Prostitution

Home Prostitution

“Can you dig that?” Also Known As: A Willie Dynamite Review

Willie Dynamite is the story of a pimp, for the most part. But! Because I could care fucking less about how hard it is to be a pimp, or how difficult it must be to keep your women together, or whether he decides to get out of the game in the end, I will be focusing very little energy on him. Anyway, his clothes make it difficult to take him seriously. I mean, he starts the film off wearing what could loosely be described as a hot pink matador-esque suit with puffed sleeves. Yes, puffed sleeves.

I’m pretty much only interested in the women.

The film starts off with them strutting about, dressed in what I can only describe as my dream wardrobe if I lived in the 70’s (and now, I won’t lie. Knife pleats and capes are timeless). The hair is large, the lips are red, and it’s all to show that they are classy ladies or so we’re told. These are women who were on the street but were….upgraded, according to the film. It brought to mind something I heard many times last year at the Desiree Alliance Conference, presentation is everything. From your photos, to the text in your ads, clients decide whether you are “worth” your rate by how you look. Like Willie says, “We’re selling an idea.”

What the hell is going on with Backpage? Part II

(Screenshot of Backpage's July 10th email to users)
(Screenshot of Backpage’s July 10th e-mail to users)

Update: Backpage filed a federal suit today against Cook County Sheriff Tom Dart for violating its free speech and equal protection rights after the Sheriff successfully pressured credit card companies to break with the company this month. In the suit, Backpage requests a preliminary injury, so that credit card processing will be restored to the site immediately; compensation for loss of revenue from credit card transactions this month; and punitive damages.

Free posting

Earlier this month, Backpage responded to American Express, Mastercard, and Visa’s disallowal of charges for adult services ads by offering free posting in that section. In an e-mail to users on July 10th, Backpage informed posters that they can move their ads to the top of the listings for free every 24 hours. Each additional posting within that 24 hours will cost a dollar. A good portion of the mainstream media is characterizing this move as reactionary. An example: “Backpage.com thumbs nose at sheriff [Tom Dart, the Illinois Cook County anti-trafficking zealot who wrote a letter to Mastercard and Visa this month prompting their actions],” as the USA Today headline put it, but many sex workers believe this is the least Backpage can do for them during this difficult time in return for earning $22 million dollars of revenue annually from our escort ads.

However, Katherine Koster of the Sex Worker Outreach Project noted that some sex workers are still having trouble with the new system. For one thing, it seems the free posting is only a privilege granted to those who’d posted a paid ad recently, before the Visa and Mastercard fiasco began. “Other people have shared issues around…not being able to post at all,” Koster told Tits and Sass via a Facebook message.

“Every single day, they [Backpage] keep changing shit, other shit randomly doesn’t work, and it is getting incredibly frustrating to use,” Australian escort Sarah summed up on her tumblr.

Backpage itself specified in its e-mail to users that:

Free and paid ads initially post into the same section and sort by date. After a grace period, free ads change position to the Additional Ads section below the paid ads.

Many adult services posters have found that their free ads become inaccessible to clients quickly after being shunted into the Additional Ads section, far from the top of the ad queue where postings garner the most notice. On July 9th, Sarah wrote that she’d “been having problems all day with some of my Backpage free ads disappearing into the ether, showing as live but not being visible in the category listings.”

Satisfaction (2007-2010)

Image via SocialistJazz
Image via SocialistJazz

When I heard about the Showtime Australia drama Satisfaction, set in a swanky Melbourne brothel, I think I elbowed an old lady out of the way to check it out of the library. Yep, library: they take sex work much less negatively in Australia than they do in the United States. It’s legal, although to varying degrees of decriminalization, normalization, and support depending on what state you’re in. West Australia, where I worked, had a variety of irritating laws designed to prevent women from working outside of brothels: they weren’t allowed to hire support staff, like drivers or security, and often had to file taxes in a totally ridiculous way. In Melbourne, across the country in Victoria, sex work is legally licensed and regulated by the state: workers have licenses, regular mandated medical check-ups, and can work independently or through brothels.

