THE CRAZY INJURY OBSESSION ALL DANCERS SHARE...AND WHAT YOU NEED TO DO TO GET OVER IT

 If there’s one thing  dancers have in common, it’s that we are all absolutely certifiably insane when it comes to injuries.  An injury is our worst nightmare. We dread them, we fear them,  and  many of us ignore them, hoping they will go away. Ultimately, we work through them, but  no matter what, we always obsess about them. Though many of us can easily identify the difference between a major  acute injury and those that are minor or temporary, we still stress out over the very thought that we are injured… and this leads to obsessive behavior.

 Recently, my left  knee was acting up. It wasn’t an acute injury, but something that had started slowly and intermittently. An injury that creeps up like this is usually an RSI, or Repetitive Stress Injury, something that occurs over a period of time, due to  making certain movements over and over. I was experiencing  medial ( inner side of the knee) pain, and I knew it was an RSI, because I dance every damn day. So I iced it a bit and let it rest as much as I could. 

But as the nagging discomfort came and went, I went through a series of  my own “diagnostic tests”.  These included  repeatedly standing with my full weight only on the injured leg, as well as going into movements- without an  adequate  warm up, I might add-  just to see if I could reproduce the odd little pops, clicks and  twinges of pain  that I was getting every so often while I danced.

 Let me tell you right now that I am familiar with anatomy- as well as  the way my own body feels when it’s working properly as opposed to being injured. But my  self-performed “diagnostics” were not only invalid and uninformed as far as real physical tests go, they were just plain stupid! And even though I knew that, I just couldn’t stop my neurotic OCD behavior. It was like an oddly satisfying nervous tick, kind of like when a little kid loses a tooth and is completely preoccupied with poking their tongue into the raw, tender hole where the tooth had been.

 I discussed this phenomenon with several friends, all of whom are seasoned performers and  instructors; other belly dancers,  ballet, jazz, hip hop, burlesque  and contemporary dancers, and guess what? 

They all do the same thing!

 Maybe it’s just an intrinsic part of our dance-life mania, but it sure isn’t helping in any way, shape or form. At best it causes discomfort; at worst, it can aggravate-and prolong- the injury itself.

As frustrating as it may be, you gotta let that injury rest!  Quit “testing” it to see if the status has changed in the past ten hours…or ten minutes.  As the Beatles said, “Let It Be”. It might be easier said than done, but leaving your injury alone is probably the best thing you can do for it.

 It’s absolutely vital to understand that you need to baby your injury- at least for a while- if you want it to get better. It’s much more prudent to cancel a few classes or gigs than try to flail your way through your regular schedule while your injury is in full force.  R.I.C.E or Rest, Ice, Compression and Elevation are always good; you can ice and injury for fifteen or twenty minutes every couple of hours to help the inflammation calm down. Over the counter NSAIDS will also help with the pain as well as combatting inflammation.

In the meantime, during your recovery, you can work on any areas of your body that aren't injured. To stay conditioned, stretch and strengthen the rest of your body before returning to your full-on schedule of rehearsals, classes and shows. The last thing you want to do is impede your recovery by ignoring the advice of your physicians and/or physical therapist…or by performing any dumb-ass “self diagnostics”.

 There are many things you can do to keep learning and to help you feel as though you are progressing, even if you can’t actually dance yet.  Ask your instructor(s) if you can audit their dance classes- you can gain insight and learn technique just by watching a class and taking notes. Watch dance videos; analyze the styles or technique you are seeing, and observe more subtle things like stage presence, emotional connection to the music, and the costuming the performing is wearing.

Once you’ve been passed the acute phase of your injury, and with your doctor’s ok, you need to start rehab. If you’ve been prescribed a course of physical therapy, attend the sessions religiously, following your homework exercise regimen to the letter. You might also try Pilates, which was actually designed as a strengthening program to help dancers rehabilitate from injury. Make sure to find a certified instructor and let them know how you are injured.  Start out simple, and basic- if you’re feeling pain from any movements, don’t do them yet… and no matter what, don’t push yourself too hard, because you certainly don't want to exacerbate your injury.  It’s better to err on the side of caution. Walking is a terrific and low- impact aerobic way of keeping fit, and often a brisk walk will lower your overall physical feelings of discomfort.

