Quote of The Week

by suzyhooker on January 20, 2017 · 0 comments

in Uncategorized

I am proud of the work I’ve done as part of the Women’s March policy table – a collection of women and folk engaged in crucial feminist, racial and social justice work across various intersections in our country. I helped draft the vision and I wrote the line “…and we stand in solidarity with sex workers’ rights movements.” It is not a statement that is controversial to me because as a trans woman of color who grew up in low-income communities and who advocates, resists, dreams and writes alongside these communities, I know that underground economies are essential parts of the lived realities of women and folk. I know sex work to be work. It’s not something I need to tiptoe around. It’s not a radical statement. It’s a fact. My work and my feminism rejects respectability politics, whorephobia, slut-shaming and the misconception that sex workers, or folks engaged in the sex trades by choice or circumstance, need to be saved, that they are colluding with the patriarchy by “selling their bodies.” I reject the continual erasure of sex workers from our feminisms because we continue to conflate sex work with the brutal reality of coercion and trafficking. I reject the policing within and outside women’s movements that shames, scapegoats, rejects, erases and shuns sex workers. I cannot speak to the internal conflicts at the Women’s March that have led to the erasure of the line I wrote for our collective vision but I have been assured that the line will remain in OUR document. The conflicts that may have led to its temporary editing will not leave until we, as feminists, respect THE rights of every woman and person to do what they want with their body and their lives. We will not be free until those most marginalized, most policed, most ridiculed, pushed out and judged are centered. There are no throwaway people, and I hope every sex worker who has felt shamed by this momentarily [sic] erasure shows up to their local March and holds the collective accountable to our vast, diverse, complicated realities.

—Janet Mock’s tumblr statement on the erasure and subsequent re-addition of sex workers’ rights content in the agenda document this week for the Women’s March On Washington

 

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(Photo by Flickr user 401(K) 2013)

  • Lysistrata fund: @Molly-Doom at Venmo or sara.vinik@gmail.com at Paypal for donations, contact sara.vinik@gmail.com or LaFemme.Molly.Doom@gmail.com if you need to receive funds. Limited resources at the moment, but they are trying to solicit more.
  • Donate to @$CharlottePage through Squarecash and the money will be distributed directly to sex workers in need.
  • Donate to Vee Chattie’s fundraiser through Venmo, or email her at veechattie@gmail.com to ask to receive funds.
  • There’s also a Generosity page for donating to low-income people affected by the closure of Backpage here, focusing particularly on “trans folks, people of Color, differently-abled folks and others with bodies who are discriminated against under our white supremacist, patriarchal, capitalistic government.”

We urge readers to comment with contact information for any additional community funds they know about. Feel free to contact me personally re: distributing donations at simon.caty@gmail.com as well.

 

 

 

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WTF, Backpage?

by Caty Simon on January 13, 2017 · 9 comments

in News, Politics

A screenshot of Backpage’s New York City escorting page as of 1/12/2017.

We all knew it was coming. With California Attorney General Kamala Harris filing a second set of multiple charges of pimping and money laundering last month against Backpage CEO Carl Ferrer and shareholders Michael Lacey and James Larkin, and with Ferrer and his shareholders’ Senate hearing coming up last Tuesday before the Permanent Subcommittee on Investigations, plus the trafficking hysteria-fueled media scrutiny Backpage had been under over the past couple of years—well, let’s just say that few of us were buying Backpage credits in bulk anymore. But most of us expected that the government would find some way to stop Backpage’s adult ads operation, however legally unlikely that might seem after years of efforts to do just that by law enforcement zealots. (After all, the California State Superior Court spanked Harris pretty hard verbally in last month’s decision on her first set of Backpage charges, reminding her that the Communications Decency Act specified that third party sites were not liable for their posters’ illegal content. And on Monday, the Supreme Court stated it would not hear an appeal on that case.)

But what actually ended up happening is that on Monday night, a few hours after the publication of a Senate report accusing Backpage of editing ads to minimize evidence of trafficking, Backpage execs decided to shutter their U.S. adult ads themselves as a free speech protest. Where the ads had once been, the site announces that they are “censored” by the government in a loud red font. Visitors are encouraged to speak out in support of the martyred site by using the hashtags #FREE SPEECH #BACKPAGE on social media.

