response will be.

Where Models Connect can help

Models Connect can also assist you with your search. The website (www.modelsconnect.net) functions as a halfway house between a virtual agency and the ‘real’ world. It houses e-portfolios like an online agency would, but where Models Connect differs, is that it can offer a level of service including advice, tips and most importantly, the potential for booking jobs with its selection of clients.

To get the best results from Models Connect, you can sign up to have an online profile that can only be viewed by Models Connect’s base of vetted and approved clients, but you can also access your account and forward your details onto other agencies or interested parties, and manage your own career.

Where Models Connect’s main strength lies in how it can connect you to a body of clients, who are actively searching for new faces, for a wide variety of projects. Upon signing up, you will be assigned your own booker, who will ensure that if you’re suitable for a potential job, that client will be made aware of you.

Combining your search for an agency using the latest technology and exploring more traditional routes is the best means of achieving your goal. Think proactively, and this will translate into action, which shows potential agencies and clients that you are serious about building a career in the fashion industry.

Approach your search for an agency with intelligence: plan and strategise. Needing, at the very least, a Plan B in the modelling world is absolutely essential. Do your research, be aware of scams (see Models Connect for advice on how to avoid scams), remain alert to opportunities and keep an open mind. Your future could be closer than you think.

HELEN TOPE

Imagine Me & Lena

Over the long Thanksgiving weekend I found myself up in the wee hours of the night, as I often do, but this time I was extra aimless as there was no work or blogging or whathaveyou to do for the next day. Then just as I was going to trot off happily to bed I landed on Logo (I promise that’s not a plug, because they’re not paying me – hint, hint) and who should I find there smiling that crooked smile at me but Lena Headey. Well, clearly, there was no going to bed after that.

My love for Lena runs long and deep (that sounded dirty…I’m OK with that). “Imagine Me & You” is one of those movies that I have to watch whenever it is on. There is no other option. How can you turn away from Lena Headey kissing another woman? Answer: You can’t; don’t try.

Watching the movie again (it had inexplicably been a while – also, why don’t I own my own copy?) rekindled my unending love for all things Lena. Which, naturally, got me thinking about the first time I noticed her, 12 years ago, as the dashing Sally Seton in “Mrs. Dalloway.” You can see why poor Clarissa couldn’t stop thinking about her, even all those decades later. Also, never interrupt a woman when she is kissing Lena. You will be greeted only by dagger stares, and rightfully so.

What is so wonderful about Lena (besides that she is the best scowler in the business) is that she plays gay so often and effortlessly. She was the lesbian partner to a Victorian poet in “Possession,” though that ended badly (like “What are you doing with those stones in your pockets, Virginia Woolf?”-badly).

And before that she was gay (and a dominatrix, score!) in the gritty British miniseries “Band of Gold” about women who work in the red light district. From what I’ve seen of that though, things didn’t end all that great there either. But at least she no one walked into a river as far as I can tell.

Sure, she wasn’t gay in “Terminator: the Sarah Connor Chronicles” (though she wore a lot of tank tops and brandished a shotgun, so it can be forgiven) and doesn’t appear to be gay in her upcoming role in the HBO series “Game of Thrones.” But she will “smart, cunning and devious” as the royal Cersei. So, with any luck, we’ll see a lot more of that sexy scowl and that lopsided grin. And, who knows, maybe one day in the not so distant future she’ll kiss girls again for us. How could anyone who puts her hands so convincingly in her pockets not? Answer: She must; don’t worry.

My Weekend Crush

After a day of bounty like yesterday (seriously, my pants are still tight), it only seems fitting that I give thanks once more. I mean, I wouldn’t want to seem like ungrateful. So today I am thankful for the vastly, vastly – I really can’t say vastly enough – improved “Parks and Recreation.” Now, I’m not the only one saying this. Critics everywhere are singing the praises of the show’s superior second season. It’s first season, not so much. I’ve been thankful for Amy Poehler for a long time now. But “Parks & Rec” has given me a new appreciation of Rashida Jones. I’ve never been a devoted watcher of “The Office,” so I missed her stint on that show and her distinct charms. Well, not anymore.