If your injury has recovered enough that you have the ability to dance- but aren’t quite at a hundred percent, you will need to make necessary adjustments. However, you need to make sure that whatever you are doing doesn’t throw your body out of alignment. For example, if you’re still unable to completely put your full weight on one leg, do not assume that you’ll be fine bearing all that weight on the other leg! It will only lead to more problems. The more you “protect” the injured side, the more likely it will be that you’ll sustain an injury on the side that’s working over-time.

 Try to calm your inner dance-demons while you are recovering, ok? Be grateful for your body’s healing capabilities, have faith in your recovery process, and take the necessary time to recover fully before you get back in the game.

Oh and please… No more “testing”!

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STAGE PRESENCE, CROWD CONTROL AND TIPPING

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Photo by Kat Bushman

 People  tell me that  me that when I perform, my presence is so large that it fills the entire venue. But it wasn't always that way. Over the years, on what I call my "Work/ Study Program", I learned to master the art of crowd control...especially in venues where tipping was encouraged. 

As a baby dancer, I avidly observed professionals working. I studied the way they handled crowds, watched their interactions with the audience, the way they got the crowd all fired up, how they  accepted tips and the crowd control tactic they employed for handling rowdy customers. I noticed that the dancers never  broke  from their stage persona, even when in a small venue where they personally could relate to the audience, all up-close and personal.

  The most  important  thing I noticed was that direct eye contact is paramount!

Dancers always appreciate a lively, demonstrative crowd, and it’s our job to get the audience riled up and festive.  So don’t be afraid to make direct eye contact with your audience members- it’s the surest way to make them feel connected to you- and to get them to tip you!  

 As for rousing a reticent audience, by using eye contact gestures alone, you can have the entire crowd clapping along to the music, or get them to be silent during a quiet part of your set.  If you want to break the ice with a tough crowd, the best way to do it is to call a child up to dance with you- they’ll almost always jump at the chance, it’s totally cute and of course, people love a good photo op!  If there are no kids around, select a pretty, vivacious-looking woman, and pretty soon her friends will join in... cause it’s a great social media moment!

 If someone you’ve gotten up to dance overstays their welcome, just “present” them to the crowd, and get them all to applaud- everyone will understand the idea that their dancin’ machine friend is now taking a bow, and should return to their seat.

 As for tipping- at belly dance shows, it's  a popular practice that stems from hundreds-if not thousands of years of tradition. Both the audience and the dancer enjoy tipping; the performer makes supplemental income, but tipping also allows for audiences to interact with the dancer and show appreciation for her skills..and once again, if you want to get tipped, eye contact is crucial!

Photo: Kat Bushman

 As far as tipping goes, most clubs and restaurants have a system in place where an employee, such as the manager or a waiter, will pick up the dancer’s tips and bring them to her dressing room after the show. If tips fall from your costume and a customer notices, they’ll sometimes let you know.  In this case, I either assure them the waiter will get it for me or ask if they wouldn’t mind retrieving it.

Inevitably, you’ll encounter some show off  that’ll offer you a tip… held in his teeth.  I’ve found that the best way to handle this is with humor and pantomime.  I’ll either pat the guy on the head as though he was a dog with a bone in his mouth, or gaze directly at another member of his party, point at the offender and pull a comical face that silently asks  “What’s he doing?”  Usually, someone will make him stop- or they’ll grab the money and tip you properly! 

Once in a while, things can get a little out of hand, especially if the venue serves alcohol. If an audience member does anything during your show that pushes your personal boundaries, interferes with your comfort-zone, or personal safety, or is just being disruptive or seems intoxicated, you have two choices.  You can enlist the service of the nearest waiter or simply remove yourself from the situation right away and report it to the management. This type of behavior is always frowned upon- there are definitely certain circumstances where the customer is not “always right!

