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Not Good For Me: An Interview with Suzy Favor Hamilton

Suzy Favor Hamilton. (Courtesy of Favor Hamilton)
Suzy Favor Hamilton (Courtesy of Favor Hamilton)

In 2012, former Olympian middle distance runner and motivational speaker Suzy Favor Hamilton was outed as a Vegas agency escort. Recently, Favor Hamilton published her memoir, Fast Girl: A Life Spent Running From Madness, telling the story of her childhood, her athletic career, her stint escorting, her family life, and her struggle with bipolar disorder. After reviewing the book for Tits and Sass, contributor Katie de Long had a conversation with Favor Hamilton over e-mail about the New York Times bestselling autobiography. The dialogue below is a condensed version of those e-mails.

What motivated you to write your memoir?
When I was outed, I was contacted by several writers within the first couple days. I was still in a heavily narcissistic mode, which […] can be pretty common with bipolar mania, especially when untreated.

At that time, I wanted to pretty much write a sex book, detailing my adventures in Las Vegas, capitalizing on my misfortune, so to speak. No mental illness aspect at all. No running, no childhood, just Vegas. At this time, I had no idea I was bipolar…and saw nothing wrong with me.

As time went along, my motivations changed, and I grew unsure I wanted to write a book at all. My parents were making it clear they did not want me to write a book. Others were advising me against it. Things had settled down, so why bring it all out in the open again?

As I began to achieve more clarity, and what had happened to me began to make more sense after diagnosis and treatment, my motivation for writing a memoir grew again. Before the escorting, I was speaking quite a bit about my brother’s suicide and my experience with anxiety and depression, so that desire to make a difference had always been there. I saw a memoir as the most effective way of making that difference, being better understood, sharing what is admittedly a complicated story, and doing so on my terms. I thought a book could have a more lasting impact on a bigger platform.

What do you hope people will learn about bipolar disorder from your book?
I wanted to show the common elements of denial, silence and stigma and how they prevent good people from getting help, and getting well. I want people to be aware of behaviors to look for, so they can help others or perhaps motivate those not yet diagnosed to seek help for themselves.

There are many people out there who don’t buy the whole idea of mental illness and bipolar and how bizarre behavior can stem from it. The “convenient excuse” argument. I hope my story might open a few minds.

Now that you are receiving treatment and establishing a new normal for yourself, do you find yourself being treated differently? Do some people expect you to be able to return to who you were before the disorder worsened?
My parents want the old me back, but I think they are accepting that won’t happen.

There is that perception that I’m not well, mainly when I speak about sex, dress a certain way, hang with a certain person, use my voice. Or, quite frankly, if I happen to be a little manic or depressed on a certain day (especially manic). I’ve learned with certain friends and family, I…stay away from certain topics…sit on my hands and smile, otherwise…they’ll just give me that concerned look. Others, they like “this me” who’s not afraid to be myself. [They] know my moods might change from day to day, even minute to minute. Those are the people I tend to gravitate to these days.

Those who don’t get mental illness think you have to be a non-functioning zombie when you’re manic…In many ways, you can be more productive, more creative, and go, go, go, etc. I believe my mania was a big reason I was a desired escort…My clients loved my mania. Disney, who hired me for their racing series, also loved my mania when I think about it. Zero inhibitions. Bubbly, sparkly. Life of the party. I had no off switch, no ceiling.

I am that imperfect girl, and I want to be that imperfect girl. What’s the bipolar? What’s the real me? I just know I want independence, [to] do what makes me content. I still want to live life to the fullest, live it with a little edge. Don’t want to live by others expectations. Be myself. But admittedly, I’m pulled into old habits often where I do what others expect of me. People are so accustomed to the old me that they think I’m not well when they see someone else.

Let’s say I were to want to go to Burning Man, go hiking with a couple of escort friends, post a beautiful nude portrait of myself that was done for me…many around me would raise red flags. I’m having to be something to please others and doing what drove me to craziness in the first place. So am I going to get criticized on occasion or told I’m not well? I suppose. Dr. Phil said as much when I was on his damn show.

