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Aerial Acts Burlesque Cabaret Comedy Dance Juggling Magic Music Performing Arts

Vaudevisuals interview with Kyla Ernst-Alper ~ The Underground Cabaret!

Brought to you by Kyla Ernst-Alper and her team at Anver Entertainment. DeKalb Stage presents The Underground Cabaret.

On any given evening, join one of our sensational hosts, The Maine Attraction and Ivory Fox, for the first circus and variety show to open in Downtown Brooklyn. The showcase will feature live aerialists, legendary burlesque performers, and award-winning variety acts.

Rotating Cast of Performers

Media Noche, Gigi Bonbon, Darlinda Just Darlinda, Nina LaVoix, Chartruice, Samson Night, Margot Mayhem, Tansy, The Great Dubini, Michael Karas, Jean-Taé Francis, Pinkie Special, Snö Bunta, The Dragon Sisters, Ben Franklin, Joshua Dean, Elizabeth Munn, Lisa Natoli, Kyla Ernst-Alper, Lani Corson, Kris Olness, Juanita Cardenas, Gemini Blitz, Troy Lingelbach, and many more!

COVID Safety Protocols Are In Place.

Face coverings, social distancing, temperature checks, and limited capacity are strictly enforced …

Dinner by Miznon

3-Course Mediterranean Meal​

Thursdays and Saturdays

7:30PM – 10:30PM

The Show Must Go On: April 8 – May 31

Only at DeKalb Stage​

Dress Code

Dust Off Your Finest Frocks and Sharpest Suits

Limited Seating. Walk-Ins Welcome.

Tickets: $135.00

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Categories
Burlesque Comedy Coney Island USA

‘Once Upon a Time In Coney Island’. 12/5/20 ~ A Benefit

Life hasn’t been the same without the joy of visiting Coney Island USA! Not being able to see the shows, chat with friends and eat some popcorn at the Freak Bar. This Saturday the folks there have organized an amazing cast of ‘very important’ people for your viewing pleasure!

From their site: Once Upon a Time in Coney Island, a salon-like evening of readings, stories, performances, and memories that capture the heart and soul of the People’s Playground. Hosted by the inimitable Adam Realman, our Museum benefit will feature luminaries including Neil Gaiman, Alice Hoffman, Kevin Baker, Bill Griffith, Todd Robbins, Richard Eagan, Trav SD, and others to be announced. Amid the chaos and strife that defined 2020, this special event is an easy escape into the wonders of Coney Island. Apart but together, we’ll focus on what makes this place so magical … and with your generous support, begin the next chapter in its spectacular story.

For more information go visit them ‘virtually’ and see what is in store for you when you attend this ‘Grand Event’.

Ticket sales end on Saturday, December 5, at 12pm ET

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Categories
Burlesque Cafe Istanbul Circus Comedy Juggling Magic Performing Arts Photography Sideshow Southern Sideshow Hootenanny Tattoo Women

6th Annual Southern Sideshow Hootenanny – New Orleans

March 6-8th, 2020 – New Orleans – Cafe Istanbul

A visual survey of the 6th Annual Southern Sideshow Hootenanny. Part 1 of 3.

Monsters of Schlock hosted the ‘Sideshow Innovators’ Show – Friday, March 6th, 2020.

Jezzibel performs the infamous ‘blockhead’ act with an ice pick.

Jezzibel performs a ‘spark’ spectacular finale.

Lunival Lousion performs a wonderful hula-hoop act.

Betsy Propane entertains the audience with her lovely voice while escaping from her straight jacket.

Jared Janssen charmingly performed juggled with ‘live food’.

Betsy Ritz caught a tongue on her mousetrap while kneeling on the floor.

Dante fooled the audience with his charming magic act.

Salem added a touch of the bizarre with the outfit and magical offerings.

Salem combined the ‘blockhead’ act with the seductive.

Chatty the Mime performed silently combining the chair with mimetic skills.

Nathan McScary dazed the audience with his single-handed knot tying tricks.

Emma D’Lemma performed many skills including walking on bottles.

Sweet Pepper Klopek has his tongue caught in a mousetrap set off by his partner

The Monsters of Schlock finish off the evening’s festivities. Sweet Pepper prepares to slam the cinderblock with a sledgehammer on his partner’s groin. But first a gentlemanly hand butt.