 Many audiences are unsure of tipping protocol, and don't want to offend the dancer or do something impolite. There are a few discreet ways to let them know that tipping is OK. Often, dancers will seed their belts with hidden a bill or two (which can be prudently revealed mid-set) giving the audience the idea that tipping is acceptable. Another way to do this is to have the servers help you out before you go on by courteously asking patrons if anyone needs change to tip the dancer.

Whenever you get tipped, make sure to thank the person who tipped you, either verbally or with a nod of thanks, and big smile...once again looking the audience member directly in the eye!
 
Tipping is a way for the audience to tell you how much your performance meant to them.  It’s our job as dancers to transport the audience, and by receiving their tips graciously, you can also take satisfaction in knowing that you have done your job… and done it well.
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ILLUSIONS OF GRANDEUR: FABULOUS HACKS FOR COSTUMING AND STAGE MAKE UP

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The fringe I'm wearing here is the kind that gives the illusion of  lengthening the torso. Photo: Maharet Hughes

 As performers, our job is to create a gorgeous illusion onstage by transporting the audience out of their everyday life and into another world.  Aside from dance technique and dramatic skills, you’ll also need to look larger than life. Terrific theatrical costuming and stage make up often involves a lot of playing around with optical illusions.  The idea is to trick the audience’s eyes so that you appear as the best possible version of you…or the character you are portraying.

In real life, we have less leeway with creating illusions because people see us “up close and personal”, but on stage there’s a plethora of tweaks we can get away with because we’re much farther away from those discerning eyes.

Here are some smoke and mirror tricks that’ll help you look your best on stage:

 COSTUMING ILLUSIONS

Fringe Elements

We dancers love all the blingy bells and whistles that accent our costumes, and we loooove us some fringe! It sparkles like crazy under the hot lights swishing and swinging, accenting even the smallest of movements. But in order for fringe to really work onstage, the placement has to be pinpointed for optimal effect- or it can do a lot of collateral damage.

  Always make sure your fringe is proportionate.

For example, extra long fringe can make a short dancer look way smaller than she actually is; it can even   make her appear squatty by literally “eating” her body. 

A good rule of thumb is: shorter dancer, shorter fringe.

Heavy fringe all over the cups of a bra can also overwhelm a busty dancer and make her look really a little too top-heavy.  For a streamlining, there are a couple of pretty trick-the-eye effects that even out body proportions by lengthening the torso.

The first would be to leave fringe off the cups entirely and just have the fringe as an accent, hanging in the middle, right at the cleavage. Another way would be to use one row of short fringe along the top of the cups, pointing down in a “V” shape, also towards the cleavage, because this will make the cups look smaller and the torso longer and more lithe.

Many belly dance costumes come with fringe hanging straight or in loops all the way around the bra band, and this too can make a dancer (of any body type) look like they have a shorter-and stockier- midriff.   I usually remove the fringe from every place along the bra band except for the center; sometimes I let the fringe under the cups remain as well. On most Egyptian and Turkish costumes, the fringe is easy to remove, because it is pre-strung and knotted between the strands, which means it can be cut without losing any of the beading.

 To remove fringe, turn the costume wrong side out, and you’ll often see the fringe hand-stitched straight onto the bra band. Sometimes it’s tucked in between the costume base and the lining, open the seam, and you’ll see it. 

If you want to be extra careful, before you cut the fringe, take some clear nail polish, dab it at the place you’re going to cut, and let it dry before you slice into it. Cut the fringe all or partially away, and tack the ends down. Sew the lining- if there is one- back up.

 A bonus to this fringectomy is that you can always sew it right back on if you don't like it…ad if you do, you’ll have some extra left over fringe in case some of the remaining fringe wears out.  Fringe is always the first thing to go on a costume, because it gets so much wear and tear so this, as Martha Stewart would say, is A Good Thing.

Belts

 Many belly dance and burlesque  costumes have a hip belt, and often it’s hung with fringe.  The shape of that belt can alter your shape! Belts that  are thick  or vertically “tall” or those that are cut straight across tend to make your torso look shorter; if they’re hung with long fringe of a uniform length, they can also make your legs look shorter!  Belts that are cut with a dip or “V” shape in the front lengthen the torso. To make a flat derriere look bigger and rounder, opt for a  belt  that’s narrower in the front but graduates into  a  butt-hugging “U” shape in the back.

