Quejas o La Maja y el Ruiseñor (from Goyescas) written by Enrique Granados as performed by Alfonso Gomez:

...which inspired this piece:

Besame Mucho written and performed by Consuelo Velazquez

..which inspired a ton of covers including this piece:

Besame Mucho by Trio Los Panchos

...and this haunting one:

Besame Much by Josephine Baker

...and this surf one by a former member of the Shadows

Besame Mucho by Jet Harris

...and this one that a young group called the Beatles used to audition for their record label back in 1962:

Besame Mucho by the Beatles:

If I could give The Essence of Josephine Baker Award to someone, I’d give it to Angelina and Brad. I’ll be completely honest and say I’m a touch envious of Angie. Admittedly, I rarely look up to celebrities out of belief that humans shouldn’t be idolized until they are dead, lest it go to their head. That and the curse of the evil eye. Back to Angie and Brad and idolizing them. I can imagine her walking a cheetah down the Champs-Elysées, probably in a backless satin dress that flows seductively, looking behind her with that trademark gaze of a seductress. More importantly, I admire how they seem to make it work. “It” being the mix of adopted and biological children, humanitarian work, and having fun with their jobs while still balancing family life.

All throughout high school and up until the first few months of college, I had no desire for children. Absolutely none. Snot factories. Things to punch when angry (no, I don’t condone child abuse.) Giggle factories. Squishy things that make noise for $100. And then I read The Kid by Dan Savage, a book for me which changed my entire thought and rationale. Who knew two of The Gays could make it work. And be top choice for adoption amidst the throngs of straight couples. I’d considered the possibility, but I can’t pinpoint why I didn’t want children. Perhaps selfishness. Je ne sais pas.

After reading that book, it’s like a uterus appeared somewhere inside me with this tick-tick-ticking sound, screaming “GET. CHILDREN. NOW!” Never mind the fact that I don’t actually have a uterus (reasons why I may be crazy). I will comment, though, that this coincided with the first time I actually fell in love. 2003 was a crazy year. Reading that book, combined with the pursuit of a relationship, the big scare and subsequent realization, and entering college made me think about priorities and what I wanted out of life. Ever since then, I like to joke whenever I feel waves of nauseau, whether from a hangover or irritating smell, that I’ve got the morning sickness, and I may have a case of K.I.D.S

Therefore, every guy I’ve pursued over the past five years has been with the mindset of “Do you want children someday?” I don’t need a “My god yes, I need children this instant. Let’s go make babies until the next full moon!” Just an indication that children are definitely a priority in the future. With the first love of my life, of course he had no desire to have children. In all honesty, what college kid is thinking about children? Then again, I was never an ordinary anything. What happens at that point? Do you wait around and hope for a change of mind, a change in maturity? Enjoy the present time? It was a buzz kill for any future together. Well, that and his belief that he wasn’t sure if he believed in monogamy. Curiously, I condone affairs so long as the relationship stays intact. In France, at a man’s funeral apparently there are sometimes a side for the widow and a side for the mistress. Sometimes the wife and mistress are even friends. Financially, I believe in monogamy. Sexually… eh. I digress.

This brings us to the present, and which path I’ll follow. Mamma Mia has been playing in my head all day Mostly because I finally saw the movie, but also because here I go again. I’ve been doing the dating thing. As the young kids are calling it these days, kicking it. I’ve even told someone I love them. Perhaps I should have added an addendum. Still, the decision remains on which horse to cast my bets? Both have great qualities. And attributes that irritate the hell out of me. I think it comes down to I see great friendship and a sense of security. I also foresee predictability. In the other, however, I see great potential. Not for us, per se, but rather for himself ( I size people up on a consistent basis). And, of course, I see a lot of my father in l’homme deux. The real problem is that my head, and rational side, has already made the decision while my heart battles with the implications. Of diving in too deep, and possibly the complications. Reasons that have lead to the title of Tease.

I’ve contemplated this over the past five years and refined the reasons and desires for wanting children. This goes back to the goals I’ve defined. What can I say? I want to build something great, something that will last. An enduring testament.

In short, I want a husband, four to six kids, and a career to support them all.

Signed,

Patrique

P.S - It’s been awhile since I’ve done an “Essence of …” article.

