Interview With Author, Actress and Award-Winning Documentarian
Leslie Zemeckis
1. Leslie,
what inspired you to write Behind the Burly Q: The Story of Burlesque
in America? It is very much an untold story, an impt part of our
American culture that has been overlooked because of the “stigma” of stripping.
When I met some former performers, all in their 70s 80 and 90s! I fell in love
with them felt their stories were so compelling that I had to tell it.
2. Why are you so passionate about preserving
the legacy of the pioneers of what was once taboo entertainment? Because it
is completely misunderstood. Few realized the size of a show (during its golden
age, the 20-40s), few even knew men were in a burlesque show, that the
comedians were kings! With shows in theatres all over, 3, 4 sometimes running 6
times a day, 6 days a week to full houses – there had to be something about
burlesque worth remembering and telling. It was a highly entertaining show and
employed thousands and entertained thousands more. I think the memories of the
performers deserves to live in the correct light. Some were artists and they
all worked incredibly hard – and it wasn’t a once taboo entertainment, it only
became that way in memory.
3. Why
is the world of burlesque misunderstood? Because of the strippers and the fact that it did degenerate
into pure naked stripping with go go in the 60s and on. But that isn’t at all
how it started out. We forget our legacy. Saturday Night Live, The Carol
Burnett Show – it all comes from burlesque. Burlesque was about humor. It was a
form of entertainment for the common man – many of whom were immigrants and did
not speak English. But they could understand broad comedy and a pretty woman.
4. You got Blaze Starr to write your
foreword. How fascinated are you by her notoriety and accomplishments?
I don’t think of her story as being “notorious.” I found her to be a brave,
plucky girl who came from poverty, and a close family (they still are today)
who made something out of her life. She has great humor, honesty and decency.
She had affairs and showed her body for a living, but that doesn’t make her a
good person. She conducted herself in a way to be proud. She didn’t hurt
anyone. She is a lady. She was smart with her money and a smart business woman.
She takes care of her large family. She’s a good friend to many. Beautiful,
wild – maybe – she had a good life.
5. What do we not know about America’s
original entertainers – those who worked with strippers, such as the singers,
comedians and variety acts? That burlesque was a training ground for
comedians. And they could move onto other forms of entertainment, tv, radio,
films. But the strippers could not. Even Gypsy’s films she did in Hollywood she
had to use her “real” name as “Gypsy” was too scandalous. A novelty act – hand
balancers, harmonica players, etc. Could and did made a decent living. Could
you imagine today a hand balancing act (except for cirque de sole) being able
to make a living and having enough venues to perform in for 25 years – as Rudy
and Renald did, whom I talk about in my book? And they loved being a part of
this big variety show “with a little more spice.”
6. Could
burlesque ever make a resurgence? No. Burlesque was, at one time, the only place where flesh
could be seen – pre bikini in 1946 and pre Playboy Magazine.
It was a ritual of sorts for high school boys to sneak in and see the girls.
Our sense of humor has become more sophisticated. The neo-burlesque scene is huge
– but that is strip acts – some incredibly inventive and creative. But it would
be expensive to employ a cast of 20 show girls, 2-4 comedians, novelty acts,
animal acts, singers, dancers and strippers. And we don’t have the venues or
audience to sustain a “wheel” today and really “train” these performers to
perfect their acts.
7. How did you gain unprecedented access to
the performer’s diaries, letters, albums, and memorabilia? Because I had
done so much research – I continue to – they were impressed with my knowledge
of a time that is clearly not of my era. I could recite names to them and know
other’s histories. I treated them with respect and promised them this was their
story – not mine. They were the most generous, heartfelt people I have ever
met. They invited me into their homes and send cards on my childrens’
birthdays. They have become my friends.
8. Can
you still be a feminist and support burlesque? I don’t even know what a feminist is. I would
see no reason why anyone couldn’t “support” burlesque. It was a fun humorous
form of entertainment. Today’s neo-burlesque seen is undertaken by women who
have the choice to strip or not. And some show nothing as it was in the old
days of classic burlesque. However in the 30s and 40s there were less options
for women – a lot from tough backgrounds of abuse and poverty and lack of
education. Stripping gave these women an opportunity to see something of the
country and to support themselves and often families.
9. Did
you feel more in touch with your sexuality and erotic side after researching
this book? I’ve always been in
touch with my sexuality. The misconception still seems to be that burlesque
makes women sexual or erotic. To many working in it – it was a job.
10. What challenges came up
in writing this book? Organizing all my
material. I have boxes and boxes of material. And sorting through fact and
fiction. Hunting down little known facts about performers. I love research.
11. Do most Americans today full appreciate
what these performers went through to perform their ribald pastime? They
have no idea how hard the work was, how much travel was involved, how lonely
being on the road could be – and the stigma these performers lived under their
entire careers. They worked incredibly long hard hours.
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Brian
Feinblum’s views, opinions, and ideas expressed in this blog are his alone and
not that of his employer, the nation’s largest book promoter. You can follow
him on Twitter @theprexpert and email him at brianfeinblum@gmail.com. He feels more important when
discussed in the third-person. This is copyrighted by BookMarketingBuzzBlog ©
2013
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