
WESTLUND
THE MAN & HIS STRIP CLUBS
written by: THE KINGPIN THORNE PETERS
I wrote this to Michael Erskine at
The Commercial Appeal in a familiar journalistic format.
Because of the self imposed limitations of their newspaper they will not be able to run certain elements of this story which are germain to the plot, so this is the unvarnished version.
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As Charles G, “Jerry” Westlund Jr., a strip club entrepreneur, with locations in California, Illinois, Missouri, South Carolina and Memphis, readies to reopen the Black Tail on Brooks Road as The Player's Club, after it was closed down in February 2007, because of $26,500 in fines for prostitution and acts of pornography, we continue our in depth look into the activities and practices at his other two Memphis-based clubs, The Pony and Downtown Dolls, in the final installment of our series providing an unprecedented behind the scenes account of the standards applied by Westlund, his management and dancers, when deciding which illicit behavior is acceptable whether it is legal or not.
In order to tell the story accurately we may detail occurrences that some may find outrageous and distasteful. We feel that it is important to tell this story, so the public will be informed when they articulate why certain acts between customers and dancers are so objectionable that they must be illegal. Since we never wish to offend, we warn that this material may not be suitable for all readers.
The source of this unvarnished inside information is The Kingpin Thorne Peters, an author and talk radio show host living in Memphis who spent twenty years emceeing in Hollywood's exotic dance clubs, beginning in 1978.
In order to tell the story accurately we may detail occurrences that some may find outrageous and distasteful. We feel that it is important to tell this story, so the public will be informed when they articulate why certain acts between customers and dancers are so objectionable that they must be illegal. Since we never wish to offend, we warn that this material may not be suitable for all readers.
The source of this unvarnished inside information is The Kingpin Thorne Peters, an author and talk radio show host living in Memphis who spent twenty years emceeing in Hollywood's exotic dance clubs, beginning in 1978.
After eight years out of the business, spent writing and publishing his books, he worked between The Pony and Downtown Dolls as a manager and a deejay beginning in January 2007. Kingpin was fired in October 2007 without being given a reason, but claims it was because he constantly warned Westlund and Miguel, the general manager of Westlund's Mid South operations, that girls were performing oral copulation and straight sex in the V.I.P. Lounge and they were going to get closed down like Platinum Plus did if they didn't put a stop to it, by getting rid of the girls that were chronic offenders.
In response to his dismissal, Kingpin has filed a discriminatory retaliation suit against Westlund. “It is unlawful to fire an employee for complaining about illegal practices in the workplace,” attorney Gene Bell chastises. “Based on Mr. Peters' work record and talent at his craft, it will be difficult for Mr. Westlund to show sufficient reason why he was promoting Mr. Peters one day and firing him the day after leveling his strongest complaints about acts of prostitution taking place in the club.”
“My reason for going public is to preserve a level playing field for dancers,” Kingpin contends. “If some girls do more than they're allowed to, other dancers will not be able to make money and out of necessity will also break the rules and get the club closed—that's why management must be there to intervene, and I don't mean by beefing up security as lookouts for police so girls don't get caught in the act in the V.I.P. Lounge.”
“My reason for going public is to preserve a level playing field for dancers,” Kingpin contends. “If some girls do more than they're allowed to, other dancers will not be able to make money and out of necessity will also break the rules and get the club closed—that's why management must be there to intervene, and I don't mean by beefing up security as lookouts for police so girls don't get caught in the act in the V.I.P. Lounge.”
In this article, we are given Kingpin's perspective of how Westlund operates and why his clubs are so routinely in violation of laws and their own sense of a code. Kingpin describes Westlund as a man with a reckless obsession to recreate the conditions and services that Platinum Plus offered, which was an extremely profitable venue for all concerned, until it was closed down on December 9, 2006 under an avalanche of drug and prostitution charges, which culminated with the owner, Ralph Lunati, being sentenced to 18 months in prison. Kingpin says it's a high holy date on Westlund's calendar.
“The Pony was barely treading water before Platinum (Plus) and The (Tunica) Cabaret got shut down,” he notes. “Then overnight The Pony was packed to the walls with customers and the dressing room overflowed with girls.”