]]> http://barziban.wordpress.com/?p=19 Tue, 05 Aug 2008 12:55:24 +0000 barziban http://barziban.wordpress.com/?p=19 Bring the glamorous and fun loving Jazz Age to life in your home with Barziban’s Art Deco Designs.

Doing a (Monday) Muse post on her this week was so fun, I had to do a (long-overdue) Paperdolls post on her too.

So what would Josephine be wearing today?

Feather headband : Greyowl etsy shop

Faux emerald Russian Gypsy vintage chandeliers : Theitspot etsy shop

Vintage three strand faux pearl necklace : Entangles etsy shop

Handmade bead cuff bracelet : Kmbeadweaver etsy shop

Lambertson Truex gold flat goddess sandals

An extra supply of feathers to glue and tuck wherever necessary ;)

 http://www.usps.com

An American-expatriate in France, Baker was a singer and entertainer considered a creole goddess.  Adorned in feathers and beads, from her first show in Paris she instantly attracted loyal fans and became a muse for Dior, authors like Fitzgerald, and artists such as Picasso.  While she was Venus to the French, she wasn't worthy even among the D-list ranks in America.  Her shows in the US were critical failures just as her status in France had skyrocketed.   She permanently relocated to France where she and her diamond collared Cheetah were rightfully appreciated on the stage.

Baker lived a full life outside of the limelight as well.  During her career peak, she helped the resistance forces during Nazi-occupied France by smuggling intelligence in her sheet music.  Later, she supported the American civil rights movement.  And, as the original Angelina Jolie, she adopted 12 children, each from a different country in the world.

Unsere Träume können wir erst dann verwirklichen, wenn wir uns entschließen, einmal daraus zu erwachen.

Josephine Baker 

To the unknowing, "Show business" can be an illusive invalid as well as a glamorous occupation. There was a time, however, when for the black performer, it was not too illusive nor was it an invalid. For many years, being in show business was fabulous and most times glamorous. It was fabulous in 1821 when the African Company, with John Hewlett as its star, presented the classics at Brown's Theatre on Bleecker and Mercer Sts., in what was later to become Greenwich Village. The company was so successful that they graciously made a partition in the back of the house to accommodate the whites. It was fabulous when Ira Aldridge was world famous for his portrayals of Othello and the Moor in "Titus Andronicus"; when the black performer decided to make some of the big money being made by the minstrel shows that imitated him by imitating the imitators; and when the Lafayette Players sent two acting companies a season with such stars as Laura Bowman, Abbie Mitchell, Clarence Brooks, Frank Wilson, Rose McClendon and many others.

When Harlem had little theatre groups like the Allied Re players, the Rose McClendon Players, The American Negro Theatre, The Suitcase Theatre and various church groups -- these groups were the proving grounds for Ossie Davis, Ruby Dee, Frederick O'Neal, Earle Hyman, Sidney Poitier, Harry Belafonte, Alice Childress and on and on -- these were more of the fabulous days! It was fabulous when Williams and Walker captured the crowned heads of Europe with their production of "In Dahomey," and when Broadway would present at least two major black productions a year, such as "Shuffle Along," "Liza," "Africana," "Running Wild," "Chocolate Dandies," "Blackbirds," "7 Come 11," plus large touring musicals like "The Models," and "Desires." The glamor was evident when we had not two but many film stars like Clarence Muse, Nina Mae McKinney, Daniel Haynes and matinée idol, Lorenzo Tucker.

It was fabulous when Oscar Micheaux, Toddy and Million Dollar Films produced rather good films without using the trite racial conflicts so overworked by Hollywood. I might add that Oscar Micheaux produced, wrote, directed and edited his films and we haven't had one black person or company attempt to take his place in this lucrative field that has a ready market hungry for such a product. No, the films were not all fabulous, nor were the stage productions, but the artists were great and they were able to learn and practice their trade in the only way possible...by working at it.

