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The Velvet Hammer Burlesque has put the "tease" back into striptease. Based in Los Angeles and founded by Michelle Carr, the infamous troupe kick-started the current era of Neo-Burlesque and has caused a furore on stages worldwide. The Velvet Hammer's shows are a potent cocktail that mixes elements from classical American revues with a post-feminist punk rock attitude. Their intricately choreographed and lovingly costumed performances have much more in common with the tradition of Vaudeville than with the sleazy table dancing of today. The book The Velvet Hammer Burlesque presents photographs of the group's voluptuous ensemble of dancers and performers ???????????????????????????????????????????????? from their savvy on-stage acts to a glimpse behind the curtain. Beautiful women of all shapes and sizes, most of them don't correspond to today's generally accepted, often surgically enhanced ideal. But they all radiate an authentic, raw energy in their routines that mesmerizes the audience until (almost) the last shred of clothing is stripped away. Every page of The Velvet Hammer Burlesque serves up true American beauty consisting of shapely curves, tattoos, tassels and lace, and fuelled by a passion for booze, smoke, rock 'n' roll and the wilder side of life.
Though burlesque has survived in the back of our cultural consciousness after being pushed aside by modern stripping in the '50s, the revival that began in the early '90s has finally brought burlesque back to the forefront of popular culture. Evolving from an underground movement to a nearly mainstream fetish, neo-burlesque embraces a wide variety of modern interpretations all based on the classic bump and grind and "taking it off" with a wink and a smile. From classic tributes to punk rock revisionists, women of all ages, sizes, and backgrounds are rediscovering burlesque and reinventing it. A sense of heightened imagination, empowerment and energy are being delivered to the stage, perhaps even more so than during the historic heyday, the Golden Age of Burlesque. Slipping behind the scene, Burlesque and the New Bump-n-Grind undresses the issues of feminism, modern popularity, and what exactly draws the unique and varied audience members to the shows. The women--and men!--of burlesque also receive their fleshed-out dues by a categorized peek into the various troupe styles including classical, re-creationists, revivalists, modern, circus, performance art, political, queer, bawdy singers and comics. Peppered throughout the book are full-color and black-and-white photographs that fully instill the picturesque dance into the reader's mind. Founder of one of the first neo-burlesque troupes, author Michelle Baldwin (a.k.a, Vivienne Va-Voom) has helped to bring the lost art of burlesque back to the forefront of pop culture. Baldwin has served as the creative director, choreographer, music director, costumer, financial head, and performer for her troupe, "Burlesque As It Was." Her deep immersion into this art form has provided her with a rare view into the growth and evolution of the revival.
The Costumes of Burlesque: 1866-2018 is the first volume to inclusively document burlesque costume from its birth in the 1860’s through the global burlesque movement in 2018. This lushly illustrated book presents the history and development of this American art form by documenting the origins, influencers, and genuine articles that created its aesthetic. Showcases of legendary performers, including Lydia Thompson, Gypsy Rose Lee, Sally Rand, Bettie Page, Kitten Natividad, and Dita Von Teese, demonstrate costume styles through the years. This guide gives readers a clear view of how burlesque costume looked and why. It teaches collectors, burlesque performers, and fans alike to recognize vintage pieces for what they are and to design their own costumes with inspiration from the originals. By including detailed costume documentation, over 400 images, and interviews with prominent costume designers such as Catherine D’Lish and Garo Sparo, The Costumes of Burlesque brings 150 years of burlesque costume history to life.
Popular Witchcraft: Straight from the Witch's Mouth, inspired by the British Gerald Gardner's Witchcraft Today, was the first book to be published on popular American witchcraft and remains the classic survey of white and black magic. Newly revised and updated for twenty-first-century readers, the author--an ordained but marvelously fallen exorcist--tells all about the evil eye, the queer eye, women and witch trials, the Old Religion, magic Christianity, Satanism, and New Age self-help. Jack Fritscher sifts through legends of sorcery and the twisted history of witchcraft, including the casting of spells and incantations, with a focus on the growing role of witchcraft in popular culture and its mainstream commercialization through popular music, Broadway, Hollywood, and politics. As seriously historical as it is fun to read, there is no other book like it.