That night, us sex workers collectively panicked, wondering how we would survive this month with no well-established national advertising site to garner low-end to middle-end escorting clients.

As usual, when powerful institutions decide to use the sex work debate for symbolic ammunition, it’s sex workers who suffer horrific real life consequences. Here, two competing neo-liberal agendas are clashing, indifferent to the material plight of the sex workers caught between them.

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Thandie Newton as Maeve, the badass robot Black sex working heroine who keeps us invested in this glossy Game of Thrones replacement wannabe.

by Clara and Caty

[Content warning: some discussion of rape. Also, spoiler warning.]

Clara: Westworld is a science fiction western thriller created and produced by Jonathan Nolan and Lisa Joy. JJ Abrams is also a producer, so think Jurassic Park meets Firefly with a dash of Lost. As with its predecessors—Blade Runner. Battlestar Galactica, etc—Westworld uses human-like robots to tell us a story about humanity. Questions like “How do you know you are human?” “What is consciousness?” “What are dreams?” “What are memories?” “How does does your past define you?” “What is free will?” “What is consent?” are asked but not always answered.

The titular Westworld is a Western theme park where life-life robots—”hosts”—act out stories called narratives in a controlled environment for guests of the park. The park is marketed as “life without limits.” The idea is that because the hosts are robots you can do anything you want with them and it doesn’t matter.

While not a show directly about sex work, Westworld in its over-all arc is about the push/pull of market forces between client and worker. It is also about the uprising of a group who is fed up with being used. Sex workers who have to constantly prove their humanity to society and deal with client entitlement every day might find the show reminiscent of their lives.

Caty: I would argue that this show is about sex work. It’s about a separate, disposable class of people who perform reproductive/emotional labor so that guests can enjoy their leisure. The hosts’ very lives are this labor, so they can’t even be compensated for it. And they literally have false consciousness.

As the show reminds us constantly, the hosts’ purpose is to be fucked or hurt, or at the very least to immerse the clients in a fantasy, which sounds like the sex worker job description to a T. In fact, the hosts are the ideal sex workers from a certain client perspective. They are the ultimate pro-subs, who can be beaten, stabbed, strangled, and shot, only to be refurbished, resurrected, and brought back as a clean slate in terms of both their memories and their bodies, ready to take those blows again. They are entirely “authentic,” programmed to believe that the role play they engage the guests in is what is actually happening. If the Westworld story that the guest is indulging in is that Dolores (Evan Rachel Wood), the damsel host, is in love with him, she actually is in love with him.

But what Westworld actually does best is reflect the client mentality—an Entertainment Weekly recapper quipped that the Man In Black (Ed Harris) sounds like “a dork playing Dungeons & Dragons who yells at other players for asking for a bathroom break” when he gets pissed off after some other guests refer to his work in the real world. But to me, he actually sounds like the BDSM client I used to have who would shriek “WE DON’T TALK ABOUT THE MONEY” if I ever said anything which derailed his fantasy of being a scene elder teaching eager young acolyte (unpaid) me about kink.

And who does William (Jimmi Simpson) remind us of most but a stalker regular when he turns (even more) murderous and rapacious after realizing that Dolores doesn’t remember him—that he isn’t special enough to her to override the programming that forces her to forget him after each go-round? At first, he’s a Nice Guy—that trusted reg, the one who believes Dolores is sapient and Not Like All The Other Hosts. He’s Captain-Save-A-Host! But later, after his embittered violence runs roughshod over the park for 30 years, after he assaults Dolores over and over, and then grows “tired” of her like the most jaded hobbyist, Dolores tells him, “I thought you were different, but you’re just like all the rest.”