It was fabulous when every social gathering hired a black band and the choices were Duke Ellington, Cab Calloway, Noble Sissle, Eddie South, Chick Webb, or one of many small singing and playing combos all over the country; when Harlem was peppered with night spots like the Cotton Club, Dickie Wells', Connie's 101 Ranch, and the Plantation, with full stage shows and not just weekend combos; when Harlem had not just one theatre with stage presentations, but the Lafayette, the Odeon, the Lincoln and the Alhambra with full stage shows every night in the week; when variety theatres over the country didn't feel that they had a good "bill" unless there was a black act starred; when the performer could be certain of at least fifty weeks a year on tour, with shows managed, written and staged by blacks; and when there were scores of chorus girls and show girls plus many singing and dancing novelty acts.

From these opportunities came the stars like Florence Mills, George Walker, Josephine Baker, Bessie Smith, Ada Ward, Ethel Waters, Bob Cole and Bert Williams. It was fabulous when we had serious singers like Caterina Jarboro, Marian Anderson, Etta Moten, Roland Hayes, Hall Johnson Choir, Paul Robeson, and Black Patti and when we had the Helmsley Winfield Dancers, the Van Grona Negro Ballet and the always working and touring Katherine Dunham group. It was fabulous when we had comics like Tim Moore, and a host of fine straight men like Slick Chester. These performers would be tops today without the aid of the black face make-up that was their stock in trade.

I don't want to convey the notion that we don't have great artists today, for we well know that we have. I am saying, however, that we have too few in some fields and none at all in others. Sadder still is the fact that we have few places for our talented young people to get their feet wet and few producres to give them the opportunity to prove their talent. If you look into the backgrounds of the stars of today, such as Lena Horne, Ella Fitzgerald, Sidney Poitier, Harry Belafonte, and Sammy Davis, Jr., you will find that they all started in small bistros, churches, and experimental theatres in Harlem or in their hometowns where their own people had faith in their ability and gave them the initial help and chance of exposure to eventually make the grade. Believe me when I tell you the big Broadway agents didn't snap them up for the big money jobs until they were well on their way to stardom. I have said all this to express that, if the old invalid of black show business would throw away the crutch of the white producer, director, writer and agent and would crawl backward, black performers just might once again become fabulous and success not so illusive.

The names in this Directory are those show biz folk who have achieved recognition in some way and who serve as building blocks to inspire those who are still unknown in the performing arts

Kenn Freeman, Historian

Negro Actors Guild

In the life of a transient
flyers are more attentive
more available than a mother
they cling even while you pretend to slip
their salutations through the sweatiness of a smug
refusal to their hand-out
smiling aimlessly into guilt.

Xeroxed remindful-ness
nonsensical rhymes like the gossiped
3 little pigs
waiting for wings
with the at last wolf's huff
puff
scatter
lift
fall
litter
In some states, the crack Nicodemus cooks
over an imagined 3D fire,
Peddling flyers is illegal.

A private high to renegotiate with useless ribbons
dyed in cheap concoctions
breaking the pattern of dancing alone
2 left feet in clowning lady bug red slippers.

Balancing the morning's potential
Nicodemus takes another sip on a foamy avoid
and another automatic take leads to a non-seductive pull
pushing out a fog of little things
then freestyle walking with the others
to the metallic mechanical whale in leather
Italian shoes--a hurtful gift to walk into--
an awkward promise
too expensive for a puzzle
too complicated by childlike bawlings
too put together for an unfinished look:
should Nicodemus get a gentleman's hair cut
some new gentleman's clothing
maybe a recycled seran wrapped ear-piece
a hobo's cup maybe?

Nicodemus finds a gigantic white suit to walk behind
a gorilla godzilla weaving through the crowd of modern mules
with galloping torsos
the elephants leap over the zebras
shitting on themselves
racing to the elevator
where the monkey grins
an inaugurated show of white teeth desperations
drones away
pushes the button

to the metallic mechanical whale
we go
we go
we go
they sing
hungover
asthmatic
xenophobe claustrophobics
zip locked into nooks and knots
there is no air left in the X-box
the shouldered remains are an exchange
borrowed perseverance
sweetness to lull sensibilities senseless.

Nicodemus makes perfect penmanship:
One last cry to say goodbye...
Those left behind
with bed sheet creases to line their faces
forever looking for that mirror
to say, to say
goodnight sun
say goodnight.

Descending deliberately deeper
into the belly
an impatient metallic mechanical whale
gives many times to prepare
assorted ornaments for listlessness
discarded in a jungle of little things.

