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The Early Erotic Review or Harris’s List of Covent Garden Ladies (1757)

Harris’s List is an 18th century catalog of London prostitutes complete with (real) names, addresses, and descriptions of each, and it proves to me just how much men throughout the ages have loved reviewing prostitutes. They love it today, they loved it 250 years ago, and my guess is that even most Egyptian hieroglyphics and ancient animal cave paintings will one day be recognized as elaborate codes indicating which slave or wild woman gave the best BJ in exchange for some fruit. Not that it’s all about crude physical congress; Harris’s List attests that johns have always valued good education, witty conversation, and pleasant demeanor in their paid companions while frowning upon arrogance and high prices. There’s also an astonishing amount of sexism on display with the regular endorsement that if she weren’t such a fallen slut, Suzy Hooker would have been a proper lady. (“Notwithstanding the unfortunate bent she has taken;” “if she had not quitted the path of virtue.”)

Harris’s List was published annually for 38 years and written by various authors over that time, but the copy I read was one compiled from versions by original scribe Samuel Derrick—inspired by a pimp, though not a pimp himself—who, according to academic Hallie Rubenhold, died in love with a courtesan he couldn’t afford. That’s sweet cosmic justice since Derrick, or at least the narrator’s voice he assumes, is a bit of dick, though I’ve admitted before that I almost categorically hate reviews and those who write them, so I might be biased. You can judge yourself with the following choicest tidbits. Which lady would you visit?

Disclaimer: I am not a scholar of old-timey prostitute reviews, but I will do my best with these translations.

Hustlers (2019)

Ramona teaches pole tricks to Destiny, no licking

It’s been 24 years since Elizabeth Berkley licked the pole in Showgirls and I’m still mad about it, so I understand the mixture of anticipation and dread with which strippers await Hustlers. What stupid misconceptions will it leave the audience with? How many years will it be the general public’s touchstone for what we do? Will it portray all strippers as one national financial collapse away from forming a ring to drug customers, then max out their credit cards, as they did in the real-life criminal cases at the center of the New York story on which the movie is based?

Hustlers addresses that last question head-on. The film’s framing device is an interview of Destiny (Constance Wu), the character based on Roslyn Keo, by Elizabeth (Julia Stiles), a stand-in for journalist Jessica Pressler. Destiny asks Elizabeth what’s going into the story, and says she doesn’t want it to be a hit piece about how all strippers are thieves, because it’s not like that.

If you, like Destiny, don’t want to see another story paint strippers as ripoff artists, are left unable to enjoy the movie because of the real stigma faced by strippers, because FOSTA has made your life harder while movie stars build award-contending performances on our stories, or because it doesn’t resemble your experience remotely, I absolutely get it. But one reason sex workers feel our depiction in Hustlers is a high-stakes issue is the low rate of representation of strippers and sex workers as leads in major motion pictures. We’re accustomed to being props, punchlines, victims or villians, and we know that it’s going to be a long time before another stripper story is allowed to take center stage. Shouldn’t this one do something good for us? Is it good for the strippers?

Sex Workers Unite: A History of the Movement from Stonewall to Slutwalk (2014)

sxwrkrsuniteAny book that aspires to be the first history of the sex workers’ rights movement in the United States will inevitably face accusations of exclusion. But despite some unavoidable failures in representation, Mindy Chateauvert’s Sex Workers Unite: A History of the Movement from Stonewall to Slutwalk, is a pretty damn good history of our movement. Still, Mattilda Bernstein Sycamore’s critique in her review of the book—that male and genderqueer sex workers are given short shrift in Chateauvert’s work—is valid. Glancing references to Kirk Read and HOOK Online aside, the book is a bit of a hen party.

