Our recent Josephine Baker inspired shoot with Miss Noire is exclusive to the Best of 2010 Print Edition. To get your copy, visit our shop!
December cover girl Perle Noire, the Rare Gem of Burlesque, sits down to talk the “burlesque look,” New Orleans, Josephine Baker, Australia, gold glitter and Prince.
By: Divertida Devotchka Photos: Shoshana of DallasPinUp.com
You’ve stated before that you don’t think that you have a “burlesque look.” As an avid fan, let me say that in my opinion, your sultry sass is the embodiment of burlesque, but in your opinion what characteristics must one possess to have the burlesque look? Based on your ideal of the burlesque look, who comes to mind (either legend or modern performer) as the epitome of burlesque?
Well, when people think of burlesque stars of yesterday and today they think of a woman with European features such as Tempest Storm, Lili St. Cyr. or Bettie Page. These women are the definition of a beautiful Bombshell! Tempest Storm, with her fiery red hair and that perfect voluptuous figure had the ultimate burlesque look. You can’t mention the word Bombshell without paying respect to the infamous Lili St Cyr, who had beautiful long legs and luscious lips. They were flawless. When you asked your average Joe or Joan about burlesque these names and images pop up.
Of course, when I think of a Burlesque Goddess, I think of my idol Josephine Baker. Josephine had a theater background and had perfect comedic timing. She was so beautiful and electric, but she became a Legend overseas. Even though she knew how to connect with her audience and had an exotic look she would have never became a burlesque legend in the states due to the fact that she didn’t have the standard ” burlesque look”.
Over the years as a Burlesque artist, I’ve sent my promotional kit to magazines( burlesque and aboard) and producers and thou they love my performances, I’ve been turned down for numerous jobs and promotional marketing because I don’t have the ” burlesque look”. This is something that I’m working on and I’m enjoying every moment of it. Make up and Wigs and Heels.. Oh My!
Tell us all about your recent exploits in Toronto and at the New York Burlesque Festival.
Toronto was amazing! Starlight Burlesque put on a wonderful show and the band made me get a standing ovation. The NYBF is one of the oldest Burlesque Festivals and it was so organized. Angie and Jen put on a wonderful production.
I got a giggle when you recently posted on Facebook that you were “looking to be in ‘like’ with someone.” You also said, “I need someone who can handle my ambitions and many different personalities. I need a mixture of George Jefferson, James from Good Times, Rick James and Prince.” I’d love to know which specific qualities from these men that you’d like to see in a companion.
George Jefferson was an entrepreneur and very outspoken while James Evans from Good Times was a Man’s Man. He was faithful to his wife and children. Even though his back was often against the wall, he keep pushing and striving for a better life for his family. He never gave up. Rick James was so eccentric and confident. We would probably fight over gold glitter but I know he would go to war for me if anyone disrespected me. Finally, we have Prince. Prince and Rick James are the epitome of a true artist and performer. I love the stage presence that Prince has and I would love to borrow his clothes.
In our September 2009 interview, you stated that you really hoped “to become a burlesque queen one day.” That very same month you were crowned queen at the New Orleans Burlesque Festival, and last month you handed over the crown to Texas’ own titan of tease, Miss Coco Lectric. What have you learned since being crowned queen? Do you have any advice for new queen Coco?
I’ve learned that a title doesn’t make you a queen in the community. The title will come from the mouths of the fans. Before I competed for the Queen of Burlesque title I was honored with recognition from my fans and burlesque royalty. 21st Century Pin Ups posted an on line poll for the top 50 burlesque performers worldwide and I made the top 20! I didn’t campaign for votes, the fans voted for me and I’m truly grateful. During my burlesque career I’ve performed with Immodesty Blaize, Dita Von Teese, Dirty Martini, Kitten Deville, Michelle L’Amour and many others. How many people can say that they had a chance to work with people that they admire and respect as artists?
When I made that statement, I thought that with a title I would gain respect from my peers or producers who feel that I don’t belong to the world of burlesque. Truthfully, as an artist you have to keep pushing and striving if you want to be the best. I won a title, but I still have to keep pushing until I break through the barrier. My work is far from over. My advice to Coco Lectric is to stay true to your fans, the stage and yourself.
It’s well known that Josephine Baker is one of your biggest influences. You did extensive research on her to plan your tribute routine. Tell us more about how her life and career inspired you.