This is the first of 3 separate shows that I documented at The Southern Sideshow Hootenanny. Check back in the next few days for photographs of the other two shows. The All-Star and Living Legends Show (Sat night) – Troupe Night(Sunday show.)

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Categories
Burlesque Cabaret Magic Music Photography The Slipper Room Variety Arts Women

Corn Mo and The Love Show ‘Show’ at The Slipper Room

The Corn Mo & Love Show Show

Last Monday every month at The Slipper Room.

Corn Mo sings one of his tunes for the audience to start off the show.

Featuring the magic of Matthew Holtzclaw. Seen here doing a fire magic trick.

Stage presence is such an important part of the magical performance and Matthew has it.

Laurie Lee Anderson and Sarah Conrad danced up a storm on one of the numbers.

The evening had an edgy feel to it when “Stache Novak” showed up to perform his ‘male strip routine.”

Introduced as the ‘bathroom attendant‘ he quickly removed his pants for the audience’s delight.

And then Laurie Lee Anderson (the winner of Miss Coney Island USA 2020) started her amazing act.

Ridding herself of the dinosaur head she immediately titillated the audience. An audience pleaser for sure she got to her basics real soon. Rockin the house with her jump rope routine Laurie Lee Anderson was wonderful.

Entertaining the audience with her unique looks and style.

For more information about Corn Mo’s show and The Slipper Room

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Categories
Burlesque Comedy Performing Arts Photography Sideshow Video Women

Southern Sideshow Hootenanny Benefit in NYC – @BeautyBarNYC

Once a Year in New Orleans… a unique gathering of special people occurs!

Southern Sideshow Hootenanny

To help raise funds for next year’s SSH event (The Lady Aye is a Board Member of SSH) NYC organized a special night @The Beauty Bar on 14th Street. The lineup was terrific and the torrential rain storm didn’t stop those of us that wanted to attend!

Here are some visuals in case you missed the event.

Hosting the evenings talent and festivities was The Lady Aye.

Mike Zohn showed off 2 antique panels from a magician’s cabinet probably used in the 1920’s.

Rob Romeo  showed his ‘nail shoes’ and then demonstrated for the audience.

Rob Romeo walking around the stage with his ‘nail shoes’ on. (painful?)

Matt Knife showed off his ‘nut sack’ and ‘other things’ during his boylesque act.

His costume was amazing and his stage presence hysterical.

The Lady Aye performed a classic sideshow act ‘the human blockhead’ but used silverware!

Betsy Propane heated up the room with her wonderful singing and straight jacket escape.

To cap off the show Gin Minsky tap danced and revealed a few things that delighted the audience.

In between the acts a lovely hostess sold ‘Raffle’ tickets for many prizes that were rewarded to the audience near the end of the evening.

Here is a video excerpt from Rob Romeo’s act!

CLICK HERE For more information and to keep up to date on the Southern Hootenanny Sideshow

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Categories
Burlesque Comedy Music Performing Arts Photography The Slipper Room Variety Arts Vaudeville Video Women

Trav SD’s American Vaudeville Theatre @The Slipper Room – April 16th, 2019

Trav SD’s American Vaudeville Theater – 10th Year Celebration

Trav SD heads up the evenings festivities! 

Jonathan M.Smith performs a wonderful version of Georgie Jessel

Betsy Propane performing a lovely Sophie Tuckeresque song.

Bob Greenberg performs his wonderful version of Jackie Gleason and Oliver Hardy.

Lady Von Tramp (Daniela Paiewonsky) turned up the heat at The Slipper Room with her lovely act.

Dana Friedman crossed a few lines with her very moving stand up routine.

Closing the show was the deliriously handsome Wilfredo with his delightfully funny songs.

The curtain call once again called out the entire cast for a bow!

Jonathan Smith and Charley Layton before the show backstage.

For more Vaudeville news and related information check out the source TRAVALANCHE

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Categories
Bouffon Burlesque Clown Comedy Coney Island USA Juggling Performing Arts Photography Sideshow Street Performing Tattoo

Roc Roc-It, the Clown Prince of Berlin

Roc Roc-It makes carny gold out of everyday objects. Grinning like a roly-poly overgrown tattooed child, he ambles onstage declaring, “This is the most dangerous stunt ever!” Then he reaches into a black drawstring bag and pulls out an ordinary disposable latex glove.

