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NEAL'S BARN YARD
GOOD FOR 10c IN TRADE
GARY INDIANA
COUNTERSTAMP "B"
ALUMINUM
MEASURES ABOUT 23mm
CIRCA 1920 - 1930
PROHIBITION / DEPRESSION ERA
RARE EXONUMIA
THE CLUB WAS KNOWN AS A STRIPTEASE CLUB
FEATURING BURLESQUE AND FULL NUDITY
 

The Times, Hammond IN
July 21, 1935
Finest Night Club" \ NEAL'S BARN YARD An Atmosphere: You'll Enjoy U. S. 12 and 20 GARY, INDIANA DINE AND DANCE Come Early--Stay Late Open till 2 A. M. -Week Days; 3 A. M. Saturday* 3 SHOWS NIGHTLY 5 ALL-STAR ACTS HOUGH JOHNSTON, M.C. ffmvtr a cover Minimum Chars*


City of the Century: A History of Gary, Indiana
c.1978 Bloomington Press
In the fall of 1929...the Board of Safety ordered police to shut down Gary's "sin meccas." Police Chief Stanly Bucklind told touring companies to "cut out the smut or get out of town." The Gary Theatre soon switched to vaudeville and talkies, and strippers were relegated to night clubs such as Neal's Barnyard, which featured such acts as "The One and Only Zorine and Her Nudists."

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FYI

A stripper or exotic dancer is a person whose occupation involves performing striptease in a public adult entertainment venue such as a strip club. At times, a stripper may be hired to perform at a bachelor party or other private event.

Modern Americanized forms of stripping minimize interaction by strippers with customers, reducing the importance of tease in the performance in favor of speed to undress (strip). Not every stripper will end a performance completely nude, though full nudity is common where not prohibited by law. The integration of the burlesque pole as a nearly ubiquitous prop has shifted the emphasis in the performance toward a more acrobatic, explicit expression compared to the slow-developing burlesque style. Most strippers work in strip clubs. A house dancer works for a particular club or franchise, while a feature dancer tends to have her own celebrity, touring a club circuit making appearances. Entertainers (dancers) are often not actual employees of the club itself but perform as independent contractors.

Until the 1970s, strippers in Western cultures were almost invariably female, performing to male audiences. Since then, male strippers have also become common. Certain male and female strippers also perform for LGBT as well as for both sexes in pansexual contexts. Before the 1970s, dancers of both sexes appeared largely in underground clubs or as part of a theatre experience, but the practice eventually became common enough on its own. Performances are usually fully choreographed, involve dance routines and a costume of some sort. Male strippers have become less common in the 21st century.

A striptease is an erotic or exotic dance in which the performer gradually undresses, either partly or completely, in a seductive and sexually suggestive manner. The person who performs a striptease is commonly known as a "stripper" or exotic dancer.

In Western countries, the venues where stripteases are performed on a regular basis are now usually called strip clubs, though they may be performed in venues such as public houses (especially in the UK), theaters and music halls. At times, a stripper may be hired to perform at a bachelor party. In addition to providing adult entertainment, stripping can be a form of sexual play between partners. This can be done as an impromptu event or – perhaps for a special occasion – with elaborate planning involving fantasy wear, music, special lighting, practiced dance moves, or unrehearsed dance moves.

Striptease involves a slow, sensuous undressing. The stripper may prolong the undressing with delaying tactics such as the wearing of additional clothes or putting clothes or hands in front of just undressed body parts such as the breasts or genitalia. The emphasis is on the act of undressing along with sexually suggestive movement, rather than the state of being undressed. In the past, the performance often finished as soon as the undressing was finished, though today's strippers usually continue dancing in the nude. The costume the stripper wears before disrobing can form part of the act. In some cases, audience interaction can form part of the act, with audience urging the stripper to remove more clothing, or the stripper approaching the audience to interact with them.

Striptease and public nudity have been subject to legal and cultural prohibitions and other aesthetic considerations and taboos. Restrictions on venues may be through venue licensing requirements and constraints and a wide variety of national and local laws. These laws vary considerably around the world, and even between different parts of the same country.

