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Which brings me on to our sketchers. Not only are the photos stunning, but the artwork produced on our evenings is insanely good and so varied too. You can see what I mean in our Facebook Group HERE. Plus, when all the sketchers leave saying they had a great time then that's how you measure success, I reckon.

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Looks like I am not taking off as much time as I thought. I have signed up for two small one day shows in the coming weeks; I go a bit nuts if I stay in my studio for too long.

The first show I am doing is Carnival Noir in downtown Los Angeles this weekend on July 12th. This is a wild event at the Club Monte Cristo; there will be DJs, dancing, magic, burlesque, and plenty of vendors there. This is a 21 and over event only with drink specials and good times for all. Tickets are on sale here.

The following week I will be at the Egyptian Theater for the 4 Hour Film Festival Double Feature and Carnival Masquerade on July 19th. The films being shown are the two classics Freaks and Nosferatu, both amazing and creepy films to chill you to the bone. There will be the Cirque Berzerk along with other live performances. This is also a 21 and over event and tickets are available here.

Have fun and keep creating…

–Diana

The post Some new shows coming up soon… appeared first on Diana Levin Art.

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On Saturday night I went to sketch a Vaudeville extravaganza in the gorgeous Art Deco Library Theatre in Sheffield, called 'The Velvet Burlesque presents Cupid Stunts'. The show was all down to the sheer hard work and creativity of my Dr Sketchy partner, Burlesque teacher and performer, Lara Gothique.

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By Noralee Frankel

In celebration of the anniversary of the first burlesque show in New York City on 12 September 1866, I reread a fun murder mystery, The G-String Murders, by Gypsy Rose Lee. “Finding dead bodies scattered all over a burlesque theater isn’t the sort of thing you’re likely to forget. Not quickly, anyway,” begins the story.

The editors at Simon & Schuster liked the setting in a burlesque theater and appreciated Gypsy’s natural style, with its unpretentious and casual tone. Her knowledge of burlesque enabled her to intrigue readers, who were as interested in life within a burlesque theater as in the mystery. Providing vivid local color, the novel describes comedic sketches, strip routines, costumes, and the happenings backstage. In a typical scene in the book, Gypsy muses about her strip act: “The theater had been full of men, slouched down in their seats. Their cigarettes glowed in the dark and a spotlight pierced through the smoke, following me as I walked back and forth.” Describing her band with precision, she wrote, “Musicians in their shirt sleeves, with racing forms in their pockets, played Sophisticated Lady while I flicked my pins in the tuba and dropped my garter belt into the pit.”

Gypsy worked as hard on her writing as her stripping, and The G-String Murders became a best seller. “People think that just because you’re a stripper you don’t have much else except a body. They don’t credit you with intelligence,” Gypsy later complained. “Maybe that’s why I write.”

The G-String Murders briefly describes Gypsy’s career as a burlesque queen at a fictitious theater, based on those owned by the Minsky family, in New York City. In the book someone strangles a stripper, La Verne, with her G-string. The police turn up an abundance of suspects, including Louie, La Verne’s gangster boyfriend; Gypsy; and Gypsy’s boyfriend, Biff Brannigan, a comic working in the club. After someone tries to frame Biff by placing the lethal G-string in his pocket, he aids the police in solving the crime. He’s also concerned that the police suspect Gypsy and he wants to clear her by finding the actual murderer. After deducing the identity of the murderer, Biff proves his theory by suggesting that Gypsy act as bait and remains in the theater alone to tempt the murderer to strike again.

More than just a page-turner, Gypsy’s novel stresses the camaraderie among the women. Sharing a dressing room, they throw parties with everyone contributing to buy drinks and food. The women joke, drink together, and confide in each other. The women also sympathize with each other over man problems and working conditions. Gypsy describes the strippers’ dressing room with a complete lack of sentimentality. The cheap theater owner is indifferent to the disgusting condition of the stripper’s dressing room toilet. To help the women, the burlesque comics pool their meager resources to buy the strippers a new toilet.

