By Becki Ross
After the second one global conflict, Vancouver emerged as a hotbed of striptease expertise. In Burlesque West,the first serious heritage of this infamous striptease scene, Becki Ross delves into the erotic leisure on the northern finish of the dancers' west coast journey - the North-South path from la to Vancouver that supplied rotating paintings for dancers and diversity for membership clientele.
Drawing on vast archival fabrics and fifty first-person bills of former dancers, strip-club vendors, reserving brokers, choreographers, and musicians, Ross finds tales which are deeply flavoured with an period sooner than "striptease fell from grace as the international stopped dreaming," within the phrases of ex-dancer Lindalee Tracey. notwithstanding jobs during this specific are frequently perceived as having little in universal with different kinds of paintings, retired dancers' bills resonate unusually with these of latest carrier staff, together with perceptions of unionization and place of work advantages and dangers. Ross additionally lines the sanitization and next integration of striptease sort and neo-burlesque developments into mass tradition, studying continuity and alter to eventually exhibit that Vancouver's glitzy nightclub scene, frequently condemned as a quasi-legal pressure of city blight, in truth greased the industrial engine of the post-war city.
Provocative and tough, Burlesque West combines the commercial, the social, the sexual, and the non-public, and is certain to intellectually tantalize.
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Additional resources for Burlesque West: Showgirls, Sex, and Sin in Postwar Vancouver
81 By the 1950s, Vancouver was heralded as both a playground for outdoor recreation and a model of indoor cultural sophistication and night-time entertainment. 83 After the long, penny-pinching years of the Depression, the tragedies of two world wars, and the disruption of familial and social networks, Vancouverites looked ahead to a rosier future. 84 By the 1960s, the entire city centre glowed from the electric energy of 18,000 neon signs. 86 A de-industrializing trend saw manufacturing and light industry move out of False Creek and Granville Island, to be replaced with parks, an urban market, and water’s-edge rental apartments and condominiums.
64 Although personal disposable income more than doubled for Canadians between 1947 and 1960,65 other realities also unfolded. 69 American icons of domesticity June Cleaver, Donna Reed, and Betty Crocker propagandized the dividends of full-time wifedom, motherhood, and middle-class suburbia. 70 In the wake of war-related trauma, death, and turmoil, the marriage rate in Canada exploded. 5. ’71 In contradictory fashion, the end of the war also spawned stories of sexual intrigue peddled in risqué comic books, Playboy magazine (launched in 1953), pin-up calendars, and lurid pulp novels.
I want to be whole so people know that strippers are complicated and not just bodies … I wonder if the director is a middleclass tourist, just using me as her ticket into an exposé … We ﬁlm all the feminists [like Robin Morgan] in their own worlds, surrounded by their trinkets, not swallowed up in ugly places like the porn girls … When the women from NFB ﬁnally show me the ﬁlm, I’m stunned. How do you tell someone you like that you feel betrayed and sickened? I’m reduced to a porno queen; nothing of my studio or performance art, nothing but my function … Then at the end, I’m a snappy, happy, born-again feminist penitent – a bad girl gone good.
Burlesque West: Showgirls, Sex, and Sin in Postwar Vancouver by Becki Ross