Making a big hoopla over stretching the glove out, he finally manages to distend the cuff over the top half of his face. Then he proceeds to huff and puff, inflating the glove on his head until it resembles a bloated coxcomb or a balloon mohawk. The audience laughs at the ridiculous sight of a potbellied man wearing a blown up glove on his head, but as the glove gets larger and larger, the laughter turns to cringes and cries of protest. Roc-It jacks up the mounting anticipation with goofy pratfalls and sideshow banter until the glove finally bursts all over his face.

With ingeniously simple acts like these, Roc-It has earned the monicker Clown Prince of Berlin. He has indeed lived in Berlin for about ten years – in a caravan outside a squat in an industrial part of Kreuzberg – but Roc-It was actually born in a small town near the Black Forest. “I’m a country boy,” he says with a wide smile that reveals several missing teeth. After several failed apprenticeships, he finally found his calling on a trip to Barcelona. “I saw all these street performers working on the Rambla,” he recalled, “and I was like, yeah, wow, that’s what I want to do.”

Sleeping on the beach and practicing everyday, he built up skills in Diabolo and fire. He learned to hammer a nail up his nose and juggle balls. Then after five years performing throughout Europe, he found himself in New Orleans breaking up with an ex-girlfriend. “I had two weeks left on my visa,” he said, “and I thought, fuck it, I’m going to go and visit some friends in New York.”

It was on his very last day in New York that he made a fateful visit to Coney Island with no other desire than to do a final show on the beach. “I knew nothing about what a sideshow is,” he said, “My friends were jugglers, guys riding a toy unicycle, doing all this classical stuff, and my show was always a bit weirder. And I was always a bit weirder character. So for me, it was basically, like, okay, there’s the main show and I’m the sideshow.”

With that in mind, he put his kit an old green suitcase and painted the words CIRCUS SIDESHOW on it. He was carrying the suitcase when he strolled past Coney Island Circus Sideshow and caught the attention of impresario Dick Zigun, who invited him to perform. Roc-It was a hit and stayed on for the next three years. “They fired the midget,” he laughs.

“While I was in New York, I did a thousand shows a year,” he estimates, but his visa had run out and living illegally finally wore him down. “I was working so much and so intensively, I got injured quite a lot,” he remembers, “I knocked my teeth out. I broke several ribs on stage. I burned my face off. And at one point, it just got to be like, it’s too much.”

Since returning to Europe six years ago, he continues to wow crowds in burlesque shows and street festivals. Twice a year, he performs with Kabaret Kalashnikov, a variety show with an Eastern European storyline. On summer nights, you can find him in the middle of a circle of people at Alexanderplatz during Berlin Lacht Fest. He also regularly performs with the Squidling Brothers Circus Sideshow when they are in Europe.


“Dazzle them with brilliance or baffle them with bullshit,” he declares, rolling up his sleeve to display a motto tattooed on his arm, “Either it has to be really poetic or just so ridiculous, that it’s just as good.”

Roc Roc-it at Baum Haus Comedy Open Air 
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Categories
Abrons Art Center Bouffon Burlesque Comedy Dance English Pantomime Music Performing Arts Photography Physical Theater

“Jack and the Beanstalk” at Abrons Arts Center

ABRONS ARTS CENTER AND ONEOFUS PRESENTS WORLD PREMIERE OF 

JACK & THE BEANSTALK

“Now more than ever, New York City needs family theater that is inherently irreverent and lightly political—with good eventually triumphing over evil,” says Fraser and Muz. “We got married in the Playhouse 2012, performed Beauty and the Beast in 2014 to critical acclaim, and consider Abrons to be our artistic home. Let’s celebrate surviving 2017 together and bring the whole family to this riotous, all-ages spectacular.”

Julie Atlas Muz directs “Jack and the Beanstalk” and writer Mat Fraser’s adaptation shows much affection for its Lower East Side setting.

