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(Applause Books). Here is the first-ever collection of classic comic sketches from the bawdy, rowdy world of our slum music halls! Habitues of Burlesque (and sons of habitues) will revel in the boisterous stock scenes and blackouts of this uniquely American form of popular entertainment. Features a foreword by Dick Martin.
Robert Allen's compelling book examines burlesque not only as popular entertainment but also as a complex and transforming cultural phenomenon. When Lydia Thompson and her controversial female troupe of "British Blondes" brought modern burlesque to the United States in 1868, the result was electric. Their impertinent humor, streetwise manner, and provocative parodies of masculinity brought them enormous popular success--and the condemnation of critics, cultural commentators, and even women's rights campaigners. Burlesque was a cultural threat, Allen argues, because it inverted the "normal" world of middle-class social relations and transgressed norms of "proper" feminine behavior and appearance. Initially playing to respectable middle-class audiences, burlesque was quickly relegated to the shadow-world of working-class male leisure. In this process the burlesque performer "lost" her voice, as burlesque increasingly revolved around the display of her body. Locating burlesque within the context of both the social transformation of American theater and its patterns of gender representation, Allen concludes that burlesque represents a fascinating example of the potential transgressiveness of popular entertainment forms, as well as the strategies by which they have been contained and their threats defused.
The first full-length study of comedy on the burlesque stage, this book takes the reader inside the burlesque houses of the 1930s, looks at the role comedy played in an entertainment form known mostly for striptease, and explores how these sketch performers approached their craft.
On one side, Dita Von Teese shares the beauty of the burlesque world, with bubblegum dreams and show tunes to strip to. Flip over for fantasies in fetish with dramatic costumes and the allure of submission. Burlesque and the Art of the Teese "I advocate glamour. Every day. Every minute." I'm a good dancer and a nice girl, but I'm a great showgirl. I sell, in a word, magic. Burlesque is a world of illusion and dreams and of course, the striptease. Whether I am bathing in my martini glass, riding my sparkling carousel horse, or emerging from my giant gold powder compact, I live out my most glamorous fantasies by bringing nostalgic imagery to life. Let me show you my world of gorgeous pin-ups, tantalizing stripteases, and femmes fatales. I'll give you a glimpse into my life, but a lady never reveals all. Fetish and the Art of the Teese You may have come for the fetish. Or you may just be sneaking a peek at this mysterious and peculiar other side. No matter what you've come for, there is something for you to indulge in. My world of fetish may not be the one that you would expect. As a burlesque performer, I entice my audience, bringing their minds closer and closer to sex and then -- as good temptress must -- snatching it away. As a fetish star, I apply the same techniques. . . . An opera-length kid leather glove, a strict wasp waist, an impossibly high patent leather heel, a severely painted red lip. . . . Come with me into my world of decadent fetishism.
Best known today as the illustrator of Lewis Carroll's Alice books, John Tenniel was one of the Victorian era's chief political cartoonists. This extensively illustrated book is the first to draw almost exclusively on primary sources in family collections, public archives, and other depositories. Frankie Morris examines Tenniel's life and work, producing a book that is not only a definitive resource for scholars and collectors but one that can be easily enjoyed by everyone interested in Victorian life and art, social history, journalism and political cartoons, and illustrated books. In the first part of the book, Morris looks at Tenniel the man. From his sunny childhood and early enthusiasm for sports, theatre, and medievalism to his flirtation with high art and his fifty years with the London journal Punch, Tenniel is shown to have been the sociable and urbane humorist revealed in his drawings. Tenniel's countrymen thought his work would embody for future historians the 'trend and character' of Victorian thought and life. Morris assesses to what extent that prediction has been fulfilled. The biography is followed by three sections on Tenniel's work, consisting of thirteen independent essays in which the author examines Tenniel's methods and his earlier book illustrations, the Alice pictures, and the Punch cartoons. For lovers of Alice, Morris offers six chapters on Tenniel's work for Carroll. These reveal demonstrable links with Christmas pantomimes, Punch and Judy shows, nursery toys, magic lanterns, nineteenth-century grotesques, Gothic revivalism, and social caricatures. Morris also demonstrates how Tenniel's cartoons depicted the key political questions of his day, from the Eastern Question to Lincoln and the American Civil War, examining their assumptions, devices, and evolving strategies. The definitive study of both the man and the work, Artist of Wonderland gives an unprecedented view of the cartoonist who mythologized the world for generations of Britons.
Liz Goldwyn's lifelong fascination with the inimitable glamour of classic burlesque inspired her to spend the past eight years corresponding with, visiting, interviewing, receiving striptease lessons from, and forming close relationships with the last generation of the great American burlesque queeens. Goldwyn invites us to step back into an era when the hourglass figure was in vogue and striptease was a true art form. Meet Betty "Ball of Fire" Rowland, who was known for her flaming red hair and bump–and–grind routines. (It turns out she once sued the author's grandfather, Samuel Goldwyn Jr., for using her stage name and costume in his Hollywood picture, Ball of Fire.) Meet Sherry Britton, who, with her long black hair and curvy, trim physique, was among the most stunning of the burlesque stars before Mayor LaGuardia outlawed burlesque in New York. Meet Zorita, whose sexually explicit "Consummation of the Wedding of the Snake" dance (performed with a live snake) and other daring performances earned her legendary status. Goldwyn draws back the curtain to reveal the personal journeys of yesteryear's icons of female sexuality and power, restoring their legacy to an age that has all but forgotten them–despite today's resurgence of burlesque.
H. G. Wells (1866_1946) was a literary lion throughout his career, publishing more than one hundred books, including classics such as War of the Worlds, The Invisible Man, and The Time Machine. Though best remembered for his science fiction, Wells was also a prolific sketcher who frequently enlivened his correspondence and marginalia with cartoons. Those drawings made for his companion Amy Catherine Robbins, which he called "picshuas," allowed him a vehicle for his nuanced self-expression and satire. Gene K. Rinkel and Margaret E. Rinkel's The Picshuas of H. G. Wells interprets these highly original cartoons through an analysis of their peculiar content and style based on Wells's life and writings. The picshuas are perhaps the best demonstration of Wells's piquant sense of humor. They provide intriguing snapshots of Wells's robust private life and convey his opinions about other writers and public figures as well as himself, whose rotund cartoon figure he sometimes lampooned as "the Great Author." Using a narrative style of creative nonfiction, The Picshuas of H. G. Wells weaves facts from Wells's life with incidents reflected in the cartoons, episodes drawn from his novels, and scenes from other writings to provide glimpses into his moments of his personal and professional conflict and triumph. There emerges a fascinating and funny portrait of a complex literary personality and his complicated relationship with a devoted collaborator, his wife. Some forty picshuas were published in Wells's Experiment in Autobiography, but the wide range of the pichsuas throughout his correspondence and private papers has never been surveyed and published until now. As an ensemble, they provide close look at the Great Author in his most joyous and uninhibited moments, laughing at himself and the world.
"Sugar Babies is a riotously funny, nostalgic trip for those who remember burlesque and a happy discovery for those too young to recall this irreverent form of American entertainment. All of the classic scenes, including a hilarious dog act are here, along with such wonderful songs as "Exactly Like You", "I Can't Give You Anything But Love Baby" and "Don't Blame Me." "--Publisher.