Kingpin was genuinely surprised that the former staff from the defunct Lunati-owned clubs would be welcomed so readily by Westlund, when many of them had charges hanging over their heads because of their involvement in the rampant illegalities. “Instead of shunning the managers and deejays from those clubs, who committed every cardinal sin of the business, and got their club closed down, Westlund puts them in key management positions—even paying their legal fees and fines—because he feels they know how to keep the good times flowing in the V.I.P. Lounge.”
Kingpin was genuinely surprised that the former staff from the defunct Lunati-owned clubs would be welcomed so readily by Westlund, when many of them had charges hanging over their heads because of their involvement in the rampant illegalities. “Instead of shunning the managers and deejays from those clubs, who committed every cardinal sin of the business, and got their club closed down, Westlund puts them in key management positions—even paying their legal fees and fines—because he feels they know how to keep the good times flowing in the V.I.P. Lounge.”
Then Kingpin sneers, “But to Hell with laws! These charlatans sold out their club and the industry by taking bribes and looking the other way while dancer turned their strip club into a whorehouse. It's a farce for Westlund to pretend that he runs a legit business . . . the same thing is going on at The Pony that went on at Platinum—that's what Westlund's goal is . . . and the same fate awaits.” To make his position clear he rhetorically asks, “How much money are they making at Platinum tonight?”
After Kingpin was fired, Westlund replaced him with another former Lunati manager making four of the five night managers at The Pony from former Lunati clubs at that time. Westlund's club in Poplar Bluff, Missouri is managed by former Tunica Cabaret manager Terry Wilbanks, and initially his club in East Cape Girardeau, Illinois was managed by Blake, former manager of Platinum Plus.
After Kingpin was fired, Westlund replaced him with another former Lunati manager making four of the five night managers at The Pony from former Lunati clubs at that time. Westlund's club in Poplar Bluff, Missouri is managed by former Tunica Cabaret manager Terry Wilbanks, and initially his club in East Cape Girardeau, Illinois was managed by Blake, former manager of Platinum Plus.
“Westlund knowingly reunited the girls turning tricks with the managers that pimped them out to customers, so naturally those customers went to The Pony to hook up ” Kingpin charges. “Westlund still hasn't figured out that the Platinum way of doing things was a disaster.”
But Kingpin is quick to point out that not all the strip clubs operate outside the law and most dancers obey the industry code, of not exposing the customers or allowing themselves to be penetrated, and many even follow the law while on the job—it is for their benefit that he speaks out so candidly against Westlund's operation.
But Kingpin is quick to point out that not all the strip clubs operate outside the law and most dancers obey the industry code, of not exposing the customers or allowing themselves to be penetrated, and many even follow the law while on the job—it is for their benefit that he speaks out so candidly against Westlund's operation.
“At (Steve) Cooper's clubs (The Gold Club, Christies, and New York-New York) that stuff is not tolerated. If girls break the rules or managers and security take bribes to look the other way while customers get their swerve on, they get fired on the spot when they're caught . . . then Westlund hires them.”
When he first arrived in Memphis, in October 1998, Kingpin worked for Cooper until March 1999, between Tiffany's Cabaret (where The Pony is now) and The Gold Club, before beginning his career as a dedicated self-published author.
When he first arrived in Memphis, in October 1998, Kingpin worked for Cooper until March 1999, between Tiffany's Cabaret (where The Pony is now) and The Gold Club, before beginning his career as a dedicated self-published author.
In October 2006, he went back to work in the industry and was hired by Steve Cooper, Jr., to work at Christie's Cabaret. Because he was offered more shifts and chance for advancement, he left Christie's to work at Downtown Dolls in January 2007, where he remained in Westlund's employ between Dolls and The Pony until October 2007.
Opening in October 2005, Dolls had a consistent customer base and an adequate amount of dancers, so they were hanging in for that first year. Their high moment came in October 2005, when the club hosted a Stonewall Halloween party where the Mud Flap Kings played live and packed the house.