Words to blacklist, like Polished
error free sentences.
Can words collect filth
can they take a bullet?
I'll wash, then, hang them out
on my bambooed words line.
I'd like to hang ORIGINAL out to dry.

Now BRILLIANT is a word
worth moving your lips to
Drunk
ard
bRIL
LI
ANCE!!

To lose all your teeth--
Just BRILLIANT!

A day can conceive a Jezebel--
BRILLIANT!

A day can turn on a not so clever Jezebel--
BRILLIANT!

To Jump like Christopher Robbin's Tigger--
BRILLIANT!

Sing Hoorah like a Pooh Bear--
BRILLIANT!

We all fall down--
Absolutely BRILLIANT!
The metallic mechanical whale comes
just whimper like a Piglet

RED LIGHT
GREEN LIGHT

We all fall deliberately further
into the belly of the whale
it eats up time
racing through a riptide void
it comes up for air on 125th
then dives back into
BRILLIANT!

To avoid everything shameful
in a little thing as a look can reveal
while riding the metallic mechanical whale
Nicodemus discovers the wonders of anonymity.
When asked why the dark shades
Nicodemus, irritated, takes them off and renders:
There's nothing worse than a loquacious eye
blinking when they're unsure of what's coming
backstabbing eyes
darting back into tortoise shells of
Of Course, Of Course!
Indeed, Indeeds!
One day
we'll congregate in the metallic mechanical whale
wearing nothing but baby powder. And in a circle of all of us
we'll each have turns
Saying, "TADA! Think Josephine Baker."

Wearing necessary discoveries
Nicodemus becomes a fly
on a wall in a room
the whale's hard plastic mirrors
gives many eyes as a fly
on a wall in a room
witnessing the fleeting speed of gossip
spying for secrets:
knickers exposed
mouths open
buggered noses
Nicodemus the ethnographic scientist:

What's the difference between
a zombie in a zoot suit and a bullfrog
hoping, hoping, to make it to the nearest exit?

Hushed! into a little thing
fitting nicely in a palm, in a pocket
iPods, discmen, walkmen hands
bury the most imitated moment
the intoxicating high of death.

Hushed! into a little thing
Nicodemus mediates electric
staring at Billy Graham's poster
"God. Loves. You." Next to graffiti scribbles
"Are you a sinner? I'm afraid so!"

Magnetic in the fingers
toes
weird looking circuits
hungrily standing bold
burning on the chest.

Caught in fitful fantasy
the main event explodes
as shoulders are gone first
showing off an offering
tap
tap
tap
yes
yes
yes of the feet and head in deserted praise.

In the belly of the metallic mechanical whale
it eats up time
blue lightening
thundering through caves.
Another whale rides next to Nicodemus's.
Looking in
seeing nothing but an overpriced pastry dish
Nicodemus diddles:

Just as neighbors ought to be
this is yours and this is mine
we'll be pleasant in the living area
and say, "How do you do?"
We'll each have our own cupboards
to put the complaints in.

Josephine Baker har vel gjort oss alle en liten tjeneste med dette legendariske banandans-nummeret. Kostymet ble først sett ved Folies Bergère: La Folie du Jour, 1926-27. Det går opp og ned med pietismen her i verden. Fortjener hun kongekvinnetittelen? Jeg lover deg! Josephine Baker er ikke din ordinære banandanser.

Josephine Baker opplevde opptøyene i East St. Louis, Illinois. Tretten år gammel rømte hun hjemmefra. 15 år gammel giftet hun seg. Hun var gift fire ganger. I 1925 dro hun til Paris og ble raskt en høyt aktet artist i Europa. Ikke tittelholder enda? Under 2. verdenskrig jobbet hun for Røde Kors, samtidig som hun smuglet informasjon til den franske etterretningen. Hun er den eneste amerikaner som har mottatt det franske militærets høyeste orden. Etter krigen dro hun tilbake til USA, hvor hun markerte sin motstand mot rasistisk praksis som fortsatt foregikk offentlig. Hun nektet blandt annet å opptre i teatere som segregerte sitt publikum. Hun lagde oppstandelse da hun ikke fikk servering på The Stork Club i New York og gikk i strupen på prosegregeringsspaltisten Walter Winchell. She is all that and a piece of pie. Men det jeg vil si gjør Josephine Baker til en ekte livskunstner er hennes visjon om en multietnisk familie. Hun adopterte 12 barn fra forskjellige deler av verden.

