"If rock is walking on the wild paths of life, Stan Guigui embodies rock in its purest state!" Rolling Stone Magazine This collection of black and white photographs of the Cabaret New Burlesque troupe is an exuberant tribute to a unique group of wome
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.
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.
This book arises from an international conference held at Sapienza University in Rome, Italy, in May 2015, and it includes papers by important Italian scholars of fashion. It is dedicated to one of the main indicators of social change, fashion, analysed within different scientific fields, historical periods, and geographical areas. This volume deals with issues of economy and fashion, copyright, industrial designs, trademarks, trade secrets, and patents, as well as new communication devices and strategies in the era of increasing globalization and market integration. Contributions analyze fashion blogs, fashion communication strategies, relations between fashion and technology, social media, grass-roots communication, social and cultural aspects of digital technologies, mobile fashion applications, and the dynamic fashion system in the virtual world. Visual identification symbols of fashion details, such as the Catalan hat or the Basque beret, the concept of “Made in Italy” and its success in the world, and new materials and technological innovations are also explored.
Being Gorgeous explores the ways in which extravagance, flamboyance and dressing up can open up possibilities for women to play around anarchically with familiar stereotypical tropes of femininity. This is protest through play - a pleasurable misbehaviour that reflects a feminism for the twenty first century. Willson discusses how, whether through pastiche, parody, or pure pleasure, artists, artistes and indeed the spectators themselves can operate in excess of the restrictive images which saturate our visual culture. By referring to a wide spectrum of examples, including Sofia Coppola's Marie Antoinette, Matthew Barney, Dr Sketchy's, Audacity Chutzpah, Burly Q and Carnesky's Ghost Train, Being Gorgeous demonstrates how contemporary female performers embody, critique and thoroughly relish their own representation by inappropriately re-appropriating femininity.
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.
The neo-burlesque movement seeks to restore a sense of glamour, theatricality, and humor to striptease. Neo-burlesque performers strut their stuff in front of audiences that appreciate their playful brand of pro-sex, often gender-bending, feminism. Performance studies scholar and acclaimed burlesque artist Lynn Sally offers an inside look at the history, culture, and philosophy of New York’s neo-burlesque scene. Revealing how twenty-first century neo-burlesque is in constant dialogue with the classic burlesque of the nineteenth and twentieth centuries, she considers how today’s performers use camp to comment on preconceived notions of femininity. She also explores how the striptease performer directs the audience’s gaze, putting on layers of meaning while taking off layers of clothing. Through detailed profiles of iconic neo-burlesque performers such as Dita Von Teese, Dirty Martini, Julie Atlas Muz, and World Famous *BOB*, this book makes the case for understanding neo-burlesque as a new sexual revolution. Yet it also examines the broader community of “Pro-Am” performers who use neo-burlesque as a liberating vehicle for self-expression. Raising important questions about what feminism looks like, Neo-Burlesque celebrates a revolutionary performing art and participatory culture whose acts have political reverberations, both onstage and off.
Try New York City's best coal-oven pizza or indulge in steamed dumplings and dim sum. Ponder hundreds of masterpieces under one roof, give your regards to Broadway or sip cocktails inside one of Manhattan's most opulent rooms -Fodor's New York City 2007offers all these experiences and many more! From the Upper West Side to Battery Park, our local writers have explored the Big Apple, to find the best hotels, restaurants, attractions and activities to prepare you for a journey of stunning variety. Before you leave for the city that never sleeps, be sure to pack your Fodor's guide to make sure you don't miss a thing.