Abrons Arts Center and ONEOFUS are proud to present the world premiere of Jack & The Beanstalk, a holiday extravaganza that promotes radical joy and equality in all forms. Running December 6–23Jack & The Beanstalk features a diverse cast of 22 Lower East Side performers. Written by disabled actor and writer Mat Fraser and directed by legendary feminist performer Julie Atlas MuzJack & the Beanstalk brings tap-dancing animals, puppets, pie fights, pop music, cross-dressing characters and the glitteriest of sets to the Lower East Side. Returning to Abrons Arts Center after their critically acclaimed show Beauty and the Beast, Fraser and Muz are thrilled to be making their first all-ages event.

Matt Roper surrounded by the ensemble

The cast of Jack & the Beanstalk, a mix of veteran and up-and-coming performers, includes Dirty MartiniHawthorn Albatross IIIMichael Johnnie LynchMatt RoperJenni GilDavid IlkuChristina DuryeaSarah FolkinsEkaterina SknarinaJonathan RodriguezPoison IvoryAllison JaneMikey GiordanoLute BreuerRachael Wickham Shane and Kate Brehm, as well as a chorus of six children: , and Nate Maxwell.

Performances of Jack & The Beanstalk will take place December 6–23 at Abrons Arts Center, located at 466 Grant Street in Manhattan.

 Tickets, priced at $25–$45, can be purchased by visiting abronsartscenter.org or by calling 212-352-3101.

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Categories
Burlesque Cinema Comedy Film Performing Arts Photography Variety Arts Vaudevisuals Bookshelf

Vaudevisuals Bookshelf – “The Night They Raided Minsky’s”

When I was a student at SVA studying Film Production I spent a day walking around the neighborhood and found a film set which had been created on West 26th Street. They had reconstructed an old 1920’s neighborhood to film “The Night They Raided Minsky’s”. I was really taken by the work they did on that block. It made it ‘old’ and remarkably believable. The set even included an elevated train and track.  Here is the book the film was based on.

THE NIGHT THEY RAIDED MINSKY’S by Rowland Barber (April 14, 1920 – September 5, 2012)

My signed copy of the original hardcover copy. ‘Morton Minsky’!

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Text from inside front cover flap.

“Take it Off, Take it Off!

In response to the perennial pleading voice from the rear – here is the book that does it. It takes off the dark curtain that, these 35 years, had shrouded the great American institution of burlesque.

It brings back the days of Minsky Brother’s pleasure palace on New York City’s Lower East Side, where, for three bits, you could feast your eyes on those Risque, Frisque Minsky models; those Union Suit teasers; those Naughty-Night Girls and those 13 Luscious Peaches on an Illuminated Runway of Joy.

It puts you in the audience. Around you are the neigborhoodniks (with salami lunches and a change of socks) and the Uptown crown, among whose regulars are Robert Benchley, Edmund Wilson, John Dos Passos, e.e. cummings and Otto Kahn.

It gives you, in short, an uncensored look at the unclad, unblushing Eden that was burlesque in the days when funny men were funnier, girls were girlie-er, and the only G-string in the house was on the Pro-fes-sor’s fiddle. You see the strange extravaganza, eavesdrop on the dressing-room conversations, kibitz the permanent floating pinochle game of the backstage area, case the house as the money is made and lost. You meet one of the most fantastic casts ever assembled between hard covers, includingL:

Mlle. Fifi from Paris, France – she drove a million Frenchmen wild!

Jack Shargel, Jack Shutta, Raymond Paine, Walter Brown, with their hoary, hilarious comedy bits.

Leon Trotsky (in person), who just happened to be around.

Billy Minsky, the Bantam Barnum of Burlesque, who masterminded the whole shebang.

It is a tantalizing, provocative, wildly entertaining. And the sensational, full cast, five-star Grand Finale is reenacted before your very eyes as the Society for the Suppression of Vice picks April 20, 1925, for the historic NIGHT THEY RAIDED MINSKY’S.

The author Roland Barber also co-wrote “Harpo Speaks” with Harpo Marx and “Somebody Up there Likes Me – My Life So Far” with fighter Rocky Graziano.

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The book was made into a film (directed by William Friedkin) in 1968.

In the book Minsky’s Burlesque, Morton Minsky (with Milt Machlin) wrote, “As for April 20, 1925, the day that the raid on which the book was based took place, it was hardly epochal in the history of burlesque, but it did turn out to be a prelude to much greater troubles… Anyway, the raid story was fun, but the raid itself was simply one of the dozens to which we had become accustomed; certainly no big crisis.”