• Akio (koreansk sønn),
• Janot (japansk sønn),
• Luis (colombiansk sønn),
• Jarry (finsk sønn),
• Jean-Claude (canadisk sønn),
• Moïse (fransk jødisk sønn),
• Brahim (algerisk sønn),
• Marianne (fransk datter),
• Koffi (côte d'Ivoirean sønn),
• Mara (venezuelansk sønn),
• Noël (fransk sønn),
• Stellina (marrokansk datter).

Hun kalte familien sin for The Rainbow Tribe. Alle barna fikk opplæring i sitt opprinnelige morsmål. Det visuelle uttrykket familien ville representere var tenkt som et antirasistisk budskap om at vi alle er brødre og søstre på tross av etnisk tilhørighet. En familiemodell Angelina Jolie og Brad Pitt også ser ut til å ha sansen for.

Kilde: en.wikipedia.org/wiki/Josephine_Baker#Rise_to_fame

Miss Josephine Baker was born into poverty in 1906 but would grow up to be one of the most in-demand French cabaret performers of her time. Off stage she devoted her life to fighting prejudice. The slums of St. Louis could not hold this woman down as she left home at the age of 13 to pursue her dream of the stage. Her break came in 1921 when she began to get notice on the stages of New York City. She quickly became a star throughout Harlem and began to grace the stage of such jazz landmarks as the Cotton Club. Baker made the move to Paris in 1925 to perform for audiences more accustomed to her brazen sexuality and minimal costumes. By the '30s, Baker was owning her own club, starring in films, and recording her own records. Back in America to perform alongside Bob Hope in Ziegfeld's Follies, Baker began to meet resistance due to both her sexuality and skin color, as conservatives rallied against the show. She quickly fled back to Paris and became a naturalized citizen. About that time, the Nazis invaded so Baker found herself working for the resistance and going as far as to smuggle sensitive documents out of France. She even worked as a sub-lieutenant for the French Air Force's Women's Auxiliary, volunteered for the Red Cross, and performed for the troops. She was later awarded military medals for her brave work. By the '50s, Baker was back in America where she used her fame in the fight for Civil Rights by demanding to perform in front of segregated audiences. After retiring from the stage, Baker spent her time raising her racially-mixed brood of 12 adopted children and stayed active in the struggle for equal rights. Josephine Baker passed away of natural causes in her sleep in the early hours of April 12, 1975, following the opening night of a revue in honor of her fifty years in show business. In the crowd that night were the likes of Prince Rainier and Princess Grace, Sophia Loren, Mick Jagger, Shirley Bassey, Diana Ross and Liza Minelli. Opening night received rave reviews.

Showqueens krijgen het hard te verduren, Nathalie Peeters, Gazet van Antwerpen, 01.04.2008.
Organisator Danny Hendrickx van de showqueenawards snapt de reden van dit voorval niet. “Bijzonder jammer dat dit nog gebeurt in de 21ste eeuw. Dertig jaar geleden moesten de travestieten tegen veel vooroordelen opboksen, ik dacht dat we die in de loop der jaren overwonnen hadden. Dit getuigt van een zekere intolerantie tegen travestieten. We dienen geen klacht in, omdat wij wel tolerant zijn.”

Ook Miss Delicious, een van de kandidaten, tilt niet zwaar aan het incident. “Ik vind het jammer dat ze hier eieren verkwisten. Wij dames kunnen tegen een stootje. Ik werk sinds een jaar als showqueen en dit is de eerste keer dat ik hiermee geconfronteerd word. Goh… het waren maar tieners, die krijgen nog wel betere manieren.”

De kapotte eieren was niet het enige incident dat de avond rijk was. Bij de vermelding van het jaarlijkse goede doel maakten de showqueens bekend dat de organisatie Make A Wish hun geld niet wilden. Weer een slag in het gezicht van de travestieten. Organisator Hendrickx geeft meer uitleg bij dit voorval. “Wij stuurden een e-mail naar Make A Wish met de vraag of we 1.000 euro mochten storten. Een negatieve e-mail volgde. We kregen te horen dat ze onze financiële steun niet aanvaardden.”