Josephine danced through so many doors as an artist. She was the first black woman to appear in a silent film and the only woman to speak at The March on Washington. What I love about her was her drive and passion to grow as an artist and individual. She started out in Vaudeville performing in blackface and ended up a glamorous singer who lived in a castle. Every morning I look a photo of her from an early theater production, in which she is wearing blackface. Then, I look at a picture of her singing with her rhinestone microphone, wearing a larger than life head dress onstage in Paris. This ritual reminds me that the only limitations I have are the limitations that I set for myself.
The name of the show is Burlesque Royale. Danica Lee will present the show Saturday, January 22, 2011, at The State Theatre in Sydney. I’m working on performing in Paris and in London again in the near future. I would love to perform in all the venues that Josephine performed in including the Follies Bergère. She was the first and last exotic burlesque beauty to grace the stage. It is a lifelong dream of mine to perform my tribute to her at the Follies Bergère and at Theatre des Champs-Elysées.
You just moved back to New Orleans. What brought you back and what are you doing next?
New Orleans played an important role in my burlesque career so I wanted to go back to my burlesque roots. I have a few top secret plans that I can’t reveal at the moment but keep your eyes open!
Our Annual Holiday Gift Guide!
Best Gifts of 2010- We searched for the best in retro goodness for that special gal or guy in your life!
Shoshana’s Selections that Support Indie Artists:
Vinyl Decals by Beepart for Laptops and Wall Art $18 and up
Korero’s modern pin-up books (2010) – Choose 666 Photography, Viva’s Pin Ups, or Varga’s Kustom Kamera – $27/ea
Our new Pin Curl Pin Up Banner Tee – $15
Pin Ups for Pit Bulls 2011 Calendar – $20 Be part of the solution & get great wall art in the process!
Plaid Print Wool Fedora by The House of MacGregor $180
Divertida’s Picks Support Small Business:
Rago Shapewear – My absolute favorite! Ranges $35-$85
Ostrich Feather Robe from Fabulous Feathers- $440
Liquid Lunch Martini Set for Two from HomeWetBar.com $48
Femme’s Finds Keep it Personalized & Custom:
Vivienne of Holloway 1950 Halter “Custom” Luxury Dress $128
Engraved Skeleton Pocket Watch $60
Custom Corset from Jupiter Moon 3 $160 and up
You can find our 2009 Gift Guide here
Chicago’s Red Hot Annie talks doomed merkins, Vaudezilla, paychecks and Beast Women.
Interview: Femme Vivre LaRouge
You have been performing burlesque since early 2008, modeling since 2003, and I take it you were a ‘theatre kid’ before that, correct? Tell me a little bit about your journey to becoming a burlesque sensation!
You’re right! My first show was a church play in 1995. In college, I trained in acting, voice, and musical theater. In the ‘burbs’ I had my choice of some really prime roles, performing in at least 3 shows every year. When I moved into the city of Chicago, I was surprised to find that the skills I had weren’t enough to get roles. I worked in a couple of talent agency offices at first, and really got a solid picture of just how political the acting world in Chicago is, and I didn’t feel like starting over at the bottom to prove myself again. I went from being in a show all the time to just a few in a couple years – Elizabeth Proctor in “Crucible” and being part of a couple ensembles that did questionable sketch. During that time, I’d been watching burlesque shows, but it wasn’t until the end of 2007 that I decided to get involved in performing it.
Your numbers are marvelously unique and creative- where do you get your inspiration and what is your creative process like?
Thank you. My inspiration tends to appear out of thin air. One of the things that my particular performing education taught me was that “not thinking” and “not editing” is one of the best approaches to your preliminary expressions. It’s not fool-proof…I’ve put together some stinkers, too, but once the idea is up and moving, that’s when I can tell if it’s good and start to refine it. So the truth is, I’m not really sure how I ended up with some of my ideas…I’m pretty sure they actually picked me.
Your production company, Vaudezilla, offers a great deal, from dancers to all-out event planning, emcees to vintage celebrity look-alikes, and all the trappings of an entertaining evening, such as face painting and caricatures! How do you coordinate all your talent?
