Lily Burana had given up on stripping years before she accepted a marriage proposal-but decided to strip her way from Florida to Alaska before settling down. Lily, now a successful journalist, looks back at stripping with a writer's perspective. Her humorous yet hard-edged memoir deftly describes funky clubs and offbeat characters, the exhilaration that overtakes a dancer on stage-and the darker realities that assail her heart when she's out of the spotlight. Strip City is both a hugely entertaining insider's account of a hidden world and a moving voyage of self-discovery. Lily Burana has written for The New York Times Book Review, GQ, New York magazine, The Village Voice, Spin, and Salon. She lives in New York State. This is her rst book.

Katherine Liepe-Levinson has spent three years researching heterosexual female and male striptease in North America: this is the first full length theoretically informed study of striptease.

The transformations of the Strip—from the fake Wild West to neon signs twenty stories high to “starchitecture”—and how they mirror America itself. The Las Vegas Strip has impersonated the Wild West, with saloon doors and wagon wheels; it has decked itself out in midcentury modern sleekness. It has illuminated itself with twenty-story-high neon signs, then junked them. After that came Disney-like theme parks featuring castles and pirates, followed by replicas of Venetian canals, New York skyscrapers, and the Eiffel Tower. (It might be noted that forty-two million people visited Las Vegas in 2015—ten million more than visited the real Paris.) More recently, the Strip decided to get classy, with casinos designed by famous architects and zillion-dollar collections of art. Las Vegas became the “implosion capital of the world” as developers, driven by competition, got rid of the old to make way for the new—offering a non-metaphorical definition of “creative destruction.” In The Strip, Stefan Al examines the many transformations of the Las Vegas Strip, arguing that they mirror transformations in America itself. The Strip is not, as popularly supposed, a display of architectural freaks but representative of architectural trends and a record of social, cultural, and economic change. Al tells two parallel stories. He describes the feverish competition of Las Vegas developers to build the snazziest, most tourist-grabbing casinos and resorts—with a cast of characters including the mobster Bugsy Siegel, the eccentric billionaire Howard Hughes, and the would-be political kingmaker Sheldon Adelson. And he views the Strip in a larger social context, showing that it has not only reflected trends but also magnified them and sometimes even initiated them. Generously illustrated with stunning color images throughout, The Strip traces the many metamorphoses of a city that offers a vivid projection of the American dream.