You Cannot Consent To Being Treated Illegally: An Interview With Corinna Spencer-Scheurich

IWW
Together we can be the ones doing the shakedown. (photo courtesy of Tobias Higbie, from Industrial Pioneer, Februrary 1924)

I’m currently in the beginning stages of suing local Portland strip club Casa Diablo. So of course when last fall the Oregon chapter of the National Association of Social Workers hired lobbyists from lobbying firm Pac/West to find out what protections strippers need and to craft a bill that offers these protections, I was very interested. But by the second meeting it was clear that as far as knowing strippers’ rights was concerned, both groups were starting from a blank slate.

To clear the matter up, I talked via e-mail to Corinna Spencer-Scheurich, a lawyer from the Northwest Workers’ Justice Project, an Oregon organization that represents workers in wage claims, does education and outreach about wage theft, and works on other ways to promote human and labor rights. This fall, Spencer-Scheurich represented a dancer in a lawsuit against Portland club Rose City Strip, which won in arbitration. She’s also done two presentations on the legal rights of strippers for SWOP-PDX.

Red: In most of the country, strippers are working thinking they’re independent contractors.  But are they really?  We’re winning these lawsuits for employee status across the country—Rick’s, Sapphire, Spearmint Rhino, Rose City—what are the indicators of independent contractors status?

Corinna Spencer-Scheurich: Those are a lot of big questions so let me see if I can break it down.  Many workers (including dancers) are treated as independent contractors, when they are actually employees. This happens in a lot of industries.

Red: Like FedEx drivers it turns out! And Uber drivers.

Spencer-Scheurich:  Exactly.  So this is a big problem overall.  It is especially rampant in the exotic dancing industry. Clearly, there are independent contractors who are dancers. The clear cases are where people are headliners or traveling acts, etc. Where they are their own business entity separate from the club. But, there are many more dancers who are employees. And those are the cases that you are seeing dancers bring across the country.

Red:  So to really be an independent contractors would you have to be registered or licensed as your own business?

Spencer-Scheurich: That would be one hallmark of an independent contractor. Another might be that the dancers could actually negotiate their contracts (instead of everyone [being] subject to the same rules).

Red:  So being able to change prices for dances, or [deciding] when they show up to work and leave?

Spencer-Scheurich: Right, the less control the club has over the dancer, the less likely the dancer is going to be an employee. So, you are more likely to be an employee if you are subject to fines, can’t set your own schedule, have to dress a certain way, can’t control how you are paid, etc. No particular factor determines whether you are an employee or [an] independent contractor. Courts just look at the whole picture. One big piece of the whole picture is whether the dancing is an integral part of the club’s business. As we know, strip clubs need strippers.

Interview: Porn Performer Sadie West

image via New Sensations

To know Sadie West is truly to experience an enigma. The girl has an exceptionally deep voice and her rumbling laugh will drop to a whisper, unexpectedly. She is an outrageously attractive woman with full natural lips, huge green eyes, deep olive skin, and dark hair. Her breasts are real as is her round, full bubble butt.

Beneath this outwardly goddess-like woman is the little girl that I knew and grew up with. This rowdy tomboy stole my underwear and hung it on the clothesline for her brothers to see at the family barbecue. As kids we would play hide-and-seek late at night on the deserted high school campus, where we would often hide in the drainage sewer. We would spend afternoons at the public pool, Sadie speaking loudly in an English accent, yelling “bloody fuck!” off the high dive. When the new neighbors moved in next door to her parents’ house, she had them thinking she was an adopted British kid for at least a week.

Her Survivor’s Instinct: Paul Frankl on Roxanne

(Screenshot from Roxanne, courtesy of Paul Frankl)
Roxanne and Lily negotiate breakfast. (Still from Roxanne, courtesy of Paul Frankl)

Roxanne, a short film about a trans sex worker who reluctantly takes in an abandoned child, was recently selected as a Vimeo Staff Pick and has been accepted at 14 international film festivals, including two Oscar qualifying fests.  It will soon be made into a feature film. The following interview was conducted by Sarah and Caty with director Paul Frankl over e-mail. 

Roxanne is played by a genderfluid drag queen performer, Miss Cairo. That adds an interesting layer to her portrayal of Roxanne, because a lot of trans workers exist in gender variant spaces. Sarah noted that Roxanne is a character she could actually imagine working alongside her in a trans parlor, and she’s never seen that done on film before. Can you tell us more about this casting choice?