Opening in October 2005, Dolls had a consistent customer base and an adequate amount of dancers, so they were hanging in for that first year. Their high moment came in October 2005, when the club hosted a Stonewall Halloween party where the Mud Flap Kings played live and packed the house.
But there were also numerous violations under Westlund's management team that could have closed the place, so he brought in longtime strip club manager Rex Wilbanks in January 2007, who was managing New York-New York for Cooper at that time. Wilbanks had also managed at Christie's while Kingpin was there and invited him to deejay and train as a manager at Dolls. Kingpin says Westlund ordered Wilbanks to police the place so there were no new legal complications.
“He wanted us to protect his interest more than make a profit. The Pony profits pay for both businesses, and even generated enough so he could sit on the Black Tail for a year waiting to get a clean slate from its previous violations.”
Kingpin feels Westlund worried Dolls had gotten a bad rep for attracting the wrong crowd, which would keep the better customers away if he ever manages to open as a topless club. “He was very clear that he wanted us to run off the thug culture that was there and the way you do that is by blasting Rock & Roll . . . that's where me and Rex came in,” Kingpin affirms. “Westlund told us many times that if the club stayed 'Black' he'd close the doors.”
After more than two years in operation, Westlund has yet to open the south building or the basement to the public, and has failed to obtain a topless permit, despite being continuously in litigation. Dolls has steadily lost money and customers, becoming a costly enterprise for Westlund to keep going. The club has closed its doors on Sunday and Monday, reducing their paid staff, making some work for tips only; in the often-dangerous strip club industry, there is no security most nights.
Kingpin feels Westlund worried Dolls had gotten a bad rep for attracting the wrong crowd, which would keep the better customers away if he ever manages to open as a topless club. “He was very clear that he wanted us to run off the thug culture that was there and the way you do that is by blasting Rock & Roll . . . that's where me and Rex came in,” Kingpin affirms. “Westlund told us many times that if the club stayed 'Black' he'd close the doors.”
After more than two years in operation, Westlund has yet to open the south building or the basement to the public, and has failed to obtain a topless permit, despite being continuously in litigation. Dolls has steadily lost money and customers, becoming a costly enterprise for Westlund to keep going. The club has closed its doors on Sunday and Monday, reducing their paid staff, making some work for tips only; in the often-dangerous strip club industry, there is no security most nights.
“For over two months, I was the only person running the show every Sunday and Monday night—manager, deejay, bartender, and security.” Kingpin states that this is a very dangerous practice in the strip club industry, where alcohol mixed with passion can become a cocktail for violence, evidenced by the many people who have been shot in strip clubs over the past year alone just in Memphis. “Strip clubs are like high school football games, where armed people get wasted and shoot it out over the final score.”
Despite the setbacks and failures and fines, Westlund evidently still has big plans for the club to become the strip club Shangri-La he promised on opening night, if he ever secures the elusive topless permit. “Westlund wants to turn the basement into the V.I.P. Dungeon with booths and jacuzzis; he wants to have a V.I.P. Sky Box on the second floor of the south building,” Kingpin diagrams, “and he'll have five layers of security keeping out riffraff and vice cops from those sensitive areas, so the girls are free to "operate" . . . the big shots and feature strippers will spill out into Westlund's suites in the back. He's got it all figured out.”
Kingpin alerts us that Westlund is looking to expand his holdings on the block. “He's even looking to buy the original Heartbreak Hotel across the street from Dolls to set up apartments for strippers and visiting dignitaries . . . welcome to 'Westlund World' ”
Kingpin says the the difference between The Pony and Dolls is night and day, because Dolls is under so much scrutiny. “At Dolls, the girls are not allowed to break the laws, let alone the code,” Kingpin promises. “The dancers have to keep one foot on the floor during a lap dance; they can't simulate oral copulation; they cannot show their breasts, let alone anything else; they're not allowed to grab a guy by the crotch . . . they can't even take money in their thong on stage or on the floor.”