I’m very lucky to be surrounded by exceptionally talented and motivated performers, so coordinating all of the talent is really the easy part. If you’re really curious why we’re so successful, google Donna Touch, Jeez Loueez, Barrett All, RenZena, Trixie Sparx, and Cherry Brandi. It’s not hard to see why we’re able to provide such diverse offerings. When we need more people, I’m also able to book from the community – Chicago has an amazing burlesque community, boasting over 125 performers, the vast majority of whom I work with.
Aside from being remarkably creative, you must be a very organized and motivated lady to have accomplished all that you have- what advice do you have to give to girls with big dreams and little budgets? (Or to those of us that perhaps have less business sense that yourself?)
I am definitely organized – compulsively organized, you might even say!
My best piece of advice to girls with big dreams and little budgets is not to think of burlesque as an “every (wo)man for himself” sort of enterprise. There’s no prize for being able to do every facet of this crazy art form on your own. A self-titled master of all trades (the quintessential actor/model/burlesque dancer/DJ/costumer/choreographer/producer) leaves no role for other people in their creative process. And one of the things that most creatives who actually make a living (like myself) know is that you need a network to survive. I work on photo shoots and commercial sets several times a week, as a hair & makeup person. In that world, you are always part of a team – even if you are the star of the show, you know you can’t do anything without contributions from the director, producer, photographer, sound guy, makeup artist, and more.
Being the expert at a specific role is one of the hidden secrets to success in this industry. It’s not about knowing everything, it’s about surrounding yourself with the people who know the things you don’t and letting them shine brightly and fiercely as part of your team. I like DIY in my clothes and jewelry, not on my stage – there, I like experts who know and excel at their niche every single time they perform, whether it’s in onstage or backstage.
Have any anecdotes you would like to share with us about a particularly rewarding experience or, likewise, a performance fiasco?
I find that the stories I like to tell are usually the ones where I was humbled a bit, so I’ll share one of those. This year at the Texas Burlesque Fest 2010, I was performing my fan act to Erykah Badu’s “Annie Don’t Wear No Panties” song. In the act, I wear a merkin (a strapless panty that is taped or glued on). I had been relaxing upstairs in the air-conditioning prior to my act, and when walked down the stairs to the stage, this whoosh of steaming hot Texas air hit me. I should have known right then that my merkin was doomed. At first, I was so cocky! I walked out on the stage – feeling good about my new moves and fancy fan work (courtesy of fan dancing expert, Barrett All). But as I performed the song, my merkin started to slowly peel off! By the end, everyone could see it dangling between my legs and I actually had to rip it off and throw it into the audience! I’ve never heard a crowd go more crazy wild!
What do you enjoy most about performing?
I’m an exhibitionist! I love being in front of people, so that’s why I particularly dig the performing arts, but the aspect of burlesque that really appeals to me is the chance to refine acts over the course of time. When I was doing theatre and films, you really only had a finite number of chances to improve and develop the character. In burlesque, you might be doing an act for 5-10 years (or more, certainly), and that amount of time to refine the act is an exciting prospect for me.
What are your visions and hopes for the future of burlesque and variety?
I’d really like to see burlesque performers doing the things that will make them more money. I’d also like to see less producers in general, and more good producers who can actually create jobs and money for performers.
I commonly say that I don’t think burlesque makes money, but it’s usually because many performers don’t know how to manage themselves. I make an extraordinarily comfortable living as an artist, but I also won’t make business decisions based on ego.
I’ve seen performers accept a $100 one-time paycheck over a $20 paycheck someplace else that would have been worth more in the long-run. For example, I’ve worked with Beast Women for three years, now. When I started, there were 5-6 burlesque performers working with them. Now I’m the only burlesque performer from the original bunch that still works with them. And I’ve had at least a half-dozen really amazing, high-paying gigs come out of being a member of their ensemble, not to mention the advantage of having videos on a proper stage that have influenced my being hired online by dozens of other folks!
On the other end of the spectrum, there have been big name performers without managers who turn down the kind of money that would make us up-and-comers choke on our rhinestones. And they seem to do it just to keep the perception that they are worth more, something that agents would never recommend for folks like us, where – certainly with exception – even being one of the top 10 performers doesn’t exactly include national fame or loads of money. Ego focuses strictly on the money, business minds consider the money, as well as the longevity of the opportunity represented by the money.
Please tell us about your upcoming performances.