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Caty’s picks:

Media Coverage of Sex Workers Erases Our Voices by Lily Fury
Tits and Sass contributor Lily Fury’s Establishment piece confronts a problem which we’ve devoted thousands of words to on this site: the flattening, sanitizing, and sensationalizing of sex workers’ stories by the mainstream media. The quotes she elicits from interview subjects like Shagasyia Diamond and Akynos Shekara on their misrepresentation and erasure by journalists in favor of whiter, more well-heeled, and respectable representatives of our profession are searing: “The white victim is always the victim people feel sorry for,” Shekara observes. And Fury turns the endless debate about listening to sex workers on its head, asking: “Should non-sex-workers be allowed to speak for us? Is there a way for journalists who haven’t worked in the sex industry to write about it responsibly?”

I’m A Sex Worker Who Was Raped, Here’s Why I Didn’t Fight Back by Holiday Black
[Content warning: graphic description of sexual assault] This was the piece I saw linked most often this year within my sex worker peer group. I wish we all didn’t identify with it so much, but Black excels in depicting the profoundly fucked up reality we live in.

My Hopes & Fears About Becoming A Mother After Being A Sex Worker by Melissa Petro
Petro delves into intimate territory with testimonies on the often fraught relationships sex workers have with their mothers and reflections on how this shapes us if we become parents ourselves. I couldn’t get this quote from Meg Valee Munoz out of my head: “There’s this painful thing that happens when you’re a sex worker and become a mother. You start to realize how incredibly intense a mother’s love is, yet start to question why your own mother’s love was not strong enough to reject stigma and accept you.”

#Black SexWorkersLivesMatter: White-Washed “Anti-Slavery” And The Appropriation of Black Suffering by Robin Maynard
Feminist Wire posted this stunning manifesto in 2015, but since we didn’t point it out last year, I’m taking the chance now. Maynard’s piece explains why the prohibitionist lobby’s use of the term “slavery” drowns out the concerns of Black sex workers. In the process, she creates an information-packed primer on Black feminist and sex worker movements against the prison industrial complex.

The Peculiar Political Economics of Pro-Domming by Lori Adorable
Adorable is at her brilliant best here inquiring why pro-dommes confuse the paid performance of control with material power: “I…don’t see how a half dozen or so fin-dommes have transformed ‘fuck you, pay me’ dirty talk into a semi-coherent rhetoric of wealth redistribution on certain strains of social justice Twitter.”

The Tedium of Trans Sex Work by Sarah
In a wryly funny and insightful piece, Sarah tells us about the extra heaping of objectification that comes with being a sex working trans woman: “[Clients] want some kind of once-in-a-lifetime bucket list sexual experience, have no idea what that is, and expect that you’ll be able to provide it—because that’s what they think trans women are there for.”

Porno-Enlightenment: How Pornography Propagates A Liberal Worldview by Angel Archer
Angel Archer/Rebeka Refuse stands out among sex worker writers in her sharp command of Marxist analysis. In this piece, she examines porn as part of the political ideology of liberalism, tracing the connection from the Marquis de Sade, to the Cold War, and on to Pornhub.

What Trump Means For Sex Workers by Juniper Fitzgerald
In impassioned but incisive prose, Fitzgerald explains why Trump’s election should make us think about guiding the sex workers’ rights movement away from my-body-my-choice libertarianism into a collectivism which defies what the President-Elect stands for.

As A Sex Worker, I’m Terrified For The Next Four Years by Hennessy Williams
On a more personal note, a couple of weeks after the election, Williams gave voice to the the way we all fear for our safety under Trump, especially those of us who are people of color and LGBTQ.  She also spoke to the cognitive dissonance of seeing clients who rejoiced in the new regime: “Already, I’ve heard my clients who work in the pharmaceutical and finance industries express excitement about how their industries will flourish under Trump, giddy with the results many Americans took as bad news.”

Josephine’s picks:

Why Prince Was a Hero to Strippers by Lily Burana and Naked Music Monday: Prince by Bubbles (Susan Elizabeth Shepard)
Because Prince was uniquely important to strippers.

Support Hos: Deadpool by Maggie McMuffin
A Marvel superhero film whose romantic lead is a kick-ass sex worker: what could be better? McMuffin’s review is a delightful read even if you’re not a comic book geek.

“Junkie Whore”—What Life is Really Like for Sex Workers on Heroin by Caty Simon
The writer draws from her personal life and the lives of other opioid-using sex workers to illustrate how inaccurate the junkie whore trope truly is.

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