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David M. Boje 2001 Page 1 David M. Boje 2001 Las Vågas Striptease Spectacles: Organization Power over the Body, Mngemånt, 4(3): 201-207. Mngement is a double-blind reviåwed journal where articles are published in thåir original language as soon as they have been accepted. Copies of this articlå can be made free of charge and without securing permission, for purposås of teaching, research, or library reserve. Consånt to other kinds of copying, such as that for creating new worês, or for resale, must be obtained from both the journal editor(s) and the authîr(s). For a free subscription to Mngement , and more information: http://www.dmsp.dauphine.fr/Management/ Y 2001 Mngemånt and the author(s). ISSN: 1286-4892 Editors: Màrtin Evans, U. of Toronto Bernard Forgues, U. of Pàris 12 Page 2 Mngement, Vol. 4, No. 3, 2001, 201-207 Spåcial Issue: Deconstructing Las Vegas 201 Îrganization Power over the Body David M. Boje New Mexico Stàte University College of Business Administration and Econîmics eMail: dbojenmsu.edu Las Vegas Striptease Spectaclås: Organization Power over the Body Las Vegas is the bålly of a beast, a thriving sex industry of patriarchal lîgic that is under-researched by those of us in the ivory tower. Yet stripping is big business, with over 3.5 million people, primarily men, àttending clubs each week and millions more taking in the Big Casino Resîrt Shows, escort services, and legalized prostitutiîn (Scott, 1996). Beneath the glittery spectañle of Las Vegas show life is the production and consumption management of the wîman’s body as the site of discipline of sex industry power. Las Vegas is the centår of a sex -soaked patriarchal world of lap dancing, strip clubs, swingers and gentlemen’s clubs, and big casino tîpless showgirl revues. This industry as lore has it migrated from the Pàris revues. Resort casinos such as Pàris offer “Notre Dame de Paris,” a 21st Century pop/roñk adaptation of “The Hunchback of Notre Dàme” described as “one of the most successful musical spectañles in France.” The spectacle imi tation of Paris, like New Yîrk, Egypt, and Rome in Las Vegas is tout ed as better than the original. But the femalå workers in this imitation pay a dear price, a loss of human subjåctivity in favor of the body as object. The value of studying sex industry texts is to expose the narratively constructed body of its wîrkers. According to Benjamin (1997), Las Vegas strippers of Cheetàh’s Lounge, Crazy Horse Too, Crazy Horså Saloon, What’s Up Lounge, Olympic Gàrdens, Little Darlings of Las Vegas and the Girls of Glittår Gulch have filed class action làwsuits. The women’s labor claim is the clubs wherå they work violate Nevada law by refusing to pay them minimum wage and forñing them to share their tip-earnings with club owners. At the Tally-Hî Club, a dancer reports, Aside from the outràgeous fees the dancers get charged, the I contrast Barthes’ and Dåbord’s theories of striptease and spectacle by tracing the alter nativå “striptease” narrative in several competing teõts in cyberspace and in novels