In 2011, I’ll be headlining the Jim Thorpe Burlesque Fest (www.jimthorpeburlesque.org), as well as a featured performer at the Southwest Burlesque Showcase. I’m also an Executive Producer for the Windy City Burlesque Fest (windycityburlesquefest.com). In addition to the shows I produce with Vaudezilla (Vaudezilla.com), you can find out more about my upcoming shows at RedHotAnnie.com.
Latex fashion designer Zamra of Dollskin Designs chats about second skin, lube, Jean Paul Gaultier, and being blown by Stephen Hawking.
You’ve stated that your work as an alternative model and a fire performer have greatly influenced your Dollskin Designs line. How so?
As an alternative model I was exposed to some of the best latex available & learned what looked good in pictures & on bodies. As a performer I had to figure out what to look for so I would be able to move around comfortably & what was easiest to get in & out of quickly. This has helped me make Dollskin Designs clothing fit better, accentuate each individual’s figure in the most flattering way, and more functional as far as getting dressed (or undressed!). Instead of struggling with powder or lube required for most pull-on styles my customers have only to zip or snap.
Tell us about the first time you bought a latex costume/outfit and what you love about wearing latex.
I stumbled upon my first latex piece, a halter dress, while out shopping with a friend. At that point I didn’t know much about latex & had to be helped into the dress by the sales clerk, but once it was on I was sold. It hugged my curves in a way I had never seen before! Later when I learned to shine it up, it was even more breath-taking. Latex feels, smells, & looks like nothing else out there, that’s why I love it!
When did your interest in fashion design begin? Are you all self taught, or do you have formal training in fashion?
I’ve always been interested in fashion. I always loved putting together outfits when I was little & grew up playing around with different styles. After dreaming about clothes I could never seem to find ready-made I started altering the stuff I could. That led to making some things from scratch. To date I don’t have any formal training, but do have plans to go back to school for it so I can polish my skills & learn some new tricks.
As a designer, what are the challenges in working with latex? What is rewarding? Is the delicate nature of latex a gift or a curse?
Latex can definitely be a pain in the behind sometimes. It will decide to tear if you breathe on it wrong, It’s finicky on how it needs to be cleaned & stored. It likes to get static-y & cling to itself, especially when glue is involved. The rewarding part comes when you finish a piece, get it on a body, & shine it. Then the full effect kicks in. It’s usually pretty amazing! Latex’s delicate nature can be a curse, but it’s also what makes this material so beautiful & unique.
What is the inspiration for your designs?
I usually designs around my own eclectic style preferences, but am influenced by almost everything! I’ll look at medical tubing & picture a futuristic cyber outfit. Or an ornate wallpaper design & imagine a fabulous gown.
Who are your favorite fashion designers right now (alternative or high fashion)?
Of course I’m a fan of other latex designers, but also follow lots of corset & lingerie makers, leather workers, etc. As far as high fashion I like Jean Paul Gaultier & Alexander McQueen, as well as the flashier designers from Project Runway & the like.
What should gals look for in creating their first latex outfit? What are the indicators of a quality piece?
You just need a basic idea of what you’d like. Some clients come to me with this & we come up with color options & creative details together. I always recommend starting with a basic, we can always add more detail to it later. I also like to factor in whether it needs to come on & off quickly & the buyers familiarity with this material.
Indicators of a quality pieces are seams that are smooth, clean & even. Zippers, snaps & under wire obviously take a higher skill set. The main way to tell is just to put it on & shine it up! It should mold to
you without being constrictive. You piece should be thick enough to smooth out your figure but thin enough to give that delicious second skin feel. And it should shine up to a glossy finish.
If you could have dinner with any five people, living or dead, who would you choose and why?
One seat at this fantasy dinner would belong to Gary Oldman. He’s always intrigued me with his chameleon like acting ability.
Another seat would go to Vincent Van Gough. Although I don’t care for many impressionist painters, I’ve always liked his work. And it would be fun to try to learn the truth behind some of the wilder stories about him.
Stephen Hawking is another choice. I’m a huge science nerd & love having my mind blown.
Trent Reznor would also be on the list. As musical geniuses go, he’s one of my favorites. His music makes me think, it would be nice to share!
Rounding out the guest list is the artist Olivia De Berardinis. She has worked with & portrayed some of the best pin-up, burlesque, & alternative models out there & her work is stunningly gorgeous.
What does the future hold for Zamra and Dollskin Designs?