Despite the setbacks and failures and fines, Westlund evidently still has big plans for the club to become the strip club Shangri-La he promised on opening night, if he ever secures the elusive topless permit. “Westlund wants to turn the basement into the V.I.P. Dungeon with booths and jacuzzis; he wants to have a V.I.P. Sky Box on the second floor of the south building,” Kingpin diagrams, “and he'll have five layers of security keeping out riffraff and vice cops from those sensitive areas, so the girls are free to "operate" . . . the big shots and feature strippers will spill out into Westlund's suites in the back. He's got it all figured out.”
Kingpin alerts us that Westlund is looking to expand his holdings on the block. “He's even looking to buy the original Heartbreak Hotel across the street from Dolls to set up apartments for strippers and visiting dignitaries . . . welcome to 'Westlund World' ”
Kingpin says the the difference between The Pony and Dolls is night and day, because Dolls is under so much scrutiny. “At Dolls, the girls are not allowed to break the laws, let alone the code,” Kingpin promises. “The dancers have to keep one foot on the floor during a lap dance; they can't simulate oral copulation; they cannot show their breasts, let alone anything else; they're not allowed to grab a guy by the crotch . . . they can't even take money in their thong on stage or on the floor.”
Kingpin attests that this strict policy about lap dancing is a Catch .22. "Monitoring lap dances cuts into profits for the dancers, because customers don't buy them if theycan't get action and we're all the time checking up on them."
So one wonders how much those rules are followed at Dolls when money is at stake on a slow night. “Followed? Well the rules are consistently broken by dancers, but just as consistently enforced by management,” Kingpin assures. “At Dolls the manager or security tries to stay in the V.I.P. Lounge and we sneak up on them all the time. It's a tug of war and they still manage to get one in now and then; sometimes they sneak behind the booths or go into the deserted restrooms back there and one time we caught a girl in the kitchen oral copulating her customer in the walk in fridge, but they're history if they get caught . . . the problem is that they're understaffed and there isn't always someone to watch out.”
So what about when Westlund throws his private parties in the south building or hosts soirées in his private suite, as Kingpin accuses? “Well it's not going on in the main room at Dolls and the buildings have separate addresses, so we just grit our teeth and ignore it; we try to make it less obvious to the girls on shift,” he rationalizes. “We did send a message to Westlund through his assistant, Kyle, asking that he not run the gaggle of girls from The Pony through the main room and out the basement to the complex where he lives and parties . . . they can come in through the back alley. We also requested that he and Miguel not call for girls that were on the shift to join them downstairs, because we never had enough girls which means a lousy tip out night for me.”
Kingpin declares it was a culture shock working at the downtown Memphis venue, quite unlike his experiences in L.A. “Well the dancers at Dolls are not wannabe actresses and models, like the L.A. babes,” Kingpin critiques. “They're mostly welfare baby-mommas by day, hardcore streetwalkers by night . . . they come into Dolls to get out of the cold, and since they're all we've got we keep them until they make their move on a customer at the club.”
So what about when Westlund throws his private parties in the south building or hosts soirées in his private suite, as Kingpin accuses? “Well it's not going on in the main room at Dolls and the buildings have separate addresses, so we just grit our teeth and ignore it; we try to make it less obvious to the girls on shift,” he rationalizes. “We did send a message to Westlund through his assistant, Kyle, asking that he not run the gaggle of girls from The Pony through the main room and out the basement to the complex where he lives and parties . . . they can come in through the back alley. We also requested that he and Miguel not call for girls that were on the shift to join them downstairs, because we never had enough girls which means a lousy tip out night for me.”
Kingpin declares it was a culture shock working at the downtown Memphis venue, quite unlike his experiences in L.A. “Well the dancers at Dolls are not wannabe actresses and models, like the L.A. babes,” Kingpin critiques. “They're mostly welfare baby-mommas by day, hardcore streetwalkers by night . . . they come into Dolls to get out of the cold, and since they're all we've got we keep them until they make their move on a customer at the club.”
This low standard for hiring girls at Dolls creates risks to customers. “These chicks are down for their play by any means necessary,” Kingpin warns. “Every time you turn around, you have to deal with an angry customer complaining they got their wallet jacked . . . we fired one girl who was on the phone calling her baby-daddy/pimp to come rob some customer who had a wad of cash. I don't even believe the rash of auto thefts at the club are always random; these girls run with some pretty scandalous characters.”