Gypsy expressed her conviction in the importance of organized labor through a character in The G-String Murders: Jannine, one of the strippers recently elected secretary to the president of the Burlesque Artists’ Association. When the strippers receive a new toilet, the candy seller suggested having a non-union plumber install it to save money. She refuses, forbidding any non-union member to enter the women’s dressing room. She snapped, “Plumbers got a union. We got a union. When we don’t protect each other that’s the end of the unions.” She reminded the other strippers of conditions before they joined a union, when they performed close to a dozen shows without additional compensation.

In the novel, Gypsy provided Jannine with another opportunity to talk about solidarity among burlesque performers and the unequal class structure in the United States. In a tirade against the police over the treatment of the strippers during the murder investigation, Jannine raged that the performers, both the strippers and comedians, might squabble but they were loyal and do not inform on each other. When a police sergeant tried to interrupt her, she retorted: “It’s the social system of the upper classes that gives you guys the right to browbeat the workers!”

Gypsy peddled the G-String Murders in the same clever ways that she publicized herself. In a prepublication letter to her publishers, she offered to “do my specialty in Macy’s window to sell a book. If you prefer something a little more dignified, I’ll make it Wanamaker’s window.” In an interview, she joked that if people did not know her in bookstores, she would remove an earring and ask, “Now, do you recognize me?”

As an added bonus, Gypsy put a lot of herself into this book, so the reader learns quite a bit about her burlesque work life, her sense of humor, her political beliefs, and sense of independence. Spending time with this mystery is a perfect way to celebrate a New York City burlesque anniversary.

Noralee Frankel is author of Stripping Gypsy: The Life of Gypsy Rose Lee. She recently co-edited the U.S. History in Global Perspective for National History Day. Dr. Frankel is a historical consultant and can be reached through LinkedIn or Facebook.

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The post Burlesque in New York: The writing of Gypsy Rose Lee appeared first on OUPblog.

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Here's a piece that I have made for an upcoming exhibition organised by Cardboard Shelter (a charity that raises money and awareness about homelessness). They can explain, what they do, better than I can, so, if you are interested, check out their website HERE. Plus, there's some lovely artwork to look at.

But, the gist of it is that a bunch of artists contribute a piece of work, to be sold at the exhibition. No themes and just one rule; the artwork must be on cardboard. 'The idea of the cardboard canvas is a nod towards the material which provides shelter to many homeless'. I pinched that quote from their site. See, I told you they could explain it better.

For this piece, I reworked one of the sketches I'd made at a Dr. Sketchy event, of the lovely Hell's Belle, on a piece of cardboard from an old, used, sketchbook (what else?). I knew that I kept those old pieces of cardboard for a reason.

Making this got me thinking; I hardly ever draw on coloured paper. I don't know why. I must do it more often. I like the effect and the tones I got from blending the graphite pencil into the grey board. But, don't hold your breath, I was saying something similar when I contributed to this good cause some time ago. Check THIS out.

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A couple more from this week's Dr. Sketchy event. In fact, I think I might just dedicate this whole week to lovely ladies and Dr. Sketchy.
Life drawing is all new to me so I have to ease myself into these drawing sessions. I start by sketching each new pose in my 'warm up' note book (the blue lined paper). If I like the pose, and the composition it makes on the page, I'll then re sketch it into my Moleskine sketchbook. I often then play around with the Moleskine sketches at home. Pimp them up, if you like.

So, that's what you have here; two versions of the same pose by the lovely Miss Pixie Parfait. The bottom is the warm up and at the top of this post the worked up version.

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Well, it seems that, this week my blog will be dedicated to lovely ladies all things Dr. Sketchy. I have so many sketches to post. I never usually come home from the Dr. Sketchy events with more than a couple of 'blog worthy' drawings but this time I've got a good handful (!).

The sketches on the blue lined paper are from my 'warm up' notebook. It's where I limber up my sketching hand. Life drawing is all new to me so I need a space to do that. For each pose I will do a quick sketch in the warm up book. Then if I like the pose and the composition and feel it will make a good drawing I resketch it (from life) in my Moleskine. Then when I get home I play around with the Moleskine sketches. Pimp them up, if you like.