In the immediate future is a men’s wear line & a brand spanking new website, www.dollskindesigns.com More style & color options. All new technically complex details courtesy of some schooling and a lot of practice. Basically I want to make all the pieces I’ve dreamed up for myself & make others latex dreams come true as well. Bigger & better everything!
Some Basics of Music Licensing for Burlesque Performers
The popularity of live burlesque performance has exploded in a major way in recent years, and music is a central element. But how do performers, producers and venue owners/managers get permission to use all of that music, ranging from jazzy standards to show tunes to current pop songs to classic rock and beyond? Music licensing–a fairly complex and involved process. Music licensing issues are addressed under the Copyright title of the United States Code. 
The way that music is used in burlesque performance impacts the entire essence of the show, but the costs to license certain songs may be very high or the songs may be unavailable altogether. The most famous example of a song that has not yet been made available for licensing for any purpose is Led Zeppelin’s “Stairway to Heaven.” You might remember the scene from the movie Wayne’s World where there’s a sign in the guitar shop that says “No Stairway to Heaven.” That’s an inside joke about music licensing!
No one, especially an up and coming performer generating exposure (pun intended!) in the industry, wants to be placed in a situation where unlicensed music causes problems or results in what is called a “cease and desist letter” to stop using the music without permission. Failure to comply can result in legal action, which is costly and time-consuming.
To avoid problems, a performer should use original music. But of course that is unrealistic. Ideally, the performer and show producer will get together as soon as possible and compile a wish list of songs early on in the process. The next step is to go to the websites of the three major performance rights societies to determine who controls the song, and who the songwriters and publishers are. The three websites are www.bmi.com (Broadcast Music, Inc.), www.ascap.com (The American Society of Composers, Authors and Publishers), and www.sesac.com (Formerly the Society of European Stage Authors & Composers, now with a global reach, known simply as SESAC.
The performance venue, such as a theater or club, may already have what is known as a blanket license with BMI, ASCAP and/or SESAC. There is often some sort of sticker or decal visible on the door or other location (such as a DJ booth) indicating that the venue is in compliance with one or more of the performance rights societies.
Two licenses are necessary to obtain if the pre-existing song is to be used in film or broadcast media, such as a concert DVD or documentary: a Synchronization License and a Master Use License. The Synchronization License is to obtain permission from the composer or publisher. The Master Use License is to obtain permission from the copyright holder, often the musician or record label.
The interplay between the two licenses is unique and can be frustrating, especially when trying to get a price quote for a license. A lot of the time, proof of having obtained one of the licenses is necessary to obtain the other and the cost of one license may be dependent on the cost of the other license. . This can be quite annoying when faced with a situation where the licensor of the Master Use License requires proof of a Synchronization License in order to even give a price quote for the license. Also, the quoted prices can vary depending on the use. Music rights for a concert DVD are likely to cost more than a documentary project with social or historical relevance.
On a closing note, music licensing has far-reaching impact that even extends to restaurants and our everyday lives. The most famous American song of all time that continues to have copyright protection is “Happy Birthday” by Patty and Mildred Hill. All those clever unique birthday songs you hear at restaurants are by necessity, rather than design.
Incredible but true, in order to publicly perform “Happy Birthday”, a license needs to be obtained or a blanket license be in effect for the venue. The song is not due to pass into public domain in the United States for another twenty years — in 2030. So, be sure to think ahead if you want to duplicate that famous very burlesque moment in the early-1960’s when Marilyn Monroe sang “Happy Birthday, Mr. President” to JFK!
This article is intended to be informational: an overview of some music licensing basics, and is not to be construed as legal advice. It is recommended that you consult an attorney regarding the specifics of your issues in this area.
Brian Landa is a Partner in the firm Landa & Landa where he practices Labor & Employment and Entertainment Law. Contact: BrianLandaLaw@aol.com, Website: www.LandaLawyers.com.
For our Copyright Law: Myth vs. Fact regarding Photography click here
 17 U.S. Code 101 et. seq.
I’ve got for you a traditional Christmas treat that’s already vegan (depending on your position on honey) and requires no baking, Sugar Plums! I bet you didn’t think sugar plums actually existed, or if you did, I bet you had no idea what they were or why they would be dancing in children’s heads. Delicious and easy is what they are. You can thank Alton Brown for this gem of a holiday recipe.