It shouldn't be surprising to learn that racial profiling goes on under Westlund's orders at The Pony and Black dancers are kept to a bare minimum. “The Pony is his mother ship, so he micro manages that place,” Kingpin outlines. “He is very clear he doesn't want Black dancers on his stage, because they will attract Black customers and the White customers won't come around. The deejays are not allowed to play Rap, so that Blacks won't make the place their spot. When a Black girls shows up in the lobby at The Pony looking for work, there is a code used to alert the manager. The door guys says: 'There be a dancer out here looking for work.' Whether she's fine or hideous the manager then says: 'Flush her to Downtown Dolls.' Practically every Black dancer at Dolls got rerouted from The Pony . . . just ask them.”
It shouldn't be surprising to learn that racial profiling goes on under Westlund's orders at The Pony and Black dancers are kept to a bare minimum. “The Pony is his mother ship, so he micro manages that place,” Kingpin outlines. “He is very clear he doesn't want Black dancers on his stage, because they will attract Black customers and the White customers won't come around. The deejays are not allowed to play Rap, so that Blacks won't make the place their spot. When a Black girls shows up in the lobby at The Pony looking for work, there is a code used to alert the manager. The door guys says: 'There be a dancer out here looking for work.' Whether she's fine or hideous the manager then says: 'Flush her to Downtown Dolls.' Practically every Black dancer at Dolls got rerouted from The Pony . . . just ask them.”
Kingpin reveals that Westlund eventually brought in token Black dancers to avoid being tagged as a racist, but has a plan in place to keep them off the roster. “He will hire a few then fire a couple then hire one here and there and fire one here and there, so there are never more than a few on the roster. They really have to compete to get a lap dance from White customers, with so many featured White dancers around, so they get shutout and hassled for not having tip out—they get no consideration.”
But when it comes to hiring employees for The Pony, Westlund's racism is complete. “He never hires Blacks to work in management or bartend or deejay or waitress, because it will make the club look Black," Kingpin incriminates. "He will only put them on security, so no one can say he doesn't have Blacks on his payroll. He also says they're scarier looking than White guys . . . at least to him.”
But when it comes to hiring employees for The Pony, Westlund's racism is complete. “He never hires Blacks to work in management or bartend or deejay or waitress, because it will make the club look Black," Kingpin incriminates. "He will only put them on security, so no one can say he doesn't have Blacks on his payroll. He also says they're scarier looking than White guys . . . at least to him.”
Westlund's issues with Blacks, particularly female Blacks, takes on some peculiar practices. "His manservant, Kyle, was told by Westlund that he was only allowed to have sex with the Black girls from the club, so that he wouldn't be with a girl he might want to try for."
Kingpin charges that the management and security acts recklessly when manhandling customers that get out of line. “You're dealing with drunk guys trying to save face in front of friends and females, and you've got bouncers trying to look macho to the girlies and the crew, and before you know it someone is reaching into his jacket for a weapon.”
Kingpin charges that the management and security acts recklessly when manhandling customers that get out of line. “You're dealing with drunk guys trying to save face in front of friends and females, and you've got bouncers trying to look macho to the girlies and the crew, and before you know it someone is reaching into his jacket for a weapon.”
Though Kingpin hasn't been involved in any of the shooting events, he has been present for some very dangerous moments. “These jerks have to settle it by pulling out their gun and waving it to let the everyone know that they are willing to shoot. I'll bet half the time these people get shoot someone it is accidental discharge due to drunken stupidity . . . which probably describes their love life as well.”
Along with escalating the threat of violence, Kingpin says the management's procedures for dealing with customers that get bounced often break the law. “The shift manager, Arthur Yee, has illegally handcuffed customers to the outside wall and smacked them around for not paying for lap dances or has lifted their wallet and taken out the money or pulled out his weapon to menace a customer . . . that's kidnapping, unlawful detention, strong arm robbery, and brandishing a weapon all rolled into one,” Kingpin categorizes. “There are too many ways to get busted or shot there trying to do an honest day's work.”