Minsky’s theater, the National Winter Garden on Houston Street, was raided for the first time in 1917 when Mae Dix absent-mindedly began removing her costume before she reached the wings. When the crowd cheered, Dix returned to the stage and continued removing her clothing to wild applause. Billy Minsky ordered the “accident” repeated every night. This began an endless cycle; to keep their license, the Minskys had to keep their shows clean but to keep drawing customers, they had to be risqué. Whenever they went too far, however, they were raided.

According to Morton Minsky, Mademoiselle Fifi was a woman named Mary Dawson from Pennsylvania. Morton Minsky suggests that Billy Minsky persuaded Dawson to expose her breasts to create a sensation. By 1925, it was permissible for girls in legitimate shows staged by Ziegfeld, George White and Earl Carroll—as well as burlesque — to appear topless as long as they didn’t move (as a “living tableau”). Mademoiselle Fifi stripped to the waist but then moved, triggering the raid. “Although the show, in general, had been tame,” he wrote, “Fifi’s finale and the publicity that soon followed the raid ensured full houses at the soon-to-be-opened [Minsky’s] theater uptown [on 42nd Street].”

In 1975, Dawson, then 85, refuted the legend. “I was never a stripteaser. I never did anything risque.” She said that novelist Rowland Barber “just put all that in the book to make it better.” She wasn’t even at the theater that night. Her father was a policeman and a straitlaced Quaker, although he never came to New York City and never led a raid on one of the Minsky burlesque houses.

For information on the film (Norman Lear, Jason Robarts, Elliot Gould, Britt Ekland, Bert Lahr, Norman Wisdom) go to Wikipedia HERE!

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Categories
Burlesque Cabaret Music Performing Arts Photography Video

Weimar Cabaret and Le Pustra’s ‘Kabarett der Namenlosen’

This blog post is authored by our Berlin Correspondent Victoria Linchong.

For most of the world, the mention of Berlin invokes a decadent underworld of androgynous women in beaded gowns and men in monocles smoking from ebony cigarette holders while Marlene Dietrich straddles a chair and tosses out a saucy song. But you would be quite disappointed if you were trying to find that vanished world in Berlin today.

True, state-run varieté exists in every city, but these are mainstream family-friendly dinner theaters. They are not the underground cabarets of the Weimar era with its barbed political satire and transgressive sexuality. It’s hard to believe, but with the Nazis and the war followed by the division of the city, it’s only now that Berlin is recovered enough to start revisiting the legacy of its underground cabarets.

The glamorous mother of all Goldene Zwanziger parties in Berlin is the Bohéme Sauvage and that only began in Else Edelstahl’s apartment in 2006. The following year, neo-burlesque found its way from New York City to a Berlin tiki bar and this activated a new generation of underground cabaret. Since then, a dozen or so burlesque and cabaret shows have opened in various bars in Berlin, most notably Pinky’s Peepshow and Fête Fatale at Bassy Club, and Sunday Soirée at Primitiv. One of the latest and most exciting additions to this burgeoning scene is the Kabarett der Namenlosen, which premiered in Berlin two years ago. Invoking the unsettled ghosts of Weimar cabaret, it almost immediately was a legendary hit.

Kabarett der Namenlosen is the brainchild of Le Pustra, a performance artist originally from South Africa who performed for many years in London. On a visit to Berlin in 2012, he took a walking tour through Christopher Isherwood’s haunts in West Berlin. The tour guide mentioned the Kabarett der Namenlosen, a notorious open stage of the 1920s, where amateur performers were often reduced to tears by malicious audience members. Le Pustra was struck by the evocative name and after moving to Berlin, he set about creating a cabaret-theater piece around the idea of the nameless lost performers of the Weimar era.

Kabarett der Namenlosen is essentially a classic varieté revue with several international performers doing their signature acts loosely framed by a story. But it’s a vastly different experience from any other varieté in Berlin, with its lush visual style, copious nudity, and dark subject matter. Yes, there are plenty of comedic moments – a British Music Hall number with Miss Annabel Sings, a gag with Julietta la Doll as a telephone sex operator. But Le Pustra also plays a drag artist who is betrayed by a friend (performance artist Reverso) and London burlesque sensation Vicky Butterfly is heartrending as a flighty party girl who accidentally overdoses on cocaine. It’s an immersive experience that leaves you feeling like you’ve somehow traveled back in time to 1930, went on a bar crawl from the Kadeko to the Weiss Maus to the TingelTangel, and got to know some of the fragile and needy nightlife denizens of that fleeting time period.