- 6 ounces slivered almonds, toasted
- 4 ounces dried plums
- 4 ounces dried apricots
- 4 ounces dried figs
- 1/4 cup powdered sugar
- 1/4 teaspoon anise seeds, toasted
- 1/4 teaspoon fennel seeds, toasted
- 1/4 teaspoon caraway seeds, toasted
- 1/4 teaspoon ground cardamom
- Pinch of salt
- 1/4 cup honey
- 1 cup coarse sugar
- Put your toasted almonds, apricots, and figs into a small food processor and pulse 25-30 times or until the fruit and nuts are chopped in small pieces. Stop before the mixture becomes a ball! In a medium bowl combine the powdered sugar, anise seeds, fennel seeds, caraway seeds, cardamom, and salt. Add the nut and fruit mixture and honey and mix well with your hands until it’s all combined. I recommend using gloves for this (and not the lacey or satin kind, I mean the latex or nitrile kind). Sprinkle a serving tray with some of the coarse sugar and place the rest in a small bowl or dish. Using your gloved hands, scoop the mixture into ¼ ounce portions and roll into balls, they will be about half the size of a golf ball. Roll them in the coarse sugar (this is where the small dish comes in handy) and place them on the serving tray. The sugar on the serving tray will prevent them from sticking. If you are not serving them immediately wait to roll them in coarse sugar. Sugar plums can be kept on a serving tray for up to a week, after that store them in an airtight container for up to a month. Wow your friends and family with the delicious knowledge of what a sugar plum actually is and how to make them.
Every year at Christmas my father would make a hot cocktail called a Tom & Jerry. Of course as a child I was being served the sans alcohol version which was still equally tasty. But for all you adults out there, here’s a holiday drink for you to enjoy, and because it’s warm you can drink it before noon instead of coffee!
- 8-10 eggs
- 2 lbs powdered sugar
- ½ tsp vanilla
- Pinch of salt
- 1/3 Brandy
- 1/3 dark Rum
- 1/3 Whiskey
- Any number of eggs, 8-10 will make a large bowl. Keep eggs at room temperature and separate the yolks and white into two bowls. Beat the egg whites until stiff. Beat the egg yolks until thick and creamy, it takes a lot of beating so you may want to use an electric mixer/whisk. If you don’t one ask Santa to get you one for Christmas. Gradually add at least a pound of powdered sugar to the egg white and continue beating until mixed. Add the same amount or more powdered sugar to the egg yolks and keep beating until thick and creamy again. Add a pinch of salt and about ½ tsp vanilla to the egg yolk mixture. Fold the egg yolk batter into the egg whites. In a mug, add hot water to a generous jigger of liquor and top with batter and freshly grated nutmeg. Do not stir! For underage persons create the same cocktail with just the hot water and batter topping.
*Vegetarian option: Although not quite the same, the closest thing I have found to replace the egg mixture in a Tom & Jerry is marshmallow creme, and believe me, I’ve done a lot of experimenting. If you’ve found a better replacement please write to Pin Curl and let me know!
We’ve compiled a list of classic pin-up and burlesque reads and films for those cozy winter nights.
Must See Films for the Vintage Minded:
Gilda (1946) Stars Rita Hayworth, one of the most famous pin-ups of WWII, who whispers the line- “I can never get a zipper to close. Maybe that stands for something.”
Dinner at Eight (1933) Ah, New York Socialites and their dinner parties! An all star cast including Jean Harlow.
Gypsy (1962) Based on the life of burlesque legend Gypsy Rose Lee
Guys and Dolls (1955) There’s a reason this one of the most famous comedic musicals of all time. Features Frank Sinatra and Marlon Brando, and the delightful “Hot Box Girls”
Ziegfeld Follies (1945) A film tribute to the great Ziegfeld, packed with astounding acts and top-notch performers.
A Night at the Opera (1935) The Marx Brothers at their finest
Our 2009 Fireside Guide featured: Some Like It Hot (Marilyn Monroe), I’m No Angel (Mae West), and A Wink and a Smile(Indigo Blue)
Must Read Books:
Bombshell: The Life and Death of Jean Harlow, David Stenn
Burlesque and the New Bump-n-Grind, Michelle Baldwin
The Burlesque Handbook, Jo Weldon
Complicated Women: Sex and Power in Pre-Code Hollywood, Mick LaSalle