Kingpin says that pimps are routinely in the crowd recruiting girls or making side deals for the girls in their stable. “The pimps have presence; they are introduced as pimps and have their spot where they set up and operate from . . . the good ones spend money. When they're not around, the girls are steady on their cellphones in contact with them to see if he's got quick money lined up.”
Kingpin says that pimps are routinely in the crowd recruiting girls or making side deals for the girls in their stable. “The pimps have presence; they are introduced as pimps and have their spot where they set up and operate from . . . the good ones spend money. When they're not around, the girls are steady on their cellphones in contact with them to see if he's got quick money lined up.”
Kingpin has no evidence that Westlund allows pimps to work out of the club, but he has been told to treat some preferentially while being told to give the boot to others. “Many of the dancers go to the club to advertise their services off the premises more than make money on the premises. They chat the customers up during a lap dance then come out of the V.I.P. with a story about their kid going to the hospital or their momma dying and leave on the heals of the customer. There are girls doing this all the time—nightly. So if the management did not at least tacitly approve, she would be fired after doing it a a few times per month.”
Kingpin verifies that there is a strong drug element in the club. Though he does not claim that the management knowingly allows it, he questions how they don't know about the dealers when the employees and dancers know who they are and which drugs they deal. “Whatever your drug of choice is, you can score it at The Pony . . . if they're not on the premises, they're just a call away and they deliver.”
Kingpin verifies that there is a strong drug element in the club. Though he does not claim that the management knowingly allows it, he questions how they don't know about the dealers when the employees and dancers know who they are and which drugs they deal. “Whatever your drug of choice is, you can score it at The Pony . . . if they're not on the premises, they're just a call away and they deliver.”
Kingpin admits that drugs have always been prevalent in the strip clubs since he began deejaying back in 1978, but the designer drugs of today create a different monster than the ones he dealt with from yesteryear. “I've always been a 'Say no to drugs, smoke pot,' kinda guy,” Kingpin avows. “When I began, partyables were cocaine, ludes and L.S.D. Now it's meth, Lortab and X . . . plus they're on head case meds for their many self inflicted emotional and psychological disorders. These girls get so intense . . . sexual one minute, violent the next. I've seen my share of cat fights, but these girls put on boots and stomp each other. The meth is the worst because of the horrible scabs that break out on their faces, which they sit in the mirror picking . . . the girls on tabs all grind their teeth and stare blankly; the girls on roll just cruise around rubbing against anything . . . it's a shame to see beauty squandered.”
But to Kingpin's mind that is not the most personally distressing change to the strippers in the near, decade between his gigs. “What is horrifying to me is that these women are all tattooed like walls in gang neighborhoods,” Kingpin laments. “They're tagged! It's such a disgraceful violation of the female body. When I was at the Sunset Strip, in L.A., we didn't hire girls with a tattoo . . . then when they were all getting one, we made them cover it up . . . now they're just splattered and there's nowhere to hide . . . ugh and yuk!”
But to Kingpin's mind that is not the most personally distressing change to the strippers in the near, decade between his gigs. “What is horrifying to me is that these women are all tattooed like walls in gang neighborhoods,” Kingpin laments. “They're tagged! It's such a disgraceful violation of the female body. When I was at the Sunset Strip, in L.A., we didn't hire girls with a tattoo . . . then when they were all getting one, we made them cover it up . . . now they're just splattered and there's nowhere to hide . . . ugh and yuk!”
And that wasn't the only noticeable difference about the new styles favored by strippers that caught Kingpin's eye. “We would not let girls strip on stage if they had completely shaved their genitals, because we didn't want to pander to pedophile fetishes . . . now dancers have more tattoos than pubic hair.”
Kingpin sees Westlund as being the worst enemy of his own business as well as the industry. In June 2007, Westlund gained infamy for putting up a series of offending posters along the road to Tunica using the popular “Got Milk” format, asking motorists, instead, “Got Beer?” Then on a subsequent sign, asked, “Got Boobs?” And finally announcing on a billboard for The Pony, with Westlund surrounded by strippers, “We've got both!” Now the boobs have been replaced by baseballs and the signs make no sense.