Casting someone of fluid gender was not something I initially set out to do. I auditioned eight trans and genderfluid women (because I knew I wanted someone from the trans community, as an ethical choice), and of them, Cairo was the one I wanted for the role. We then had many discussions around gender (her own and Roxanne’s) and it was her who brought the genderqueer aspect, which I wanted to embrace and thought made a great extra dynamic to the film. Exploring someone as genderfluid is something that’s rarely seen in the media (even less than representations of trans people given the rise in awareness over the last couple of years), and something I think is definitely worth exploring more in film.

Another thing we loved about the short was the way you holistically represented all the aspects of Roxanne’s life—her morning run was given just as much if not more film time as her nightly sex work.  In your Hunger TV interview, you stated that, “by pushing the fact that she is a trans sex worker to the background, I hoped to humanise her and make her a character that everyone can relate to.” Why do you think it’s so hard for mainstream audiences to see beyond the label of “trans sex worker” and understand trans workers as whole persons beyond their jobs and gender identities?

I think films can allow people to connect with others on an emotional level, in a way they can’t through many other mediums. This is why it’s a great way to help change attitudes towards trans people and sex workers, because the audience can see their hopes, fears, and daily life—things that we all have—and relate to them. Too often, trans sex workers (and sex workers in general) are presented as victims, crazy, or drug addicts. I wanted to show a trans sex worker who was in control of her life—with her own issues, but ones that don’t revolve around her gender or career. In this way I hoped to be able to change some attitudes towards sex workers of those watching. Hopefully, this can be done more (to a wider audience) with the feature.

We were surprised by Roxanne’s agreement with Lily’s statement that she puts on her makeup to be someone else, rather than telling Lily that the makeup is just part of being the woman she is. In the Hunger TV interview, you also said that “[p]art of the key to the film was differentiating between the light and dark aspects to Roxanne’s life. We wanted to visually separate the day from the night scenes, and show the duality of her life—her real self vs. her masked self…” What is Roxanne’s “masked self”? A common stereotype about trans women holds that they are pretenders to womanhood. How is Roxanne not being her real self when she puts on makeup and displays her femininity?

Her ‘mask’ relates to the glamorous role she feels she has to play on the scene. The line about her “being someone else” when she puts on all the makeup, refers to her playing this glamorous person that doesn’t connect to her daily self—the one you see in the day time, who has interests outside the clubbing scene. It can be lonely to present a beautiful and glamorous person all the time. This is her mask—it has nothing to do with her womanhood or transness. But I think in general, makeup does disguise who you are somewhat—it physically changes the way you look. She feels she has to portray this person in order to get clients, rather than presenting herself as the sensitive, (hurt) person she really is.

“There Can’t Be Numbers:” An Interview With Laura Agustín, Part 1

Upon the publication of her book, Sex at the Margins: Migration, Labor Markets and the Rescue Industryanthropologist Laura Agustín became a hero to many sex worker activists. Her research cuts through the usual moral hysteria and emotionality invoked by the idea of trafficking to radically revise discussions about migration and sexual labor. Both her blog (linked above) and her book contain rational assessments of an unfair world in which people exercise choice even when they have limited options; where citizens of developing countries, like citizens of developed countries, have an urge to see more of the world; and where a single story cannot usefully articulate the experience of multiple, diverse human beings. When it comes to her approach, she explains, “I am disposed to accept what people tell me, and believe in their ability to interpret their own lives.” She kindly agreed to answer some questions for us about the current state of trafficking laws, what she calls the Rescue Industry, and public (mis)conceptions.

How did you first become interested in the sex industry?

My interest was in the experiences of friends and colleagues in Latin America who wanted to work in Europe. Travelling outside the formal economy meant having very limited choices, and, for women, selling sex and working as live-in maids were practically the only choices. People I knew conversed in a normal way about how to get to Europe and which of the jobs seemed better for them personally. I saw how certain outsiders were focussing on something they called prostitution, but I didn’t understand their anxiety about it. My original question wasn’t about migrants at all but about these people, who wanted to stop others from travelling and stop them from taking jobs they were willing to accept – all in the name of saving them. During my studies I decided that thinking in terms of commercial sex and the sex industry were one way to resist this Rescue ideology.