“Wegens tijdsgebrek hebben we de e-mail te snel behandeld”, zegt Ann Desmet, die de PR bij Make A Wish voor zich neemt. “Wat natuurlijk geen uitleg is voor deze foute beslissing. Omdat we niet meteen een beeld hadden van de organisatie, hebben we een negatief antwoord gestuurd. Wij willen de showqueens graag steunen. Als ze volgend jaar opnieuw de vraag stellen, zeggen wij volmondig ja. Want wij discrimineren niemand!”

De bestuurders van Make-A-Wish®B.-Vl. namen een overhaaste beslissing inzake een gift van de Showqueens en betreuren die oprecht.
Het was nooit de bedoeling iemand te kwetsen en we namen dan ook reeds op 14 maart jl. contact op met de betreffende organisatie.
Tot op heden ontvingen we nog geen antwoord op onze uitnodiging om dit misverstand zo snel mogelijk uit te praten.
Wij hopen alsnog dat dit er snel mag komen en vinden het intussen jammer dat de verongelijkte reacties wel onverwijld richting media gegaan zijn.
Sensatie is blijkbaar belangrijker dan een sereen gesprek.

MAW drijft op het enthousiasme van een hele hoop vrijwilligers met het hart op de juiste plaats voor àlle soorten mensen.
Of je nu homo, lesbienne, bi of hetero bent, maakt niet uit : we zijn àllemaal mensen van vlees en bloed.
De voorbije 18 jaar is volop bewezen dat iedereen gelijk is voor de Make-A-Wish®vrijwilligers, ook als de bestuurders een beoordelingsfout maken.
Laat die vrijwilligers en MAW zelf dan ook niet het slachtoffer zijn van een verkeerde beslissing van het bestuur!

Respect voor iédereen blijft ook in de toekomst één van de pijlers van Make-A-Wish®B.-Vl.

Wij bieden hierbij iedereen die zich op één of andere manier gekwetst voelde door onze overhaaste beslissing onze oprechte verontschuldigingen aan.

Make-A-Wish®B.-Vlaanderen,
De Raad van Bestuur.

Tegen GayLive vertelt PR-verantwoordelijke Ann Desmet dat de ShowQueens nog niet zijn ingegaan op de vraag. Make-A-Wish hoopt nog op een rechtzetting. De bal ligt nu in het kamp van het travestietengezelschap.

Πολύ δυνατό σχόλιο για το πως η τέχνη προσπαθεί να μας φτιάξει κόσμους που θα κάνουν τη ζωή μας πιο υποφερτή, με χιούμορ που είναι τόσο διακριτικό που θα'λεγες πως από κάπου θα ξεπροβάλλει και ο Monsieur Hulot. Οι στιγμές μαγικού ρεαλισμού κατακλύζουν την ταινία, η μουσική του Nicola Piovani σιροπιάζει τέλεια το γλυκό και όλοι κάνουν ότι μπορούν για να φτιάξουν μία ταινία μοναδική για την αισιοδοξία και ειλικρίνειά της. Ταινία που την χρειάζεσαι σαν εναλλακτικό στην μιζέρια.

Alle winnaars even op rijtje:
Nieuwkomers: Mira Mirage
Komische act: Miss Dizi
Look a like: Josephine Baker
Vrije Act: Vanessa Van Cartier
Showtempel : Red & Blue
Spektakel-restaurant: Mask-Ara
Inzet en toewijding: Miss Belgian Travestie
Personality Queen 2008: Zsa Zsa Lamore
Diamanten Life Achievement Award : Tootsie
Originaliteit Tilly Taylor
Make-up: Yana International
Choreografie: Yana International
Publieksprijs: Mira Mirage
Persprijs:Vanessa van Cartier
Kostuum: Vanessa van Cartier
Studio 54-Wisseltrofee: Vanessa van Cartier & Yana International
ShowQueen Award 2008: Yana International

Bekijk de video van ATV.
Beelden bij Eventplanner.

