sexuality. Dancers were paid an hourly wage. (The top wage for dancers in Seattle in 2001 was $27 per hour, the top wage in San Francisco in 2003 was $26 per hour.) Seattle The Seattle Lusty Lady opened in the 1970s and moved to its final location at 1315 First Avenue in downtown Seattle near Pike Place Market in 1985. The club was well known for its frequently changing and often amusing marquee announcements. The Lusty Lady is immediately across the street from the Seattle Art Museum and the marquee often commented on current exhibits or the Hammering Man statue. Mimi Gates, stepmother of Bill Gates and director of the Seattle Art Museum, said "The Lusty Lady's marquee is a Seattle landmark." Nirvana’s logo was also inspired by the happy face logo there, which said, "Have An Erotic Day!" In 2006, the Seattle Lusty Lady survived a threatened wrecking ball when the building's owner, a Seattle family, refused a multimillion-dollar tear-down offer from developers of a new Four Seasons Hotel next door. The owners instead received $850,000 "for air rights to the views over their property". Employees celebrated by posting on their reader board: "We're Open, Not Clothed!" In January 2010, police arrested a peeping tom in the Lusty Lady who had climbed up from a viewing booth into the ceiling crawl space overhead, then partly crashed through the glass ceiling above the stage. On Sunday April 11, 2010, the Lusty Lady in Seattle announced that it would close its doors for business in June. The economic climate and the rise of Internet pornography were cited as reasons for closing. On June 28, 2010, the Lusty Lady marquee was removed from the Seattle location. It was acquired by the Museum of History & Industry and is now on display at their museum in the South Lake Union neighborhood. In the wake of the Lusty Lady announcing its shutdown, the NPR program All Things Considered did a story focusing on the peep show's history and relationship to the broader downtown Seattle community. Books The 1997 book The Lusty Lady by photographer Erika Langley documents the work in the Seattle branch of Lusty Lady. It includes photos by Langley (who had worked there as a dancer since 1992) as well as essays by a number of Lusty Lady dancers, who vary considerably in their attitudes toward their customers and toward their work.