Bottomless Girls

Bottomless Girls
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Jose Canseco's daughter, Josie, 19, poses bottomless for Playboy
May 26, 2016 Updated: May 26, 2016 4:52 p.m.

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We bet this one came out of left field for baseball great Jose Canseco.
Photos have been released of his 19-year-old daughter Josie posing provocatively for Playboy magazine after having been named Miss June.
TMZ reports that sources say the legendary athlete was "blindsided" by his daughter's photoshoot, which features the teen without underwear on, but posed in such a way that it doesn't violate the magazine's new no-nudity initiative.
This isn't Josie's first stint in front of the lens. Prior to this scandalous shoot, she posed for Sherri Hill, Galore magazine and Love magazine.
Jose Canseco "blindsided" by 19-year-old daughter Josie being named Playboy's Miss June. https://t.co/2IB1Tr0Fm1 pic.twitter.com/9VXwQncBVq
Josie is in good company. Take a look at celebrities who have graced the cover of Playboy magazine through the years in the gallery above.
Andrea Waguespack is a web producer for the Houston Chronicle.

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Credit: Courtesy Serge Sorokko Gallery/Glitterati Editions
Unseen photos provide a sensitive look at America's early 'working girls'
Dita Von Teese is a burlesque performer, model and author. This is an edited extract from her foreword to "Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson.
Women in sexual professions have always distinguished themselves from other women, from the mores of the time, by pushing the boundaries of style. The most celebrated concubines and courtesans in history set the trends in their respective courts. The great dames of burlesque -- Sally Rand, Gypsy Rose Lee -- boasted a signature style on- and offstage, reflecting broader-than-life personalities.
Dita von Teese on the eternal allure of a well-dressed gentleman
Given that photography was still an emerging technology, an emerging creative medium, when these "working girls" posed for William Goldman in the 1890s at a Reading, Pennsylvania brothel, the entire exercise transcends their initial business liaison. The instantaneous concept of click-and-shoot was still decades away. To be photographed required sitting very still. The women featured in Goldman's collection obviously caught his eye. Not just anyone is asked to be the subject of artistic documentation.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The local photographer and his anonymous muses appear to straddle an artful titillation, at times striving toward Degas nudes and at another, more in the spirit of a strip and tease. There is a beauty in even the most mundane moments.
Among Goldman's models, my own gaze zeroed in on the striped stockings and darker shades of their risqué brassieres. These ladies of Reading, Pennsylvania, might not have had the wealth of Madame du Barry, celebrated mistress of Louis XV of France, or the fame and freedom of a silver-screen sex goddess such as Mae West. But they sought to elevate their circumstances, to feel lovelier and more fashionable, with a daring pair of knickers.
Courtesy Serge Sorokko Gallery/Glitterati Editions
To feel special is fundamental to the human condition. Few opportunities outshine a sense of specialness than when an artist asks to record your looks, your beauty. Under the right circumstances, to be the object of admiration -- of desire -- to be what is essentially objectified is not only flattering. It can also provide a shot of confidence and a sense of strength and power and even liberation, however lasting or fleeting.
Courtesy Serge Sorokko Gallery/Glitterati Editions
For these working girls who were already going against the drudgery of toiling in a factory or as a domestic, who were surviving in a patriarchal world by their wits and sexuality, the opportunity to sit for Goldman was very likely not only thrilling. It was also empowering.
One can only imagine the mutual giddiness prevailing among them all, too, at the possible outcome from all these lost afternoon shoots. In a singular image from this collection appears Goldman striking a pose as proud as a peacock. It's one of stock masculinity in the canons of classic portraiture (though usually in military uniform), and like his muses, presented in all his naked glory. By sharing in the objectivity of the process, Goldman basks in the specialness his models must have felt. By stepping around the lens, he becomes a true confidante.
Courtesy Serge Sorokko Gallery/Glitterati Editions
It suggests a balance of power between artist and muse, man and woman -- at least behind closed doors. Their collective decision to strip and strut for the camera reveals a shared lack of shame for the body beautiful and, in that, a shared, albeit secret, defiance of cultural mores.
Courtesy Serge Sorokko Gallery/Glitterati Editions
By all accounts from curator Robert Flynn Johnson's devoted research on this once-lost collection, Goldman seems to have kept his treasured collection as a personal trove. As a successful photographer of weddings and social events, it was most certainly not in his interest for the public to know about his private creative pursuits.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The brothel was a necessary evil in town, where men with certain desires visited women who would oblige. In this case, it was the desire of a man to capture the beauty and sensuality of the women he befriended. There is much to learn and (most of all!) take pleasure in with this discovery.
As these lost photographs illustrate more than a century later, one period's "social problem" is another's cultural revelation.
"Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson, with a foreword by Dita Von Teese, is out now.
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There was a time when color photography was considered amateur. By pioneering color in the 1960s, Joel Meyerowitz helped change that.
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Shannon decided against the bar's normal uniform, and decided to go for her own unique look instead
When customers at Lee's Landing Docking Bar in Maryland popped in for a cheeky afternoon drink, they were just expecting a nice relaxing afternoon and a few laughs with their pals.
But when they arrived they were greeted by something a big odd - a naked waitress.
Instead of clothes, Shannon was serving up pints of larger wearing just body paint.
One of her first customers didn't seem to notice, simply thanking Shannon for her drink and carrying on the conservation.
But unsurprisingly people started to clock what was happening, and it wasn't long before she was the centre of attention - and some of her customers' reactions were just hilarious.
Shannon's unusual look was the work of artist Jen Seidel , who is known as Jen the Body Painter , and her apprentice daughter Kennedy.
One man whispered to his friend: "That girl's not got any clothes on."
Another joked to her: "It's pretty hot out."
When quizzed by a table full of women she admitted her outfit was painted on, and they could be seen laughing.
One said "I love it" while another joked "I hate you".
Another woman said: "I literally can't believe that you're doing th
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