Nuggets of fascinating lore lie buried in mounds of dull prose. (50 b&w illustrations)
A mind-numbingly detailed chronicle of the rise and fall of a ribald form of popular entertainment that flourished from the 1920s through the 1940s.
Shteir (Dramaturgy and Dramatic Criticism/DePaul Univ. Theatre School) begins her extensively researched study with an examination of striptease’s 19th-century antecedents in tableaux vivants, which featured naked or semi-naked women posing as statues or figures from paintings. The real story, however, begins when posing undressed turned into undressing seductively in burlesque theaters, vaudeville houses, nightclubs, carnivals, and fairs across the country. Shteir ties the rise of striptease to the rise of the sexually liberated New Woman in the Jazz Age. This rebellion against the confines of Victorian prudery did not go unchallenged; the author describes struggles between theater owners and various anti-vice reformers who tried to shut them down. The text is packed with lengthy descriptions of various strippers’ costumes, props, and routines, including even the lyrics to the songs they sang; the abundant illustrations include photos of such well-known artistes as Gypsy Rose Lee, Sally Rand, Lili St. Cyr, Blaze Starr, Tempest Storm, and Candy Barr, as well as many lesser-known peelers. The author also examines these women’s private lives in an attempt to discover who they were and why they became strippers. She cites a variety of factors for the decline of striptease: audiences lost to TV, federal investigations into organized crime, the changing roles of women in society, the rise of the pornography industry. By 1969, which Shteir pinpoints as the year of its demise, the Sexual Revolution had so changed how Americans thought about nudity that striptease’s once-glamorous stars seemed downright old-fashioned. Its golden era may have long since ended, but the author asserts that striptease will continue to command our attention as long as the promise of sex is more alluring than the reality.
Nuggets of fascinating lore lie buried in mounds of dull prose. (50 b&w illustrations)Pub Date: Nov. 1, 2004
ISBN: 0-19-512750-1
Page Count: 259
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2004
BOOK REVIEW
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.
Greed, depravity, and serial murder in 1920s Oklahoma.
During that time, enrolled members of the Osage Indian nation were among the wealthiest people per capita in the world. The rich oil fields beneath their reservation brought millions of dollars into the tribe annually, distributed to tribal members holding "headrights" that could not be bought or sold but only inherited. This vast wealth attracted the attention of unscrupulous whites who found ways to divert it to themselves by marrying Osage women or by having Osage declared legally incompetent so the whites could fleece them through the administration of their estates. For some, however, these deceptive tactics were not enough, and a plague of violent death—by shooting, poison, orchestrated automobile accident, and bombing—began to decimate the Osage in what they came to call the "Reign of Terror." Corrupt and incompetent law enforcement and judicial systems ensured that the perpetrators were never found or punished until the young J. Edgar Hoover saw cracking these cases as a means of burnishing the reputation of the newly professionalized FBI. Bestselling New Yorkerstaff writer Grann (The Devil and Sherlock Holmes: Tales of Murder, Madness, and Obsession, 2010, etc.) follows Special Agent Tom White and his assistants as they track the killers of one extended Osage family through a closed local culture of greed, bigotry, and lies in pursuit of protection for the survivors and justice for the dead. But he doesn't stop there; relying almost entirely on primary and unpublished sources, the author goes on to expose a web of conspiracy and corruption that extended far wider than even the FBI ever suspected. This page-turner surges forward with the pacing of a true-crime thriller, elevated by Grann's crisp and evocative prose and enhanced by dozens of period photographs.
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.Pub Date: April 18, 2017
ISBN: 978-0-385-53424-6
Page Count: 352
Publisher: Doubleday
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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