Kingpin sees Westlund as being the worst enemy of his own business as well as the industry. In June 2007, Westlund gained infamy for putting up a series of offending posters along the road to Tunica using the popular “Got Milk” format, asking motorists, instead, “Got Beer?” Then on a subsequent sign, asked, “Got Boobs?” And finally announcing on a billboard for The Pony, with Westlund surrounded by strippers, “We've got both!” Now the boobs have been replaced by baseballs and the signs make no sense.
Westlund has also turned the vehicles of his management into mobile advertising, wrapping them with the logos of Dolls and The Pony with half naked ladies on the side. Currently the club is under citation for an improper display of their neon stripper on the side of Dolls that can be seen all the way to Union Avenue.
“I tried to tell Westlund that with all the bad publicity swirling around the industry and the court battles with the club, he needed to lay low and be a businessman instead of wannabe celeb,” Kingpin chastises. “Those lame signs, the logo wraps on the trucks with the porn chicks, and the giant neon stripper on the side of the wall are inappropriate, because it takes away people's right to ignore the strip club venue, which is what we want them to do if they don't want to come in and share the debauchery.”
Kingpin also let Westlund know that he felt his advertisements declaring themselves to be the “New Platinum” was a red flag he didn't need to hang on the club. “No one's fooled. Saying we're the 'New Platinum' is a code to let them know it's just like the 'Old Platinum' and that means the customers and police have an expectation of that same illegal behavior.”
Kingpin grouses that Westlund's style of mismanagement will get his clubs shutdown which will give the zealots fuel to go after more clubs and ruin the industry for people who enjoy this age-old entertainment venue, as well as for the people whose livelihoods depend on the clubs staying open. “Westlund and all these owners have a responsibility not to jeopardize the industry or their employees or the dancers . . . there's enough money to go around if you play it straight.”
Kingpin grouses that Westlund's style of mismanagement will get his clubs shutdown which will give the zealots fuel to go after more clubs and ruin the industry for people who enjoy this age-old entertainment venue, as well as for the people whose livelihoods depend on the clubs staying open. “Westlund and all these owners have a responsibility not to jeopardize the industry or their employees or the dancers . . . there's enough money to go around if you play it straight.”
Furthermore, Kingpin pleads that the city needs to make peace with the strip clubs, because if more clubs are closed, it will have a negative impact on a struggling Memphis economy. “Love'em or hate'em, the 'shake joints' make it rain,” Kingpin calculates. “Not just the millions generated by alcohol sales, will be gone, but the income made by thousands of dancers and employees, who will not be able to make nearly this kind of money in the labor force. These baby mommas will end up filling the welfare rolls; they will have to take kids out of day care and private schools; they will have to turn in their cars and not buy new ones; they will not keep their appointments for personal grooming services; they will move out of pricey apartments and homes that will remain empty for a long time; they will not buy impulse items in stores, or splurge at the malls. There is an entire business community relying on those in the strip club industry to keep spending our cash money with them so they can make their ends meet . . . there is enough abandoned business space in this town without adding to it. I mean isn't it enough the Memphis hierarchy foolishly kept the casinos out of town?”
Kingpin also believes that we need to put the issue of the strip clubs in perspective, so we hold the right people responsible for the correct misdeeds. That is why he has been so open about revealing the underbelly of the industry as he witnessed it while working for Westlund. “With all the civil unrest here in the homicide capitol, the least of our concerns is who's doing what with who's whatsits for how much,” Kingpin admonishes. “That expensive probe into the strip clubs revealed what anyone could find out for forty dollars. You the people must respect the fact that a strip club is not a public place, it is a private business and everyone should keep their noses and the law out of it . . . no one has ever been lap danced against their will, so we don't need laws in there. As long as the dancers respect 'the code' and the owners demand management follow suit then there will be no problems. You know that the law has lost all perspectivve when a chick gets arrested for indecent exposure in a strip club!”
When asked about his own credibility to make these claims, Kingpin pontificates, “I don't need to be credible . . . only honest. In fact I'm the most credible person to make these claims, because I want to preserve strip clubs so beautiful women have a place to publicly strip. No one is buying the morals outrage, because The Constitution supercedes The Bible in America . . . thank God. My demand is that a level playing field be maintained in the workplace and my lawsuit and these articles are based on this premise . . . and besides, look who I'm stacking my credibility up against."