Rashida comes across as many things you might not expect from the daughter of show business royalty (Quincy Jones and Peggy Lipton, in case you were wondering). Funny. Smart. Likable. Grounded. As Ann, she is the voice of reason and, more often than not, incredulity on the show. She makes the perfect straight man, well, gal to Amy’s zanily optimistic Leslie. It’s easy to get a laugh being silly, it’s much harder to get a laugh reacting to said silliness. But Rashida does it, week after week. And along the way she comes across as something even better: real. You feel like if you hung out with her for an evening it would be a night of good company and great laughs – kind of like watching “Parks and Recreation.” Happy weekend, all.

Magnifico-o-o-o-o

Some things you never grow out of – and thankfully so. We’re a day away from the day we here in the states all try to remember what we’re thankful for, so maybe I’m feeling a little nostalgic. I’ll be taking Thanksgiving off to gorge myself on roasted tryptophan and buttered rolls. But today, I just want to enjoy the uncomplicated joy that is The Muppets singing “Bohemian Rhapsody.” Happy Thanksgiving, all.

Tank Top Tuesday: Evening News Edition

I know these photos of Katie Couric getting down with her bad self are going to get a lot of negative press. I know that people will scoff and tsk-tsk and use them as yet another way to trivialize her accomplishments. But all I want to say about them is, hot damn, Katie Couric is awesome. This woman can interview world leaders. She can dismantle a vice presidential candidate. And she can also do a little dance, make a little love and get down tonight. And there ain’t nothing wrong with that. You can’t tell me Brian Williams doesn’t let loose to a little Bee Gees whenever he gets the chance. I betcha he even points when he dances. Katie, on the other hand, is more of a rumpshaker. Who knew?

These shots, apparently taken at the afterparty the night of her debut as CBS Evening News anchor, were posted by her daughter on Facebook. And the rest is, well, history. (Note to Self: Never have kids – or at the very least ban them from Facebook.)

Considering her choice of tops, I felt it only appropriate that Katie get a place of glory in the pantheon of Tank Top Tuesday. Get your boogie on all you want, girl. You deserve it.

Glam or Gaga

Dear Adam Lambert,

Hey there, you big gaymo. Look, I didn’t say anything when you came out with your My Pretty Pony meets Space Camp meets your cousin Sheila’s high school yearbook photo from 1985 during her experimental eyeliner phase album cover for “For Your Entertainment.” And I didn’t say anything when the editor of Out wrote that open letter complaining about you even as he put you on the magazine’s cover (for the record, I think I might be on your side on that one). But you leave me no choice after your American Music Awards performance last night. Now, I don’t normally watch the AMAs. They’re basically not a real awards show but paperweights given out as an excuse for superstars to get on stage and sell records. But I keep reading about people falling and fire and fellatio on my Twitter feed last night so I was forced to tune in. (Note: The West Coast feed had JLo’s assplant cut from its broadcast. Don’t you know moments like that are the only reason we watch in the first place?)

Anyway, the night was basically two performances for me. 1. Lady Gaga and 2. You. So let me break this down as simply as we can.

This is how you do outrageous right. Please note the wearing of lighted exoskeletons and control-top pantyhose in lieu of clothing.

And, then, of course, fire.

This is how you do outrageous wrong. Please note that simulated blow jobs are never, ever good TV. (p.s. This was also cut from the West Coast feed. p.p.s. You suck, AMA editors).

Also, while as a rule I approve wholeheartedly of kissing androgynous bandmates on live television, that kiss was about as hot as the Al and Tipper Gore smooch at the 2000 Democratic Convention.

The main problem I have is that your performance smacked of shock for shock’s sake. It wanted to badly to be shocking and failed even at that. Also, you were kinda pitchy, dawg. Look, Lady Gaga works not because she is shocking but because she is ambitious. She wants to be different and aggressively so, so even if she fails sometimes it is never dull. And she does it all with vision. There is nothing visionary about grinding a dude’s face in your man bits and grabbing ladies by their lady business.