If you make your own costumes,  keep these ideas in mind when you’re crafting.

Stripes, Animal Prints And Other Patterns

 The same rules regarding stripes that apply to every day clothes go double for dance costumes: vertical stripes will make you look taller, horizontal stripes will make you appear wider, diagonal stripes look great on almost anyone, they flatter many body types.

Very thin stripes will not show up well on a larger stage, they’ll sort of melt into each other; a costume with thin black and white stripes can actually look gray to the audience.

Thick stripes can look jarring or comical -and unless that’s the look your after, it’s better to forgo them. For the best and most flattering effect, look for stripes that are about one to two inches wide.

Patterned fabric may or may not work onstage, it all depends on the size of the pattern itself, the colors being used, and the type of material it’s printed on.  Florals are always beautiful and feminine, but onstage, unless the audience is extremely close to you, an all-over print of tiny daisies is not going to look nearly as stunning as, say, fabric printed with larger sunflowers.  Most brightly colored, medium-to-large sized floral prints look gorgeous and luxurious, and will prettify dancers of all shapes and sizes.

 If you’re going with an animal print costume, check that the print is large enough to register onstage. An itty-bitty leopard or cheetah print will appear brown or rusty to the audience instead of wild and safari-like, so look for spots that are about and inch and a half in diameter. It goes for any reptile print -or any kind of mermaid costume. Make sure the squares or “scales” are significantly sized so that it reads reptilian or aquatic!

Black Costumes

 In real life, we all adore wearing black- it s slimming, expensive-looking and elegant. Soignee and somewhat mysterious, black also has a rock’n’roll or Goth, witchy edge to it. While black is awesome for real life, be careful when you wear  black costumes!

Wearing black onstage is not impossible, but it can be difficult.

  First of all, you need to know that black can wash almost any performer out, so you’ll need more stage make up than usual… and many of us still don’t wear enough to begin with.  Black costumes need strong eyes, lips, and, unless you want to look like Morticia Addams (and some of us do!) tons of bright blush.

 This next thing I’m about to tell you are super-important to know about black costumes.

If the background of the performance area is black, a black costume can cause the performer’s skin -which is always lighter than the costume, no matter what your race is- to produce an unpleasant optical illusion. The black costume pieces will appear to recede and the performer’s lighter skin will appear to jump forward, causing the dancer to look oddly heavy. This effect is doubled if the performer has dark hair, which will also recede into the background, effectively making the performer look bald…or like she has a floating face!

If you are going to wear a black costume onstage- and I’m pretty sure 99% of us own a black costume- make sure that it has any or all of the following, and you should be ok:

* Choose fabric that has a black-on-black pattern, a metallic sheen, and/or has sheer or lace panels that will allow your skin to show through

* Look for lots of metal or rhinestone decorations

* A black costume that has bright accents or design elements-even if they’re small- in tones such as red, orange, gold, silver, white or any loud, rich color will still read “black” but won’t look dull and drab

 Know Your Venue

 Costumes that look terrific on a large stage and costumes appropriate for a smaller venue are totally different animals. These two types of costumes can be extremely different in color, decorations and construction, cause it’s all about the audience’s perception.

 If you’re working on a larger stage or on film, you can pretty much wear anything-as long as it’s sparkly- and it will look great! Seriously, you would not believe what some stage or film costumes look like up close. Cheap fabrics, plastic rhinestones, faded sequins, pieces of broken jewelry and chunks of missing fringe… all held together with safety pins.  Basically, the costume can be a jumble of trash, and look horrific up close. But under bright lighting, as seen from the audience, these cheap-o thrown-together monstrosities always look spectacular!

