Thompson, Harred, and Burks (2003) According to the Association of Club Executives, how much money is spent annually at topless clubs and on the purchase of move tickets? Do the authors find that dancers in these clubs are stigmatized? How is a person’s occupation related to her or his personal and social identity? What becomes necessary when individuals are engaged in a stigmatized occupation? How specifically did the incidence of dancers having tattoos change over the decade? What were the two most common locations for tattoos? How did club owners, managers, and DJs react to “lewd dancing”? How did the audience react to such “flashing”? What do the authors say about the “no touching” rule in all the clubs as it related to table and lap dances? Into what two categories do the authors combine stigma management? What third category of stigma management is added in this study? According to Goffman, one of the most effective ways of dealing with a potentially stigmatizing attribute is to control information by dividing the social world into what two categories? What did these researchers find with regard to the dancers’ parents knowing that their daughters work in topless bars? What three techniques of neutralization were commonly employed by the dancers? Almost all the dancers cited what as their primary motivation for becoming a topless dancer? What does the theory of cognitive dissonance contend? What it emotional labor? What is emotive dissonance? By redefining the self, these dancers used cognitive and emotive dissonance to do what? What were the researchers told took place in private rooms for VIP customers? Did most of the dancers have children? The authors discovered that dancers employed cognitive and emotive dissonance to separate what? Bradley-Egan and Ulmer (2009) Some scholars have called for a more dynamic approach which recognizes that sex work can be experienced as what? What are the three ideal types of strippers in terms of their motivation to continue their dancing careers (Sweet and Tewksbury 2000)? What are “hustle clubs”? What are the key interaction strategies of dancers in hustle clubs? Do hustle clubs have a lot of regular customers? What is a stage fee? What is the primary method of making money (for both the club and the dancers) in hustle clubs? Stage time is often determined by what? The blatant disregard of the touching policies means that women are continually working in an environment that tolerates, if not encourages, what? What things are commonplace in these clubs? Open use of what drugs was frequently reported and observed among hustle club dancers? The organization of the hustle club creates a social world in which exotic dancing is defined as what? The main source of structural commitment for continuing to dance for relatively long periods seemed to be what? Social clubs promote the image of what? The primary method of making money for the club and dancers, respectively, in the social club is what? The social club consists primary of _____ customers. How do social clubs rank in moneymaking potential when compared with hustle and show clubs? For many of the women, being a dancer in a social club was characterized as what? The show club promotes the image of what? Do show clubs have many regular customers? Moneymaking in show clubs primarily involves what? The show club takes on _____ atmosphere, in which dancers vie for management approval in order to _____ and customer approval in order to ____. Unlike the aggressively money-oriented focus of the hustle club dancers, show club dancers are not so much competing for money as for what? Although the work order of the show clubs entails asymmetrical power relations in favor of _____; dancers do occupy a stance of power in interactions with _____. In addition to the financial benefit, show club dancers may be motivated to continue dancing by their need for what? Scull (2015) The bulk of the existing research on male dancers focuses on what? Cooley (1902) argued that individuals develop a self-concept by _____. According to Cooley (1902), essentially, we assign meaning to ourselves by _____. As Ashforth and Kreiner (1999) note, _____. The author notes that “dirty work” (Hughes 1951) carries what? Ashforth and Kreiner (1999) state that stripping is _____. In short, “side bets” are _____. The author assumed the role of _____. Stripping led to increased feelings of _____. Why originally motivated most of the dancers to begin working at the club? Scull found her participants made very little money _____. Scull found that MDW continued to work at the club for what reason? Social psychologists refer to the desire to feel important to others as what? What are the three components of mattering? We are likely to feel that we matter when _____. To what does “mastery” refer? Dancers expressed feelings of mastery in relation to _____. What is a “gloried self” (Adler and Adler 1989), [something the authors states some of the dancers developed]? When did threats to self-concept arise? To what does “body ekstasis” refer? Scull found that MDW developed a more positive self-concept compared to _____. many female strippers described in the extant literature 905 According to Scull, why are female dancers more inclined to define sexual objectification as negative? Scull notes that women are more likely to base their self-worth _____.
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