Kingpin also believes that we need to put the issue of the strip clubs in perspective, so we hold the right people responsible for the correct misdeeds. That is why he has been so open about revealing the underbelly of the industry as he witnessed it while working for Westlund. “With all the civil unrest here in the homicide capitol, the least of our concerns is who's doing what with who's whatsits for how much,” Kingpin admonishes. “That expensive probe into the strip clubs revealed what anyone could find out for forty dollars. You the people must respect the fact that a strip club is not a public place, it is a private business and everyone should keep their noses and the law out of it . . . no one has ever been lap danced against their will, so we don't need laws in there. As long as the dancers respect 'the code' and the owners demand management follow suit then there will be no problems. You know that the law has lost all perspectivve when a chick gets arrested for indecent exposure in a strip club!”
When asked about his own credibility to make these claims, Kingpin pontificates, “I don't need to be credible . . . only honest. In fact I'm the most credible person to make these claims, because I want to preserve strip clubs so beautiful women have a place to publicly strip. No one is buying the morals outrage, because The Constitution supercedes The Bible in America . . . thank God. My demand is that a level playing field be maintained in the workplace and my lawsuit and these articles are based on this premise . . . and besides, look who I'm stacking my credibility up against."
And Kingpin is willing to go all the way to prove his charges are reliable. "I'm going to depose myself on a polygraph; I can tell you for sure that 'The Kool Aid Man' won't.”
We will follow this story as it moves through the court and update you on this precedent setting workplace legal battle as it unfolds.
********
NOW READ . . .
THE KINGPIN vs THE KOOL AID MAN
THE KINGPIN vs THE KOOL AID MAN
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40 comments:
MANswers on Spike TV just showcased this guy and his club. He must be doing something right.
You've now told the world he pissed you off... like three of four times... in fact, your whole blog is about him.
He's jugdment proof, he fights for his rights, and you hate him for it -- you look more pathetic than he does 'cause you're bitching like a little school girl.
Now run along and get a life so you can talk about your own business dealings.
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I believe you are on overage idiot trying to relive the good times of your youth, Just look at your blog, the majority of pictures you have posted are all obviously from your youth, or better days. The only recent picture of you and the Pastor shows you for what you currently are, an overweight, overage, pimp wannabe player withoput the means to support your wants. So you didn't get promoted and got fired, now you are suing Mr. Westlund and it would be in your best interest to turn public favor in your direction while discrediting Mr. Westlund at the same time. I have worked for Jerry Westlund for more than 10 years. I am not a stripper and am not a man. I would say that he is probably the best employer I have worked for. He pays good wages and actually listens to ideas and advice if they are pertinent and not given by an obvious disgruntled ex-employee. And yes his employees are very loyal to him because he takes good care of his employees in return and I can say this from personal experience. Mr. Westlund has never asked nor hinted that I break the law in the course of my duties. There are a lot of things that Mr. Westlund does out of the goodness of his heart that you fail to mention. Like the countless charitable donations made to just about every cause that comes asking for a donation. The christmas parties thrown for the children of the strippers working in his clubs. The trips to Ringling Brothers Barnum & Bailey Circus , again for the children of the strippers working for him. The countless interest free loans made to employees in need. And let's face it, it sounds like, given the chance, you would step into Jerry Westlund's shoes in a split second.
His whole blog isn't about Jerry; he's the same age as Jerry and he owns a club. What he's saying is real. You can't run strip clubs like a whorehouse or they get closed.
You have no grasp of what KPs about. He is an author. He don't have to pay for women like Jerry does.
If you think Thorne wants to be in anyones shoes you just don't know him.
"I have worked for Jerry Westlund for more than 10 years. I am not a stripper and am not a man."
Then you must be one of his whores.
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Jerry's A good guy..and you are in No place to judge him. at all. Jerry IS NOT RACIST! get over yourself. i worked for him also. not for very long but long enough im a female and was not a dancer Nor a "whore" .. eat your own words and stop being jealous!
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