  Seriously, some of the absolute crap I’ve worn on stage or in videos and movies is so outrageously bad up close it’s almost a joke, but as long as it’s seen from far away and the lighting is strong, it looks amazing. I was just telling a pal the other day that one of my most iconic Mata Hari costumes is awful up close. For real, it was constructed so slap-dash (over night, for a video shoot) that it’s one step away from having bits of macaroni on it- it looks like a summer camp arts and crafts project!

 However, if you’re working in a smaller, more intimate venue, you must understand that there are no way you can get away with wearing what I like to call “garbage costumes”. When you’re doing shows where the audience will be very close by, always opt for costumes made of quality materials that are in good repair…the best costume you can afford! And of course, they need to fit well, because needless to say, you will not be using safety pins as closures!

Use Your Illusion

Fishnets

Fishnet hose comes in many colors, but the best for stage use are nude (many shades are available to match different skin tones) and black. Because of the open net pattern, black will create an optical illusion and make your legs look more curvy; nude or flesh tones will make your legs appear longer. Though The Radio City Rockettes and Las Vegas showgirls are already long-stemmed, they almost always wear skin-toned fishnets with neutral high-heeled shoes precisely because this combo makes the legs look like they go on for miles.

When you choose fishnets for the stage, stay away from white, as it will make your legs look chunky.  Also, be sure to get a style that has smaller “windows”- some of the fashionable styles have larger squares, and though that may look cute up close at a party, it isn’t at all flattering to a dancer’s legs when she is onstage. Decide what your costuming needs are and which illusion-longer or curvier- you are after.

Padding

 I’m sure we are all aware of the benefits of strategically placed padding…but some of us aren’t sure about the optimal way to pad a bra!  For the most boobaliscious look, open the lining of each cup at the sides- not the bottom- and insert your pads vertically, arranging them so that the bottom of the pad sits under the girls, and the upper portion pushes in from the side to create more cleavage.  Shhhh- doesn’t tell anyone- I often use two sets of pads this way for a fuller look.  If your bra cups are bigger than your actual breast size, but not by too much- you can use three sets of pads. Lay one pad across the bottom of the cup, and slip two into each side.  And a word to the wise: shoulder pads are much less expensive than brassiere pads, and work just as well!

 ILLUSIONS FOR THE FACE

Cheeks

If you want to look younger, fresher or just more healthy onstage- no matter whether you’re sick, hung over or “of a certain age”, this one trick will knock your socks off!

Apply blush to the apples of your cheeks only. Find the apples of your cheeks by smiling, then load a domed blush brush up with powder, blow or tap off the excess product and gently brush the product into the center of the apples, then curve it slightly up, in a “C” shape towards your temples.  For stage there’s almost no such thing as too much blush, but if you feel like you’ve applied a bit too much color, gently blend the blush with a dry cosmetic sponge or tone it down a little with some translucent loose powder.

 

In these photos of Marilyn Monroe, you can clearly see her over-lined lips... and that the top lip is slightly longer while the bottom lip is much more  rounded

Lips

If you’re going with a bright red or pink lipstick onstage- and I know most of us do- always make sure it’s got a blue undertone. Blue-red or blue-pink makes anyone’s teeth truly appear pearly white! As we age, our teeth- no matter what our habits- tend to become a bit more yellow… and some people naturally have teeth that are more ivory than white. This optical lip illusion works wonders, creating a super-snow white smile!

Onstage, I am a nut with lip-liner; I go for the full Joan Crawford Effect by over-lining my lips almost a quarter inch outside their natural parameters.  From the stage, under hot lights, this is another fabulous (and very anti-aging) optical illusion, because as we get older, our lips lose collagen and become thinner and less plump…or maybe you just have a smaller mouth.

When you line your lips, a rounded Cupid’s Bow always looks much more pillowy and kissable than a pointed one. Also, after I have my “full mouth” on, I always go into the bottom corners of the lip and wipe the color out of them.   This makes the top lip appear a little bit wider and the bottom lip look just a tad fuller. I stole this trick from   the legendary Hollywood makeup artist Whitey Snyder, who was such a whiz that Marilyn Monroe wouldn’t let anyone except him touch her face!  In fact, it was Snyder who created Marilyn’s signature bombshell face.  If you look at any of her photos, pay attention to her lips and you’ll see exactly what I mean.