Having said all that, I do appreciate how unabashedly you are bringing the gay these days. Don’t ever stop. Same goes for the sparkly pants. But, seriously, fire your choreographer.

Kisses,
Ms. Snarker

MODEL PROFILES: COCO ROCHA

Born September 10th 1988, Coco Rocha has secured her reputation on her ability to merge avant-garde with commercial.

Raised in Canada, but of Irish, Welsh and Russian descent, Rocha holds a unique place in modelling history. Combining modern athleticism with unique features that manage to be timeless, Coco represents the best of both worlds.

In 2002, Coco Rocha was discovered by agent Charles Stuart at an Irish dancing contest in Vancouver. Rocha had never previously considered a career in fashion, but she signed with Elite, and began to discover her value in the fashion world.

Rocha’s career started slowly but began to take off in 2006. Her first major breakthrough was appearing in a Balenciaga ad campaign. Wearing oversized platform wedges and a bowler hat, Rocha’s arrival on the fashion scene set the tone for the rest of her career: quirky, original and unexpected.

Her next notable assignment was a shoot with Steven Meisel for Dolce & Gabbana. Famous for being a ‘hit-maker’ in the fashion industry, Meisel has a gift for spotting new model talent. After working with Rocha, Meisel immediately rated her as a model that was worth watching. Website http://www.style.com/ was of the same opinion later that year when they named Coco their ‘rising star’.

The body of 2006 was a collective of great experiences for Rocha. An Italian Vogue editorial with Gemma Ward; a spot in the Chanel Couture runway show and additional shows for Vera Wang and Balenciaga. Coco topped off a brilliant year with an editorial in French Vogue, shot by legendary photographer Terry Richardson.

2007 would prove to be a seminal year for Rocha. Beginning the year by renewing her contract with Balenciaga, Coco also signed up to do a campaign for Lanvin. In February, Rocha achieved two Vogue covers in the same month, posing on the cover of Italian Vogue with Hilary Rhoda, plus an additional cover for Japanese Vogue with Russian model Sasha Pivovarova.

By themselves, these are noteworthy achievements, but in every great model’s career, there is a moment, a tipping point where everything falls into place. This moment came for Rocha in April 2007. She was booked to appear in the Jean Paul Gaultier runway show. Gaultier, charmed by the Canadian, found out about her dancing background and insisted she open and close the show. But Coco wasn’t to walk down the runway: she had to dance it.

Coco’s exuberant bursts of Irish dancing caused a sensation. Anna Wintour dubbed it ‘The Coco Moment’, and Rocha had arrived. The ‘moment’ lasted beyond the initial rush of publicity and translated into very real accolades. The next month, Rocha was featured on the cover of American Vogue. The theme of the cover was already decided: the world’s next supermodels.

Coco was in rarefied company. She shared the cover with Caroline Trentini, Raquel Zimmermann, Sasha Pivovarova, Chanel Iman, Jessica Stam, Hilary Rhoda and Agyness Deyn. Two years ago, these names were specialist knowledge only. Two years on, every one of these names evokes a face, an image and a glittering career. Vogue’s star-spotting was absolutely on the money.

On paper, the concept of Coco as a model should never have worked. Her years of dance training, while doing great things for her posture, should’ve worked against her. Contrary to popular belief, dancers don’t usually make good models, as their training forces them to resist the broken-down, angular poses required to model some of the extreme silhouettes in contemporary fashion.

But Coco took the best of her dance training and channelled it into the requirements of modelling. Applying an intelligent approach to movement, Coco’s popularity with photographers and editors boiled down to her ability to create shapes and lines for the camera.

Look at Coco’s body of work and you will see in her photos that she is a mistress of movement, providing a masterclass in how to create photos that are visually dynamic. Her energy, applied with restraint where needed, translates brilliantly onto film. Rocha is a rare breed: a dancer whose skills adds to, rather than impedes, the modelling package.