De uitreiking vond plaats in Feestzaal Kielpark op de Sint-Bernardsesteenweg, niet meteen de meest gay friendly buurt van 't Stad. Toen enkele aanwezigen buiten hun dosis tabak gingen nuttigen, werden ze uitgemaakt voor homo en met eieren bekogeld. De organisatie verwittigde de politie.

Feest

Ondanks deze valse noot ging het feest gewoon door.

"Heethoofden gooien eieren naar showqueens", Nathalie Peeters, Gazet van Antwerpen, 31.03.2008.
Meer dan 22 kandidaten met klinkende namen zoals Yana International, Mira Mirage en Miss Delicious streden voor de awards die te verdienen waren in verschillende categorieën, zoals make up, beste choreografie en beste nieuwkomer. De show was tot in de puntjes voorbereid door de organisatrices Coco Chanel en Miss Bijou. Een van de kandidates, Miss Delicious, streed voor de eerste keer mee in de categorie beste komische act. " In het echte leven ben ik Nico, het duurt ongeveer anderhalf uur om mij om te toveren tot Miss Delicious. Ik ben een echte vuile madam, daarom heb ik gekozen voor een komische act, het ratje op mijn schouder hoort bij mijn performance. "

Er ging echter een oude rot in het vak lopen met de meest prestigieuze award van de avond, de diamond showqueen award. Miss Tootsie zit al meer dan 30 jaar in het vak maar is eigenlijk verpleger van beroep. Ze treedt nog elk weekend op maar wil het nu, met haar pensioen op komst, iets rustiger aan doen. "Travestie is niet alleen een pruik en make up, het is een heel ander personage dat je aanneemt. Daarom dat er hier niet alleen aandacht uitgaat naar de kostuums, maar naar de hele act. Vroeger kwamen alleen stoute mensen kijken naar de travestieshows, nu is het ook bekend bij het grote publiek. Mijn artiestennaam heb ik ontleend aan de film Tootsie. Ik was zo gek van het personage, dat ik bij de laatste filmvertoning in de Rex in Antwerpen helemaal gekleed als Tootsie aan de filmzaal stond. De mensen waren er gek op."

De jury bestond uit Luc Caals, Davy Brocatus, Koen Crucke, Liz Larssen en Frederik Imbo.

Recit d'une vie de strass, d'amour et de conviction.

Freda Josephine MacDonald est née dans la pauvrete en 1906 a Saint-Louis dans le Missouri ou elle assistera a d'importantes emeutes raciales en 1917. Elle quitte jeune sa famille et commence une vie de saltimbanque a travers le pays. Sa fraicheur et son energie seduisent. Elle joue a Boston, a NewYork (Broadway) et se voit proposer en 1925 de participer a la Revue Negre a Paris. A 19 ans, elle arrive donc dans ce pays inconnu qui deviendra sa patrie.

Josephine Baker (nom de son second mari - 1921, qu'elle gardera apres) devient l'icone du Black Paris, le Paris du jazz et des Afro-Americains qui cherchent en France la liberte et l'egalite (raciale) que les Etats-Unis leur refusent. Elle devient rapidement celebre, enchaine les shows, fait des tournees a travers le monde. Une legende est nee.

En 1937, elle obtient la nationalité francaise d'un bref mariage avec Jean Lion. Puis vient la guerre. Alors que l'Allemagne occupe la France, Baker s'engage dans la resistance en tant qu'agent de renseignement Sous-Lieutenant Baker. Elle profite de sa célébrité pour glaner des infos ici et la, personne ne se mefie d'elle. Sa rencontre avec le General de Gaulle la marquera profondement. Elle va tomber gravement malade mais se releve toujours plus forte que jamais. Une femme vraiment incroyable qui epate tous les medecins et ses proches.

La guerre prend fin, Baker faite la liberation a Paris et reprend le chemin de la scene. Mais un autre combat l'attend, celui contre le racisme et l'ignorance...

Suite au prochain episode.

Known as "rey de los tambores," or King of the Drums, Tata Guines was an Afro-Cuban conga drum master. Born in Cuba, he came to the United States in the 1950s and worked with such greats as Dizzy Gillespie, Frank Sinatra and Josephine Baker. He moved back to Cuba after the revolution mostly due to his dislike of the segregation he encountered in the US. Guines died of a kidney infection in Havana.