Taking this lip treatment a couple of steps further, before you line them in your regular colored liner, draw the top line on first with a pearly white pencil- it will make your lips stand out and look pleasingly puffy on an Angelina Jolie level. After penciling in the white, then over-draw the shape of your mouth in a bright color that matches your lipstick.  And when you’re done with the lipstick, rub a little dot of pearly white eye shadow into the direct center of your bottom lip, an effect that makes it look more luscious, but also gives the illusion of shine.

Eyes

A super-fab trick for making your eyes look brighter is to use dark blue liner... as opposed to black or brown.  Blue liner plays an optical trick, making the whites of your eyes really alabaster-white.  For stage, I apply the dark blue powder shadow first, and then go over them with a black gel liner, which adds definition while retaining the softer look of the powder.

  Try some or all of these tricks…  seriously, they’re like magic!

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THE DANCER'S BODY: EATING YOUR WAY TO SUPPLE MUSCLES, GLOWING SKIN AND SUPER STAMINA

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   A few days ago, a friend of mine posted  on my Facebook profile page, and it  caused quite a response from a lot of people, many of whom I don’t know. Maharet’s post said I was the healthiest person she knew, that I looked twenty years younger than my actual age (thanks doll… did I mention I love you madly?) that I was always full of energy, and she thought it was because of my diet. The post mentioned that I am sugar-free, which is true, and that I  “basically live on green smoothies and Greek yogurt”, which isn’t entirely true… but I do consume insane amount of both those things. She said that the smoothies I made were better than any she’d ever had, and ended the post by asking, “I wonder what would happen if I ate exactly like you for ten days?” 

All this resulted in a happy uproar; there was a barrage of comments clamoring for information on my diet and the recipes for my smoothies.  So, I’m gonna give some outlines on my food habits, in case they might work for you, and of course I’ll and share my smoothie recipes with you. 

 My first major dietary change occurred at the beginning of my career. When I started dancing professionally twenty-five years ago, my food consumption habits changed almost by themself. Without even realizing I was doing it, I moved from eating three meals a day to eating five or six small meals, just because I found it uncomfortable to dance on a full stomach.  Three months later, much to my astonishment,  none of my costumes fit cause I’d dropped over twenty pounds.  I didn’t even realize that this was Eating To Fuel, Not To Fill.  Apparently, eating like this keeps your metabolism going, but when I began having multiple smaller meals, I didn't even know it was a concept! It just worked for me dance-wise, and the weight loss was a bonus. It may or may not work for you, but it’s worth a try.

  At that same point in my life as a new professional, I started waking up every morning ravenously hungry. That was weird to me- I’d always been one of those people who began the day with a ka-razy strong cuppa joe, and wouldn't even think of eating until three or four hours later.  But my dancing suddenly demanded that I needed breakfast, so I obeyed.  It was then that I discovered Eating Breakfast Is Really Important.  I still need my really strong coffee, but there’s no way in hell I can imagine skipping breakfast!

  The second big “food breakthrough” I had was in 2009, after a severe car accident. I was in a lot pain and all the physical therapy and drugs I was taking didn't seem to be helping all that much, so I started researching nutrition. There are tons of foods and spices that have anti-inflammatory properties, and I began eating them in ridiculous amounts, mostly out of desperation!  I ate tons of citrus fruits and tomatoes because of the healing properties of Vitamin C. I overdosed on berries and flax seed because they fight inflammation…as does cinnamon, turmeric, oregano, thyme, rosemary, cloves and ginger. I began using these spices as much as possible, preferably fresh, but dried will do. I ate as much raw food as possible, and went "krazy for kale".