In September 2007, she opened a Chanel runway show, scoring the ultimate ‘insider’ job. If you are hired by Lagerfeld, you must be doing something right. In 2008, Coco was photographed for the famous Pirelli calendar by Patrick Demarchelier, and featured in a US Vogue editorial, dressed as famous cartoon characters. Who better to interpret Catwoman and Poison Ivy? Coco managed a difficult task with wit and verve, while still keeping the overall tone fashion-friendly.

Coco’s versatile face made her useable for commercial projects as well as the high-fashion fun. In 2009, she became the face of DeBeers diamonds and has a long-running series of campaigns with YSL skincare and fragrance, plus clothing campaigns for designers as diverse as Zac Posen and Liz Claiborne.

This disparity explains what makes Coco so in demand. She bridges the gap between the worlds of mainstream fashion and the avant-garde. Look again at the list of girls featured on the 2007 ‘Supermodels’ Vogue cover. The list shows how fashion’s take on beauty has shifted over the years. Girls like Agyness, Jessica, Coco and Sasha would’ve been sidelined in the Nineties as purely avant-garde faces.

Over a decade ago, as a model you were either positioned by your agency as an edgy, avant-garde girl or glamour personified. The careers of models such as Stella Tennant and Kristen McMenamy in the 1990s were sharply defined from those of more mainstream girls like Niki Taylor and Christy Turlington. Stella and Kristen did couture, Niki and Christy sold lipstick. Tastes for models would come and go: one year, it was all about the quirky, androgynous models, the next, fashion would celebrate classic beauties. What Coco and her peers represent is a departure from this idea that beauty has to be one thing or the other to be relevant. It has instead been replaced with a merging of the two ideals. Beauty can be just as sellable when it is off-centre, as it is in a Valentino gown.

The idea that a quirky-looking model could be editorial and commercial is something that has only truly evolved through this past decade. The complex requirements of a label like Balenciaga makes certain demands of a model, but now the mid-range labels, and even high-street brands are beginning to catch up.

Retail branding in the same decade has not just had an overhaul; it has been rewritten from scratch. High-street brands such as Reiss, Gap and All Saints are marketing themselves with the same level of sophistication as the designer names, because this is what the consumer now expects. Shopping isn’t just about the clothes you leave the store with; it’s about the whole experience. From the decor to the sales staff, the bar has been visibly raised and those stores doing well are outperforming their competitors because they have embraced everything high-fashion has to offer, including its models. Coco has secured so many contracts with brands on the high street because she offers a taste of high-fashion beauty that is both editorial and relatable.

Coco‘s quirky, off-beat appeal has seen her working with everyone from Gareth Pugh to Gap. Conservative designers love her, legends like Meisel and Wintour are fascinated by her. There is never a sense, in looking at Coco’s career, that there is a place where she doesn’t belong.
Models like Coco represent the future of modelling because they are the very definition of versatility. Seeing someone like Coco succeed shows how fashion has worked, actively and consciously, to become more inclusive to models that fall between the extremes of ‘quirky’ and ‘classic’. Coco’s amazing run of success has paved the way for new models such as Karlie Kloss, who has just signed a deal with Dior. The new girl personified by Coco is avant-garde, and she is establishment: part of the fabric of fashion, she is here to stay. Quirky isn’t a passing phase anymore.

HELEN TOPE

Lindsay Wixson

Vision (Los Angeles)
Marilyn Agency (New York)
-> her tfs forum topic

Anu-Maarit Koski

Brand Model Management (Helsinki)
FM Agency (London)
M4 Models (Berlin)

Natalia Griitsik

Image Discovery (Odessa)
IMG Models
-> her tfs forum topic

Catherine McNeil

2PM Model Management (Copenhagen)
Next Models
Chic Management (Sydney)
-> her tfs forum topic

Myf Shepherd

Next Models
Chic Management (Australia)
-> her tfs forum topic

Ataui Deng

Trump Models (New York)
Elite Models (Milan)
-> her tfs forum topic

Asya Shipovskaya

Ice Models (Milan)
-> her tfs forum topic

Kamilla Alnes

Heartbreak AS (Oslo)
Metropolitan Models (Paris)
FM Agency (London)
-> her tfs forum topic