H. L. Mencken is credited with coining the word "ecdysiast" – from "ecdysis", meaning "to molt" – in response to a request from striptease artist Georgia Sothern, for a "more dignified" way to refer to her profession. Gypsy Rose Lee, one of the most famous striptease artists of all time, approved of the term.

The origins of striptease as a performance art are disputed and various dates and occasions have been given from ancient Babylonia to 20th century America. The term "striptease" was first recorded in 1932, though "stripping", in the sense of women removing clothing to sexually excite men, seems to go back to at least the late 19th century.

There is a stripping aspect in the ancient Sumerian myth of the descent of the goddess Inanna into the Underworld (or Kur). At each of the seven gates, she removed an article of clothing or a piece of jewelry. As long as she remained in hell, the earth was barren. When she returned, fecundity abounded. Some believe this myth was embodied in the dance of the seven veils of Salome, who danced for King Herod, as mentioned in the New Testament in Matthew 14:6 and Mark 6:21-22. However, although the Bible records Salome's dance, the first mention of her removing seven veils occurs in Oscar Wilde's play of 'Salome', in 1893.

In ancient Greece, the lawgiver Solon established several classes of prostitutes in the late 6th century BC. Among these classes of prostitutes were the auletrides: female dancers, acrobats, and musicians, noted for dancing naked in an alluring fashion in front of audiences of men. In ancient Rome, dance featuring stripping was part of the entertainments (ludi) at the Floralia, an April festival in honor of the goddess Flora. Empress Theodora, wife of 6th-century Byzantine emperor Justinian is reported by several ancient sources to have started in life as a courtesan and actress who performed in acts inspired from mythological themes and in which she disrobed "as far as the laws of the day allowed". She was famous for her striptease performance of "Leda and the Swan". From these accounts, it appears that the practice was hardly exceptional nor new. It was, however, actively opposed by the Christian Church, which succeeded in obtaining statutes banning it in the following century. The degree to which these statutes were subsequently enforced is, of course, opened to question. What is certain is that no practice of the sort is reported in texts of the European Middle Ages.

An early version of strip-tease became popular in England at the time of the Restoration. A strip tease was incorporated into the Restoration comedy The Rover, written by Aphra Behn in 1677. The stripper is a man; an English country gentleman who sensually undresses and goes to bed in a love scene. (However, the scene is played for laughs; the prostitute he thinks is going to bed with robs him, and he ends up having to crawl out of the sewer.) The concept of strip-tease was also widely known, as can be seen in the reference to it in Thomas Otway's comedy The Soldier's Fortune (1681), where a character says: "Be sure they be lewd, drunken, stripping whores".

Strip-tease became standard fare in the brothels of 18th century London, where the women, called 'Posture Girls', would strip naked on tables for popular entertainment.

Strip-tease was also combined with music, as in the 1720 German translation of the French La Guerre D'Espagne (Cologne: Pierre Marteau, 1707), where a galant party of high aristocrats and opera singers has resorted to a small château where they entertain themselves with hunting, play and music in a three-day turn:

The dancers, to please their lovers the more, dropped their clothes and danced totally naked the nicest entrées and ballets; one of the princes directed the delightful music, and only the lovers were allowed to watch the performances.

An Arabic custom, first noted by French colonialists and described by the French novelist Gustave Flaubert may have influenced the French strip-tease. The dances of the Ghawazee in North Africa and Egypt consisted of the erotic dance of the bee performed by a woman known as Kuchuk Hanem. In this dance the performer disrobes as she searches for an imaginary bee trapped within her garments. It is likely that the women performing these dances did not do so in an indigenous context, but rather, responded to the commercial climate for this type of entertainment. Middle Eastern belly dance, also known as oriental dancing, was popularized in the United States after its introduction on the Midway at the 1893 World's Fair in Chicago by a dancer known as Little Egypt.

Some claim the origin of the modern striptease lies in Oscar Wilde's play of 'Salome', in 1893. In the Dance of the Seven Veils the female protagonist dances for King Herod and slowly removes her veils until she lies naked. After Wilde's play and Richard Strauss's operatic version of the same, first performed in 1905, the erotic 'dance of the seven veils', became a standard routine for dancers in opera, vaudeville, film and burlesque. A famous early practitioner was Maud Allan who in 1907 gave a private performance of the dance to King Edward VII.

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