  A confirmed sugar addict, before the accident I’d  actually  “shoot” a package of Sweet Tarts the way a kid tosses down tequila on Spring Break…until I found out that refined sugar is really bad for you in many ways, especially for your joints and for inflammation. So, it was  Bye-Bye Sugar !  Some people find it extremely difficult to quit sugar, but I was-pardon my French- feeling so shitty from my pain I was willing to try anything. I just started looking upon sugar as something that was poisoning me, and seriously, it wasn’t hard for me to quit. If you know something will have terrible consequences, you know it’s better not to ingest it, right?  So I didn’t, and it really wasn’t a problem.   That led to me becoming virtually Gluten Free.  The no sugar scenario really was making me feel better, so I tried deleting gluten, that wasn’t hard either, and soon I noticed my energy was off the charts.

An important caveat to all of this is- I made these changes willingly, and they worked for me. I also didn’t consider it a “diet”, or that I was depriving myself.  I simply found that I was making Healthier Choices…and I got to say, I’m not totally anal about them. Once in a great while, I’ll have a piece of someone’s birthday cake (especially my own!) and sometimes at a fancy restaurant, I’ll have a piece of bread…slathered in butter.

Also, if you are considering going sugar and/or gluten free, there are many things to consider. One of them is that artificial sweeteners are probably worse than sugar itself.  The other is that many gluten free foods are loaded with sugar!  Make your dietary changes slowly, see how you feel, and don’t beat yourself up if you backslide a little. Remember, for most of us, they are choices, not mandatory.

 And now on to my Smoothie Recipes:

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 For the recipes that call for yogurt, use only unsweetened, plain Greek Yogurt.  I prefer the brand Fage; I’m addicted to it!  I’m a FAGE HAGE!! It comes in 2 % fat, 0% fat or full fat- I’ve used any of these in my smoothies, and no matter what, they come out terrific. Obviously, the full fat version will make a more satisfying smoothie, but it’s your call.  Many brands pretend to be “real” Greek yogurt, but are full of  sugar or artificial sweeteners, and many also have some kind of gelatin in them to thicken it, so especially if you are a veggie, check the label carefully before you purchase!

 For all the following recipes, use only organic fruits and vegetables.  I buy fresh fruit, like bananas and pineapples, chop them up, pop them in baggies and freeze them, because it not only lasts longer, it makes the smoothie thicker, like a milkshake.  You can put any kind of berries in baggies and freeze them, and I often freeze greens like spinach, kale and chard specifically for adding to the smoothies.

Most of these smoothies have an odd color- usually bright green or brown, and that immediately puts some people off.  Also, if you are regularly eating sugar, these smoothies, though  not acidic, may not taste as sweet to you as they do to me. Feel free  to add more fruit  if they're  not sweet enough for you. But once you’ve tasted them, you’ll learn what you like, you can add or subrtract ingredients, and will also  not to trust the  scary color, because they’re all totally delish!

APPLE PIE SMOOTHIE

  

1 handful kale

2 Handfuls of spinach or chard, or one handful of each

1 Four-inch section of zucchini, chopped into “pennies”

 2 small broccoli florets

 1/ smallish apple or half of a large apple (any type of apple is fine, I like Honeycrisp or Fuji)

 4 Frozen pineapple segments

1 Frozen banana chunks

2 Generous dollops plain Greek yogurt – I prefer Fage, but use whatever you like as long as it’s unsweetened

A pinch of allspice

Cinnamon to taste (I like to use a lot- tastes good and it's an anti-inflammatory)

Pack the fruits and veggies into the blender tightly.

If you are using a Nutri Blend Magic Bullet, fill the blender cup with liquid to the “Fill” line. I use a mixture unsweetened coconut milk and water. If you are using a regular blender, use 2 cups of the coconut milk and water mixture. Blend until liquefied.

The smoothie will look bright green, but it tastes just like apple pie!

 THE GREEN LANTERN:  CUCUMBER AND MINT SMOOTHIE

1/2 Large hothouse cucumber (about five inches long, cut into chunks

1 Handful spinach or chard, or a mix of each

3 to 5 Leaves of mint, depending on how minty you ‘d like it to be

The juice from 1/2 a large lemon or 1 small one

The juice from a medium sized orange

5 or 6 medium to large strawberries, with the leaves cut off OR a few large chunks of fresh watermelon

 Pack the fruits and veggies into the blender tightly. If you don’t have a juicer for the orange and lemon, cut each fruit in half and squeeze the juice into your blender through a strainer.

