By the director of the hit documentary Behind the Burly Q comes the first ever oral history of American Burlesque--as told by the performers who lived it, often speaking out here for the first time. By telling the intimate and surprising stories from its golden age through the women (and men!) who lived it, Behind the Burly Q reveals the true story of burlesque, even as it experiences a new renaissance. Burlesque was one of America's most popular forms of live entertainment in the first half of the 20th century. Gaudy, bawdy, and spectacular, the shows entertained thousands of paying customers every night of the week. And yet the legacy of burlesque is often vilified and misunderstood, left out of the history books. By telling the intimate and surprising stories from its golden age through the women (and men!) who lived it, Behind the Burly Q reveals the true story of burlesque, even as it experiences a new renaissance. Lovingly interviewed by burlesque enthusiast Leslie Zemeckis who produced the hit documentary of the same name, are former musicians, strippers, novelty acts, club owners, authors, and historians--assembled here for the first time ever to tell you just what really happened in a burlesque show. From Jack Ruby and Robert Kennedy to Abbott and Costello--burlesque touched every corner of American life. The sexy shows often poked fun at the upper classes, at sex, and at what people were willing to do in the pursuit of sex. Sadly, many of the performers have since passed away, making this their last, and often only interview. Behind the Burly Q is the definitive history of burlesque during its heyday and an invaluable oral history of an American art form. Funny, shocking, unbelievable, and heartbreaking, their stories will touch your hearts. We invite you to peek behind the curtain at the burly show. Includes dozens of never-before seen photographs: rare backstage photos and candid shots from the performers' personal collections. Skyhorse Publishing, as well as our Arcade imprint, are proud to publish a broad range of books for readers interested in history--books about World War II, the Third Reich, Hitler and his henchmen, the JFK assassination, conspiracies, the American Civil War, the American Revolution, gladiators, Vikings, ancient Rome, medieval times, the old West, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

Discover two forgotten icons from the golden age of entertainment: the lost stories of Sally Rand and Faith Bacon—women who each claimed to be the inventor of the notorious fan dance in this "detailed, deeply researched, and compelling" feminist history (Chicago Tribune). Some women capture our attention like no others. Faith Bacon and Sally Rand were beautiful blondes from humble backgrounds who shot to fame behind a pair of oversize ostrich fans, but with very different outcomes. Sally Rand would go on to perform for the millions who attended the 1933 World’s Fair in Chicago, becoming America’s sweetheart. Faith Bacon—the Marilyn Monroe of her time who was once anointed the “world’s most beautiful woman”—would experience the dark side of fame and slip into drug use. It was the golden age of American entertainment, and Bacon and Rand fought their way through the competitive showgirl scene of New York with grit and perseverance. They played peek-a-boo with their lives, allowing their audiences to see only slivers of themselves. A hint of a breast? A forbidden love affair? They were both towering figures, goddesses, icons. Until the world started to change. Little is known about who they really were, until now. Feuding Fan Dancers tells the story of two remarkable women during a tumultuous time in entertainment history. Leslie Zemeckis has pieced together their story and—nearly one hundred years later—both women come alive again.

Lili St. Cyr was, in the words of legendary reporter Mike Wallace, the "highest paid stripteaser in America." Wallace was so fascinated by Lili that out of all the presidents and celebrities he interviewed over a long career, towards the end of his life, she was the one he remained fixated on. Her beauty had that kind of effect. Lili St. Cyr, the one time queen of burlesque, led an incredible life –six marriages, romances with Orson Wells, Yul Brenner, Vic Damone, a number of suicide attempts, all alongside great fame and money. Yet despite her fierce will she lost it all; becoming a recluse in her final decades, she eked out a living selling old photos of herself living with magazines taped over her windows. Goddess of Love Incarnate will be the definitive biography of this legendary figure, done with the cooperation of Lili's only surviving relative. But the book does more than fascinate readers with stories of a byone era. St. Cyr was ahead of her time in facing the perils and prejudices of working women, and the book offers a portrait of a strong artistic figure who went against the traditional roles and mores expected of women at that time St. Cyr was the first stripper to work in the swanky nightclubs on Sunset Boulevard. She was the first stripper to work Las Vegas. She was at the top of her game for over thirty years. And though she would feel conflicted by it, as do many women who feel the push/pull of careers – especially controversial, button–pushing careers – Lili would dismiss what she did as having no importance. But she wouldn't give it up – not for millionaires and most certainly not for love. Based on years of research, Goddess of Love Incarnate contains information and memorabilia that was almost lost forever. As an award winning documentary filmmaker and expert writer, Zemeckis brings St. Cyr back to life the way no other writer can, restoring Lili to her rightful place in American history.

Reviews originally appeared in the Chicago sun-times.

She would appear in more than thirty films and be named after a Road Atlas by Cecil B. DeMille. A football play would be named after her. She would appear on To Tell the Truth. She would be arrested six times in one day for indecency. She would be immortalized in the final scene of The Right Stuff, cartoons, popular culture, and live on as the iconic symbol of the Chicago World’s Fair of 1933. She would pave the way for every sex symbol to follow, from Marilyn Monroe to Lady Gaga. She would die penniless and in debt. In the end, Sammy Davis Jr. would write her a $10,000 check when she had nothing left. Her name was Sally Rand. You can draw a line from her to Lana Turner, Marilyn Monroe, Raquel Welch, Ann Margret, Madonna, and Lady Gaga. She broke the mold in 1933 by proclaiming the female body as something beautiful and taking it out of the strip club with her ethereal fan dance. She was a poor girl from the Ozarks who ran away with a carnival, then joined the circus, and finally made it to Hollywood where Cecil B. DeMille set her on the road to fame with silent movies. When the talkies came, her career collapsed and she ended up in Chicago, broke, sleeping in alleys. Two ostrich feathers in a second-hand store rescued her from obscurity.

The Routledge Companion to Gender, Sex and Latin American Culture is the first comprehensive volume to explore the intersections between gender, sexuality, and the creation, consumption, and interpretation of popular culture in the Américas. The chapters seek to enrich our understanding of the role of pop culture in the everyday lives of its creators and consumers, primarily in the 20th and 21st centuries. They reveal how popular culture expresses the historical, social, cultural, and political commonalities that have shaped the lives of peoples that make up the Américas, and also highlight how pop culture can conform to and solidify existing social hierarchies, whilst on other occasions contest and resist the status quo. Front and center in this collection are issues of gender and sexuality, making visible the ways in which subjects who inhabit intersectional identities (sex, gender, race, class) are "othered", as well as demonstrating how these same subjects can, and do, use pop-cultural phenomena in self-affirmative and progressively transformative ways. Topics covered in this volume include TV, film, pop and performance art, hip-hop, dance, slam poetry, gender-fluid religious ritual, theater, stand-up comedy, graffiti, videogames, photography, graphic arts, sports spectacles, comic books, sci-fi and other genre novels, lotería card games, news, web, and digital media.