Ingrid Auestad

Heartbreak Models (Oslo)
Metropolitan Models (Paris)
Louisa Models (Munich)
MC2 Model Management (New York, Miami)
-> her tfs forum topic

Amber Valletta

Models 1 (London)
Marilyn Agency (Paris)
DNA Model Management (New York)
-> her tfs forum topic

My Weekend Crush

So I’ve been thinking a lot about Sarah Paulson lately. She’s made a bit of news, what with her amicable split from Cherry Jones and emphatic assertion that her ex and Jodie are not America’s newest celesbian couple. But mostly what I’ve been thinking about is how talented she is, far too talented to not be on my television (or big screen, I can share) on a regular basis. Of course, she is happy and marvelous on the stage out yonder in New York City. Which is fine. But that leaves all of us middle and left coast cold and alone.

I’ll let you in on a little secret that may be surprising for some of you. Back in 2006 when NBC had this wacky idea of premiering two shows set behind the scenes at late-night sketch comedies, I wasn’t initially on Team 30 Rock. Sure I enjoyed “30 Rock,” but my attention first went to “Studio 60 on the Sunset Strip.” I’ll give you a second to recover from the shock. At first, my affections were rewarded. The writing was whip-smart, the cast was tremendous and there was this lovely creature called Sarah Paulson warming our hearts each week. Of course, half way through that first season things went sadly awry and I never even ended up watching the end of that series. But what that short-lived run did give me was a lifetime adoration of Ms. Paulson.

There’s that adorable little overbite, that delightful sparkle in her eyes. She is accessible, yet clearly intelligent. And then there is her Twitter stream where she is prone to use the word FUCK in all caps and holds open conversations with an ungodly number of people – some famous and more just ordinary folk. It’s pretty amazing and well worth a follow @sarahpaulson (and while you’re at it and if you don’t already, give me a follow @dorothysnarker – though I can’t guarantee anything similar to Sarah except a penchant for the word fuck.)

In short, someone needs to hire Sarah. In fact, I feel terribly remiss in not mentioning her for one of the two lesbian comedies in development right now. Think of it: Starring Sarah Paulson and Leisha Hailey. Make it happen, universe. Happy weekend, all.

p.s. You haven’t really lived until you’ve seen Sarah impersonate Holly Hunter…and a dolphin. See, adorable.

So Sue me

Today, I am officially launching the If Jane Lynch Doesn’t Win an Emmy It’ll Be a Crime Against Humanity Campaign (IJLDWEIWBCAH, for short and unpronounceable). Why? If you even need to ask that it’s a crime against human – that human being you because, dude, why aren’t you watching “Glee?” The wonderful thing about this Jane Lynch Renaissance has been that those of us who have loved her for years are feeling validated and those of you who are new to the experience can make up for lost time. That this is all happening to Jane at 49, the age when many actresses are considered well past their Hollywood-approved expiration date, is even more wonderful.

Last week’s episode added untold layers to Sue Sylvester. Which in turn added untold layers to Jane. While she has been one of the most reliable scene stealers in the business for the past decade, she can do so more than just the funny business. She can be warm, she can be generous, she can be serious – and still steal the scene. I recently caught her on “Criminal Minds” as Dr. Reid’s schizophrenic mother. She was amazing and there wasn’t a laugh to be had.

Of course, that doesn’t mean we aren’t in love with the laughs. In fact, now I can’t imagine what I would do if I couldn’t get my weekly dose of Jane. On script, off script, she is a guaranteed crack up. On Tuesday she showed up on the “Tonight Show” and managed in a few short minutes to idolize Carol Burnett, call out Andy Richter and explain the art of throw pillow throwing.

And then, well, then there is this little gem. I give you Jane Lynch, dancing, a blow dryer and tank top.

In particular, I want you to pay attention at second :35. Oh, to be that zipper.

Like I was saying, If Jane Lynch Doesn’t Win an Emmy It’ll Be a Crime Against Humanity. And that’s how Snarker C’s it.

p.s. Hey, “Glee,” never leave Jane out of an episode like that again. You’ve been warned.