The most evocative moment in this cabaret-theater piece comes at the end. The audience is given little pieces of paper with what looks like a German poem and the cast comes out with a large board with the same writing. Le Pustra begins to recite the English translation:

“What makes them think they have the right
to say what God considers vice?
What makes them think they have the right
to keep us out of Paradise?
They make our lives hell here on Earth
poisoning us with guilt and shame
If we resist, prison awaits
so our love dares not speak its name.
The crime is when love must hide
From now on we’ll love with pride.”

These are the lyrics to Das Lila Lied (The Lavender Song), the hugely popular gay anthem of Weimar Berlin. At the end of the Kabarett der Namenlosen, everyone is encouraged to sing along using those little pieces of paper, which have the refrain in the original German. It’s a powerful moment, even if most audience members don’t know the song and have no idea that they are participating in a remarkable homage to all the nameless artists lost in the untimely end of Weimar cabaret.

Written by Russian émigré Mischa Spoliansky and native Berliner Kurt Schwabach, Das Lila Lied was first recorded in 1921 by the Marek Weber Orchestra. Even though censorship was relaxed and there were several gay cabarets in Berlin, it was still illegal to be homosexual, not to mention socially taboo. Spoliansky wrote the song under a pseudonym and no one knows who sang the original recording. Most people think the uncredited singer was Leo Monesson, one of the most popular crooners of the Weimar era, who is credited on over 1,400 recordings for all the major labels of the era and starred in 11 films.

Spoliansky, Schwabach, and Monesson were all Jewish. One by one, they fled Berlin as the Nazis rose to power. Spoliansky emigrated to London where he eventually became a film composer and never returned to Berlin. Schwabach had a more difficult time and hopped from London to Prague to Palestine during the war years. Although he found relative success after returning to Germany in 1949, he never recovered from the persecution he suffered and committed suicide in 1966.

Monesson also never recovered from the Nazi era. He went from Paris to Spain to New York, where he settled in the town of Ardsley and became a postage stamp dealer. In 1952, he applied for compensation to the Berlin State Office, asserting, “I managed, after 1933, never again to earn money by singing. My playing has been developed by German culture and elsewhere is strange and unpopular.”  

It’s the tragedy of these artists that gives the Kabarett der Namenlosen its profound depth of poignancy. At the end of the show, when Le Pustra has the entire audience singing Das Lila Lied, it feels like a bridge is finally being created between the underground cabarets of the Weimar era and Berlin today. After all this time, Berlin is finally able to pick up the threads from the 1920s that were so untimely cut short. The ghosts have been summoned, a ceremony has been performed, and at last, Berlin is free to embrace a part of its past.

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Original version of Das Lila Lied

 DAS LILA LIED (“THE LAVENDER SONG”)
Original German Lyrics by: Kurt Schwabach
English Translation by: Jeremy Lawrence

What makes them think they have the right
to say what God considers vice?
What makes them think they have the right
to keep us out of Paradise?
They make our lives hell here on Earth,
poisoning us with guilt and shame.
If we resist, prison awaits,
so our love dares not speak its name.
The crime is when love must hide.
From now on we’ll love with pride.

CHORUS:
We’re not afraid to be queer and different.
If that means Hell, well, Hell! We’ll take the chance.
They’re all so straight, uptight, upright and rigid.
They march in lock-step, we prefer to dance.
We see a world of romance and of pleasure.
All they can see is sheer banality.
Lavender nights are our greatest treasure,
where we can be just who we want to be.

Round us all up, send us away,
that’s what you’d really like to do.
But we’re too strong, proud, unafraid.
In fact, we almost pity you.
You act from fear. Why should that be?
What is it that you are frightened of;
the way that we dress,
the way that we meet,
the fact that you cannot destroy our love?
We’re going to win our rights
to lavender days and nights.

Kabarett der Namenlosen is playing from February 24-26 in Berlin. You can find out more on their Facebook event page. Hendricks Gin is a creative collaborator of Kabarett der Namenlosen. The show is produced by Boheme Sauvage.

 

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