Satisfaction is a super swanky TV show about a super swanky brothel, and I absolutely loved it. I’ve never been to a Melbourne brothel, but I have to assume that the glittery hanging curtains, ornate gilt decor, and licensed bar of 232, the Satisfaction home base, are probably not par for the course. They smell more of “movie set designed to make you impressed” rather than “actual working brothel.” The script, though…the script treats sex workers as real human beings, with dignity and respect, facing a variety of issues unrelated to their jobs. Sometimes they hang out together after work; sometimes they have problems unique to sex work; but for large chunks of every episode, the show discusses human dynamics among a group of women who are working for themselves and doing it by choice. There is no coercion here, and the all-too-frequent stereotype we see on US TV (“Debbie couldn’t pay her rent, and now she’s giving blow jobs for crack in some dude’s Pinto!”) is notably, refreshingly absent.

The Girlfriend Experience (2016)

Christine (Riley Keogh) and Avery (Kate Lyn Sheil).
Christine (Riley Keough) and Avery (Kate Lyn Sheil).

I didn’t quite know what to expect from Starz’ new escorting drama,The Girlfriend Experience. After seeing the network’s Flesh and Bone (the story of a ballet dancer moonlighting as a stripper and being terrible at it), I had no doubt it would be very dramatic, rather too serious, and visually appealing. After all, as far as visuals go, Riley Keough as The Girlfriend Experience’s protagonist, Christine Reade, has it all—she’s white, she’s skinny, her features are pleasingly symmetrical, and her hair is reminiscent of Kate Middleton’s.

Christine Reade, the law student heroine with the hidden depths, enters our lives walking down a hotel corridor in the first shot of The Girlfriend Experience’s first episode. We see her from behind—sensible hair, sensible clothes. But the dim lights and the plush carpet she’s walking on are promising that some kind of salacious scene is imminent. Not yet though, not yet. Christine is on her way to meet her friend Avery, who has been left alone in a swanky hotel room where she’s determined to rack up the room service bill of her life.

It’s pretty obvious that Avery is going to be the one to introduce Christine to the good life of middle-aged men, money, and endless room service. (Well, not that last one, maybe, since I doubt many clients would enjoy receiving a room service bill that could cover the down payment on a new car.) Avery’s got a benefactor, a booking agent, and a taste for expensive booze. Christine, on the other hand, has drive, loose morals, and student loans. She ends up going on a double date with Avery, her sugar daddy, and a friend of his.

She is offered an envelope full of money just for being young, beautiful and willing to make tedious small talk with a balding stranger. Will she or won’t she? It’s an age old question, comparable to the moment of downfall in Shakespearean plays. In itself, taking the money is a small thing, but society’s judgment of us weighs so heavy that once you take the cash, you’re a whore, and you will remain a whore until you are dead and buried—and long after that sometimes. It’s the beginning of a chain reaction, and it hardly ever ends well—at least, not on TV.

So, in a tasteful restaurant’s bathroom (real towels!!!), Christine takes the cash and the show really shifts into gear. The booking agent, Jacqueline, is introduced. If you know one, you know them all. She’s almost a carbon copy of Secret Diary of a Call Girl’s Stephanie. She likes cash, nice restaurants, and cash, in that order. What she decidedly doesn’t like is uppity girls. Now, Christine has drive, as I mentioned. “Why should I give you thirty percent”, she asks and we want to know, too. She really shouldn’t give it to her, as it turns out. Jacqueline is sort of the Evil Queen of The Girlfriend Experience escorting world, and surprisingly unprofessional.

“The Higher End of the Community”: John Scarpa and Solidarity

RIP Amanda Gonzalez-Andujar (photo via the Gothamist)
RIP Amanda Gonzalez-Andujar (photo via the Gothamist)

There are John Scarpas everywhere. There is a John Scarpa in every department of the federal government. There is a John Scarpa in every police department. Every four years, a John Scarpa is nominated to run for president. Our world is full of John Scarpas. The difference is that, unlike his doppelgangers, the actual John Scarpa stated the ethical beliefs that underlie the transphobia, whorephobia, and HIV criminalization policies carried out at every level of government around the globe out loud.

For those who missed it, John Scarpa was a Queens-based defense attorney for Rasheen Everett, the murderer of trans sex worker Amanda Gonzalez-Andujar. And while Everett acted out the hate in his heart by killing Gonzalez-Andujar for being transgender, his attorney acted out his own hate by way of his defense. From The Gothamist:

…defense attorney John Scarpa caught the ire of the judge when he argued against the victim’s character. “Shouldn’t that [sentence] [twenty five years] be reserved for people who are guilty of killing certain classes of individuals?” he reportedly asked, adding, “Who is the victim in this case? Is the victim a person in the higher end of the community?”