So that's what you have here; above, the warm up sketch and below the Moleskine version of the lovely Miss Pixie Parfait.

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I love Dr. Sketchy. I really do. Last night was another great session at The Greystones in Sheffield. We got to draw some stunning models to an Eartha Kitt soundtrack. What could be better than that? I was right in the zone too and produced a load of sketches. Sketches I'm pretty chuffed with. Here's one. It's my prize winning (ahem) drawing of Hells Belle. I'll post the rest soon. Cheers!

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My name is Harmony Stiletto. I can sing you a tune that’ll make you cry. I’ll dance a dance that’ll make your head spin. Then, I’ll walk all over you in my red spike heels. And baby, you’ll beg for more, once I’m through …

Okay, this opening is not only due to the fact that I saw Sucker Punch yesterday—an ambitious cornucopia of violent imagery and kick ass babes, featuring a favorite Bjork song, “Army of Me,” and a seriously hot Emily Browning. This opening is mainly a farewell of sorts to my first month in a Scandalesque dance class.

How did I get involved with Scandalesque? Well, I’ve always been one to dabble in the hot dance movement of the moment. It started when I was sixteen with swing dancing. After about a year of lessons, I started to compete at local bars. The owners all thought I was over twenty-one. (Oops.) Then, in college, I took two years of belly-dance; I even taught for a while after graduation. Finally, as I mentioned in a previous entry (Burlesque University), I saw a friend of mine perform burlesque in Charleston, SC, and well, I was in love.

Scandalesque is a Phoenix standard. It’s a burlesque and cabaret show with “a vaudevillian aesthetic consisting of provocative singing, dancing, and outlandish variety acts.” Founded in 2004 by Julianna Curtis (Lady Fontayne) and Christy Zandlo (Pyra Sutra), it has now become a well-loved troupe, for those in the dance “know.” These ladies realized the need to cultivate the performing arts in Phoenix and generate more opportunities for local artists; hence, the foundation of Scandalesque.

I’ve been on their mailing list since I moved here, so when I finally saw a class I could fit into my stupidly busy schedule, I signed up. For each Saturday in the month of March, I was shaped, molded, and inspired by instructor, Jazz Corsette. She’s studied all over the world, and her expertise stretches beyond burlesque into ballet, jazz, swing, salsa, and contemporary modern. In other words, she made me feel like a bumbling child with two left feet. Not that it mattered, because I was too busy having fun to be self-conscious—which is what burlesque is all about.

Burlesque is sensual, exotic, and extremely difficult. But it also allows you to escape yourself. In class, Jazz gave us new names. Since I like to sing and always wear heels, “Harmony Stiletto” fit my personality. I was no longer Sara Dobie—sensitive, high-strung, anxious writer. Instead, I was Harmony—sexy seductress without a care beyond the stage. Every week was an escape from stressful reality, and every week, I left feeling empowered and invigorated.

At the last session, I got the chance to meet Scandalesque founder, Pyra Sutra. Pyra is a nationally renowned fire dancer. She has been featured on various television networks such as NBC, Bravo, Fox, MTV, and ABC; she’s performed for such celebrities as Dave Navarro, Tommy Lee, and Alice Cooper. This amazing woman brought burlesque to the Valley of the Sun, and yet, she bemoans the fact that even though she’s known in New Yor

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By Noralee Frankel

In late July, Catalonia a region in Spain outlawed bull fighting. The vote in parliament was spurred by a petition signed by 180,000 people. The burlesque queen and author, Gypsy Rose Lee would have been pleased.

What has a famous strip tease artist have to do with bull fighting? In 1950, Gypsy Rose Lee was blacklisted from radio and television, not for sexuality, but for her liberal politics. She had been a very successful moderator of two silly game shows, all the rage in the fifties. Unable to work on the new media, she left for Europe where she performed her strip tease.