Then again, so is the movement it chronicles. Sex Workers Unite is a fairly accurate portrayal of our organizing, for better or worse. The index and the footnotes provided me with a comforting sense of familiarity as my eye skimmed over names well known to me, from Carol Leigh to Kate Zen. (Full disclosure: Tits and Sass posts were often cited, including one of my own.) At least, finally, in this text trans women sex workers are given the central role in our story that they’ve played in our activism. The book covers early movement trans heroines like Sylvia Rivera and Marsha P. Johnson in depth, documenting their participation in the Stonewall riot and their founding of STAR House, a community program serving queer and trans youth in the sex trades. They were also involved in the lesser known organization GLF (Gay Liberation Front), an anti-capitalist group that “made room for prostitutes and hustlers, including transwomen, straight and lesbian prostitutes, gay-for-pay hustlers and stone butch dyke pimps,” but hilariously enough, couldn’t come to a consensus on whether it was still okay to take money for sex after the revolution. Chateauvert follows this thread of trans history throughout, never failing to highlight trans women sex workers’ contributions to such integral activist projects as Women with a Vision, HIPS, and Washington DC’s Trans Empowerment Project, as well as their more general influence in shaping sex worker culture.

When I first picked up the book and noted the subtitle, I felt a brief pang of disappointment at the fact that our movement is still so little-known that the the two iconic events that bookend Chateauvert’s summation of our chronology in her title—Stonewall and Slutwalk—actually properly belong to other movements. But as I started to read, I was delighted to realize what the author had done by integrating our narrative with that of so many other struggles for social justice, reminding the reader of sex workers’ critical participation in so many movements over the decades. From GLBT/queer rights and feminism to AIDS activism and harm reduction, Sex Workers Unite makes it clear that you can’t really talk about the history of activism in the US without talking about us. The book tackles our invisibility in these integral roles—in its chapter on Stonewall, for example, it highlights the rarely mentioned fact that drug using trans sex workers were the key participants of the riot, and strips the respectability politics from the typical portrayal of Stonewall rioter Rivera, who is often remembered as a trans activist forebear but not so often revered for supporting her activism via street sex work.

Huniecam Studio (2016)

screenshot-2016-10-03-at-3-44-16-pmEvery time I play a video game that includes sex workers as characters, all I can think about is how great it would be to be seen as a person. Usually, sex workers in games are just toys for the player’s entertainment or tools to deepen the protagonist’s story. Either way, they’re only there intermittently, just a sordid element to add to the grittiness of the setting. I can count on one hand the number of games that spend significant time with a sex worker character, let alone games that portray a sex worker positively, let alone games that are specifically about sex workers.

HunieCam Studio is one of a kind, at least in the sense that it does center on sex workers. The premise is this: you’re the manager of a camgirl studio, and you have 21 days to gain a lot of fans and make a lot of money. Given that I have seen so few games starring sex workers, I was excited right away about this game, but I also knew going in that it was probably going to provide awful representation. Indeed, the store page for HunieCam Studio on Steam paints our profession as gross, mentioning “disgusting fans,” calling the operation “sleazy,” claiming that the camgirls have made “poor life choices,” and inviting the player to “abandon your morals and disappoint everybody who cares about you!”

Many gameplay elements in Huniecam feed directly into normalizing abusive management or at least looking down on workers. For example, the player can send their camgirls to do escorting sessions in a so-called “sleazy motel,” and if they send camgirl Lillian there, there’s a chance she’ll say the line “Like I have a choice!” There is also a chance that when her session is over, the player will get a message saying that she contracted AIDS if she did not bring a condom (not HIV—apparently, in this game, getting HIV first is not a thing) and her voice line in this situation is “Please kill me.”

Meet The Fokkens (2011)

(Screenshot from "Meet the Fokkens")
(Screenshot from Meet the Fokkens)

Meet the Fokkens, a 2011 documentary directed by Gabriëlle Provaas and Rob Schröde, follows the lives of Martine and Louise Fokkens, 69-year-old twins who have spent many years as full service sex workers in Amsterdam’s red light district. At the time of filming, Martine was still working, albeit reluctantly, while Louise had been retired for two years because of her arthritis. Though the documentary’s main focus is the sisters’ careers as prostitutes, we also see their homes, meet their friends, and hear pieces of their personal histories.

In addition to its focus on a fascinating topic, Meet the Fokkens also presents a charming aesthetic experience. The movie involves many scenes of the Fokkens sisters in matching outfits, and at least one of those outfits is primarily pink! Louise brings her Chihuahua with her everywhere she goes. Even if nothing else in this movie caught my attention—which is not the case—the matching outfits and Chihuahua would have been enough to enchant me. But, happily, Meet the Fokkens is as intellectually engaging as it is, well, precious. The film does more than skim the surface—it delves into sexuality and labor through the exploration of the lives of these two women.