 If you are using a Nutri Blend Magic Bullet, fill the blender cup with the juice of the lemon and the orange, and pour in water to the “Fill” line. If you’re using an ordinary blender, use about a cup and a half of water. If the mixture is too chunky, for your taste, just add a little more water.

This is a totally refreshing, invigorating and sweet smoothie; I make a huge batch of this and sip it all day.  In the summer, I’m all about the watermelon, and instead of using the orange juice; I just add more watermelon chunks.

“LIKE A VIRGIN” PINA COLADA SMOOTHIE

1 Large handful of frozen pineapple segments, or about 10-12 pieces

3 Frozen banana chunks

1 Handful kale, spinach or chard

1 three-inch section of zucchini, sliced into pieces

 The juice of 2 medium sized oranges

1 Tablespoon organic virgin coconut oil, put directly into the blender

Unsweetened coconut milk, or coconut water

Pack the fruits and veggies into the blender tightly.

If you are using a Nutri Blend Magic Bullet, fill the blender cup with liquid to the “Fill” line.

 I use a mixture unsweetened coconut milk and water, or you can use straight coconut water, either way is fine! If you are using a regular blender, use 2 cups of the coconut milk and water mixture. or the coconut water. Blend until liquefied.

 CARROT CAKE SMOOTHIE

 2 carrots cut into “pennies”

1 Handful spinach or chard

 Half of a medium sized apple cut into chunks

2-4 Chunks of frozen pineapple

2 Chunks frozen banana

2 Generous dollops plain Greek yogurt – I prefer Fage, but use whatever you like, as long as it’s unsweetened

1 Pinch Allspice

1 teaspoon  fresh ginger, finely grated

Cinnamon to taste

 Unsweetened almond milk or unsweetened soy milk

Pack the fruits and veggies into the blender tightly.

If you are using a Nutri Blend Magic Bullet, fill the blender cup with the almond milk to the “Fill” line. If you are using a regular blender, use 2 cups of the almond milk and water mixture. Blend until liquefied… regular blenders might yield a slightly chunkier version of this, cause the carrots don’t always puree up fine. If the smoothie is too chunky, add a little more almond milk, or some water.

The smoothie will look rusty brownish-orange, but it tastes yummy, just like carrot cake!

 BLUEBERRY MANGO SMOOTHIE

 1 Large handful or one cup of frozen blueberries

1 medium mango, pitted, skinned and sliced

2 handfuls spinach, kale or chard, or mixture of greens

2 broccoli florets

The Juice of one small lemon

The Juice of one small orange

Pack the fruits and veggies into the blender tightly. If you don’t have a juicer for the orange and lemon, cut each fruit in half and squeeze the juice into your blender through a strainer.

 If you are using a Nutri Blend Magic Bullet, fill the blender cup with the juice of the lemon and the orange, and pour in water to the “Fill” line. If you’re using an ordinary blender, use about a cup and a half of water. If the mixture is too chunky for your taste, just add a little more water.

Ok, this smoothie looks kind of disgusting, it’s a dark purple brown, but boy its it sweet and tangy!

CHERRY BERRY SMOOTHIE

1 large handful or 1 cup frozen raspberries


1 large handful or 1cup frozen unsweetened cherries

1-2 chunks frozen banana

2 generous dollops Greek Yogurt


2 teaspoon fresh ginger
, finely grated

1 Teaspoon ground flaxseed: buy it pre-ground or grind in blender before you make the smoothie

Juice of one large orange

Juice of one small lemon

 Unsweetened coconut, almond or soymilk

Fill the blender with the berries, cherries, spices and yogurt. If you are using a Nutri Blend Magic Bullet, fill the blender cup with the almond, soy or coconut milk to the “Fill” line. If you are using a regular blender, use 2 cups of whatever “milk” you’re using. Blend until liquefied. If the smoothie is too chunky, add a little more soy, coconut almond milk, or some water.

  

  TRY MY SMOOTHIES, THEY’RE DELISH!  And remember, you are what you eat! 

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