In 1952, she traveled to Spain to make the movie with Paulette Goddard entitled “Babes of Baghdad.” (Unimpressed with the unsophisticated plot, Gypsy never bothered to see the movie. Back in New York, she dismissed it as “made strictly for Muncie, Indiana.”)

While there, Gypsy was impressed with the Barcelona Humane Society. Barcelona was the capital of Catalonia. The Society campaigned against bull fighting. According to Gypsy in an interview they were succeeding in convincing the upper-classes to avoid bullfights and cockfights by associating them with “unchic” behavior.

Gypsy’s advocacy on behalf of animals made her sensitive to issues such as a bull fighting. By 1950 Gypsy was vice president of Greenwich Village Humane Society. Gypsy worked tirelessly for the Humane Society. She enjoyed visiting animal hospitals where she felt the animals were receiving good care and her trips also lifted the morale of the staff. She was worried that problems with the blacklist might reflect on and hurt Human Society.

Gypsy brought back a gift from Spain. While in Spain, Gypsy adopted her first Siamese cat, Gaudi, named for a famous Catalonian architect. “When he came to me all he spoke was Catalonian.” Later she acquired her second Siamese in Italy, Teena. Later the couple had kittens. Gypsy quickly pointed out to the press that although she gave them pretty Siamese names, “they are solid sound substantial American citizens.” Given the blacklist, even the kittens had to be politically above reproach.

Fifty years after an earlier campaign, Barcelona has finally banned bull fighting, just as Gypsy Rose Lee wanted.

Noralee Frankel is the author of Stripping Gypsy: The Life of Gypsy Rose Lee and Assistant Director, Women, Minorities, and Teaching at the American Historical Association.

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Noralee Frankel is the Assistant Director, Women, Minorities, and Teaching at the American Historical Association.  Her new book, Stripping Gypsy: The Life of Gypsy Rose Lee, is the biography of a woman who was constantly torn about her choices as a beautiful and intelligent woman immersed in the burlesque world.  In the original post below Frankel looks at Gypsy’s patriotism.

Gypsy’s greatest triumph as an entertainer was not her performance at Minsky’s, at the World’s Fair, or even on Broadway; but her tours of military bases beginning during World War II. In December 1943, she hitched up her trailer to her car and drove from New York to places like Fort Bragg, North Carolina, haggling with gas rationers along the way.

Gypsy encouraged soldiers’ participation in her act, even though their contribution brought more rehearsals and a less polished show. One Friday night, Gypsy performed for Army Air Force pilots in training at Gunther Field, Alabama. Her number “Gimme a Little Kiss” depended on at least three volunteers. Another number, “I Don’t Get It,” included Gypsy and the Gunther Field Rockettes. With Gypsy supplying the costumes, soldiers dressed as strippers. The program indicated that Gypsy’s performance with the enlisted men was the first time the post had staged their own show. At Bergstrom Field in Austin, Texas, the male chorus line wore costumes with heart motifs and GI mops for wigs. Gypsy donated one of her outfits to a soldier who impersonated her amazingly well in a show entitled “This Is the Army.”

Gypsy also liked to parody gender roles in these skits and acted as the sexual predator against a poor, helpless enlisted man. In the scene, Gypsy took a soldier out on a date and then she would try to convince the soldier to let her come into his home. The soldier demurred, remarking on the lateness of the hour. When Gypsy tried to kiss him, he exclaimed, “Certainly not! I’m not that kind of boy!” He insisted, “I’d hate myself in the morning.” Gypsy responded that she loved him “like a sister.” The soldier retorted, “My sister never looked at me like that.” A military police officer misreading the situation once assumed the soldier had been bothering Gypsy. He ordered the soldier to move along.

In 1951, Gypsy wanted to perform for troops stationed in Germany while she was touring Europe, but the army refused, probably because she was blacklisted from TV and radio for her political views a year earlier. By the mid-1960’s, Gypsy was back in good graces and off she went to entertain soldiers, as she had 25 years earlier, only this time in Vietnam.

In her fifties, she no longer performed, but still thought of herself as a “sexy grandmother.”

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