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By the end of the century there were only a few cabarets of the old style remaining where artists and bohemians gathered.
The music hall , first invented in London, appeared in Paris in It offered more lavish musical and theatrical productions, with elaborate costumes, singing and dancing.
The theaters of Paris, fearing competition from the music halls, had a law passed by the National Assembly forbidding music hall performers to wear costumes, dance, wear wigs, or recite dialogue.
The public took the side of the music halls, and the law was repealed. It was greatly prominent because of the large red imitation windmill on its roof, and became the birthplace of the dance known as the French Cancan.
The Olympia , also run by Oller, was the first to be called a music hall; it opened in , followed by the Alhambra Music Hall in , and the Printania in The Printania, open only in summer, had a large music garden which seated twelve thousand spectators, and produced dinner shows which presented twenty-three different acts, including singers, acrobats, horses, mimes, jugglers, lions, bears and elephants, with two shows a day.
In the 20th century, the competition from motion pictures forced the dance halls to put on shows that were more spectacular and more complex.
Its stars in the s included the American singer and dancer Josephine Baker. The Crazy Horse Saloon , featuring strip-tease, dance and magic, opened in The Olympia Paris went through a number of years as a movie theater before being revived as a music hall and concert stage in A handful of music halls exist today in Paris, attended mostly by visitors to the city; and a number of more traditional cabarets, with music and satire, can be found.
In the Netherlands, cabaret or kleinkunst literally: "small art" is a popular form of entertainment, usually performed in theatres.
The birth date of Dutch cabaret is usually set at August 19, It is often a mixture of stand-up comedy, theatre, and music and often includes social themes and political satire.
Nowadays, many cabaret shows of popular "cabaretiers" performers of cabaret are being broadcast on national television, especially on New Year's Eve, when you can choose from several special cabaret shows in which the cabaretier usually reflects on large events of the past year.
German Kabarett developed from , with the creation of the Überbrettl Superstage venue, and by the Weimar era in the mids, the Kabarett performances were characterized by political satire and gallows humor.
The Polish kabaret is a popular form of live often televised entertainment involving a comedy troupe, and consisting mostly of comedy sketches , monologues , stand up comedy , songs and political satire often hidden behind double entendre to fool censors.
American cabaret was imported from French cabaret by Jesse Louis Lasky in Chicago cabaret focused intensely on the larger band ensembles and reached its peak during Roaring Twenties , under the Prohibition Era , where it was featured in the speakeasies and steakhouses.
New York cabaret never developed to feature a great deal of social commentary. Julius Monk 's annual revues established the standard for New York cabaret during the late s and '60s.
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Usually, hosts try to make the clients feel loved without having sex with them, as it takes up their time and energy.
The clients attempt to make the individuals very comfortable, thus they will feel compelled to provide for the businessmen in the future by some means.
This exchange may be by political or economic means. There are other various methods of business. Similarly, a host may call their customer, but this is fading in popularity now with the rise in popularity of mail business.
Hosts will usually carry a business phone and a private phone. Sakurai formed the union in response to reported problems encountered by hostess club employees with their employers including harassment and unpaid wages.
There are many Japanese fictional works, such as TV dramas , novels, video games , manga and anime adaptations which revolve around hostesses or host clubs, such as Club 9 , Bloodhound , and the more light-hearted Ouran High School Host Club.
These works reaching a general audience shown how accepted the clubs have become in general society. This even extends to non-Japanese fiction, for example with the crime novel Tokyo , by British author Mo Hayder , which has as its main character a British hostess starting out in the industry.
The adventure video game series Yakuza allows the player to attend hostess clubs, and its sequel and prequel both have side-quests that allow the main character to become a host himself or manage a hostess club, gaining dominance in the area and hiring new talent.
Rosa Kato starred in TV Asahi 's Japanese drama called Jotei in which she played a poor high school drop out who is compelled to succeed in the hostess business and become the number one hostess in Tokyo after her mother passes away to undiagnosed cancer.
The film Stratosphere Girl follows a young Belgian woman joining a Tokyo hostess club and trying to solve the mystery of a missing Russian hostess.
A South Korean live-action film, Beastie Boys , is about two young men, Seung-woo and Jae-hyun, who serve as hosts or male escorts for a discreet private women's club in a posh district of Seoul.
Hiro Mashima 's manga Fairy Tail features a guild called "Blue Pegasus" which acts as a host club to both male and female patrons. Koakuma Ageha was known as an unconventional fashion magazine modeled by real hostesses, and it was one of the highest-selling fashion magazines in Japan.
In the book Nightwork: Sexuality, Pleasure, and Corporate Masculinity in a Tokyo Hostess Club , anthropologist Anne Allison , informed by her own work in the mids as a hostess in a Japanese bar, describes hostess bars as providing an atmosphere where masculinity is "collectively realized and ritualized.
The documentary Shinjuku Boys by Kim Longinotto describes a Tokyo host club in Shinjuku staffed exclusively by female-to-male crossdressers.
Tokyo Girls is a documentary in which four Canadian women share their experiences working as hostesses in Japan. KTVs are a source of interactive musical entertainment through the utilization of a karaoke bar by which words appear on a large interactive television.
It is important to distinguish the difference in desirable environments for individuals of different age groups within the KTV.
Individuals within their early thirties to late forties typically prefer the exclusive, private realms of rented rooms rather than the stereotypical open dance floor disco environment.
KTVs are usually encountered within East Asia nations and are a principal location for Chinese business ethics.
Chinese businessmen use various hostesses as a means of persuading the businessmen and as an outlet to earn favors in the future. This mentality is carried with many Chinese businessmen and has become the common perception on business for many of the Chinese men.
These hostesses serve to please the client and allow the client to feel satisfied and trustworthy while present at the KTV.
The Chinese businessmen that visit the KTV maintain a main and sentimental priority of establishing connections within their respective companies.
Hostesses internally degrade their personal and " moral appearance " in order to satisfy a sentiment of masculine pleasure. These implications directly integrate into the creation of hegemonic masculinity for the business world.
This correlates to the value of male dominance throughout the business world and enhances the principle of hyper-masculinity which decreases diversity for Chinese ethics.
This also leads to gender inequality for women not only in the KTVs, but more generally throughout many realms of life in China.
This may entail the loss of moral code and ethics for the women in the KTV.