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A New Sunset
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A New Night
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A New Dawn
A poet, a fool, here be the tales of Jenyca Jewell.
I sometimes look up at the bit of blue sky
High over my head, with a tear in my eye.
Surrounded by walls that are too high to climb,
Confined like a felon without any crime,
Not a field nor a house nor a hedge I can see -
Not a plant, not a flower, nor a bush nor a tree...
But I'm getting, I find, too pathetic by half,
And my object was only to cause you to laugh;
So my love to yourself, your husband and daughter,
I'll drink to your health with a tin of cold water:
Of course, we've no wine, not porter, nor beer,
So you see that we all are teetotallers here.
James Withers Reynolds
An unfortunate man who spent some time in Newmarket
workhouse later became known as ‘the workhouse poet’.
This is how he described life there in a verse letter to his sister,
‘Written from Newmarket Union’, 1846
"who knew that the French cancan had revolutionary roots, and the dance is coded, physically coded? It's a language. It's a grammar among a group of people...it was incredibly defiant but coded so the dancers wouldn't all end up in the Bastille. The cancan is entertainment, but behind the entertainment is a much deeper and smarter meaning"
"Many composers have written music for the cancan. The most famous music (and probably the most well-known melody from any opera) is French composer Jacques Offenbach's galop infernal in Orpheus in the Underworld (1858).
Other examples occur in Franz Lehár's The Merry Widow (1905) and Cole Porter's Can-Can (1954). The cancan has often appeared in ballet, most notably Léonide Massine's La Boutique Fantasque (1919) and Gaîté Parisienne. A particularly fine example of a French Cancan can be seen at the climax of Jean Renoir's 1954 film of the same name."
Surprisingly, early Burlesque was produced, written and performed mostly by women.Originally, burlesque featured shows that included comic sketches, often lampooning the social attitudes of the upper classes, alternating with dance routines. It developed alongside vaudeville and ran on competing circuits. In its heyday, burlesque bore little resemblance to earlier literary burlesques which parodied widely known works of literature, theater, or music.
Possibly due to historical social tensions between the upper classes and lower classes of society, much of the humor and entertainment of burlesque focused on lowbrow and ribald subjects.
The genre originated in the 1840s, early in the Victorian Era, a time of culture clashes between the social rules of established aristocracy and a working-class society.
The popular burlesque show of the 1870s though the 1920s referred to a raucous, somewhat bawdy style of variety theater. It was inspired by Lydia Thompson and her troupe, the British Blondes, who first appeared in the United States in the 1860s.