The Burlesque Handbook is the essential manual to understanding and performing both classic and neo-burlesque. Written by Jo Weldon, award-winning founder of the New York School of Burlesque, this book features easy-to-follow suggestions and exercises for developing stage-worthy confidence, presence, and sexiness. You'll learn about the fabulous makeup, costumes—including pasties!—moves, grooves, and attitudes of burlesque. The Burlesque Handbook is the must-have guide for everyone interested in this vibrant and wildly popular performance art, providing inspiration and practical information that readers can take straight from the page to the stage!
This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.
Every year in downtown Las Vegas, often called "Old Vegas," The Burlesque Hall of Fame reunion brings together members of the League of Exotic Dancers, one of the earliest unions for women in exotic entertainment, to perform their half-century-old routines. In this annual tradition, performers from the golden age of Vegas burlesque rally counter-culture neo-burlesque fans who both keep the tradition alive and add new meaning to it. Over the past four years, documentarian Kaitlyn Regehr and photographer Matilda Temperley have embedded themselves within this community-a group, which like Old Vegas itself, continues to survive and thrive sixty years past its supposed prime. Here, in a smoky, off-strip casino, they found women, at times well into their 80s, subversively bumping and grinding away preconceptions about appropriate behavior for a pensioner. This collection of interviews and photographs is drawn from the backstage dressing rooms, homes, and lives of this aging burlesque community, as well as the young neo-burlesque community who adore them. The authors present an inter-generational sisterhood that is both unique and socially significant. Through a range of experiences-from discussing struggles for wage equality, to helping stabilize an 85 year old as she steps into a sequined g-string-the authors describe the complexity of the lives of these performers and the burlesque history from which they come. Regehr and Temperley present multidimensional portraits of this community and conclude that they are at their most vital when read with all the nuances, troubles, trials, and triumphs that they formerly and currently experience.
Across a series of 12 in-depth interviews with a diverse range of major artists, Dominic Johnson presents a new oral history of performance art. From uses of body modification and physical extremity, to the creation of all-encompassing personae, to performance pieces lasting months or years, these artists have provoked and explored the vital limits between art and life. Their discussions with Johnson give us a glimpse of their artistic motivations, preoccupations, processes, and contexts. Despite the diversity of art forms and experiences featured, common threads weave between the interviews: love, friendship, commitment, death and survival. Each interview is preceded by an overview of the artist's work, and the volume itself is introduced by a thoughtful critical essay on performance art and oral history. The conversational tone of the interviews renders complex ideas and theoretical propositions accessible, making this an ideal book for students of theatre and performance, as well as for artists, scholars and general readers.
After the Second World War, Vancouver emerged as a hotbed of striptease talent. In Burlesque West,the first critical history of this notorious striptease scene, Becki Ross delves into the erotic entertainment industry at the northern end of the dancers' west coast tour - the North-South route from Los Angeles to Vancouver that provided rotating work for dancers and variety for club clientele. Drawing on extensive archival materials and fifty first-person accounts of former dancers, strip-club owners, booking agents, choreographers, and musicians, Ross reveals stories that are deeply flavoured with an era before "striptease fell from grace because the world stopped dreaming," in the words of ex-dancer Lindalee Tracey. Though jobs in this particular industry are often perceived as having little in common with other sorts of work, retired dancers' accounts resonate surprisingly with those of contemporary service workers, including perceptions of unionization and workplace benefits and hazards. Ross also traces the sanitization and subsequent integration of striptease style and neo-burlesque trends into mass culture, examining continuity and change to ultimately demonstrate that Vancouver's glitzy nightclub scene, often condemned as a quasi-legal strain of urban blight, in fact greased the economic engine of the post-war city. Provocative and challenging, Burlesque West combines the economic, the social, the sexual, and the personal, and is sure to intellectually tantalize.
Ian Whitcomb, One Hit Wonder British Invader of the 1960s and teen heart-throb, never went home. Instead he tried to settle down in Los Angeles County where, over the years, he produced a Grammy-winning CD, wrote songs for movies, auditioned for butler roles in TV commercials, had and lost dogs, married successfully, and continued to play his ukulele as the ship went down. Now the entire soap opera (1996--2008), roped together in hard copy with appropriate photos, can be relished as a roller coaster of self-pity, vaunting and failed ambition, jealousy, bathos and pathos, culminating in a Big Dream. In other words, this is a comedy book. Mainline Show Biz may have passed Whitcomb by but here in these precious pages he creates his own world of heroes and villains with himself as King in order to get sweet revenge through the twisted lingo of his India rubber sword.