Alisha Walker. (Courtesy of Sherri Chatman)

Alisha Walker (Courtesy of Sherri Chatman)

by Brit Schulte and Cathryn Berarovich of the Support Ho(s)e Collective 

Alisha Walker was just 20 years old when she had to defend herself against a client who was drunk and violent. She was 22 when she was convicted of second degree murder and 15 years in prison for defending both her own life and the life of a friend who was also on the scene. She is now 23 years old and behind bars at Logan Correctional Center in Lincoln, Illinois, seeking new legal representation and awaiting an appeals process.

In January 2014, Alisha Walker and a close friend of hers went to Alan Filan’s house in Orland Park, a Chicago suburb, to do a double session with Filan. Walker had seen Filan at least twice, and she had not screened him through any online resources. Afterwards, Walker told her mother that she immediately knew something was different about Filan this time. He was heavily intoxicated and very aggressive. He insisted that Walker’s friend didn’t look like her photos in the Backpage advertisement. When the two women refused to have unprotected sex with him, he threatened them with a knife. Walker was able to wrestle the knife from Filan and stab him several times, saving her own life and the life of her friend.

Alisha Walker, like many of us, comes from an average working class family, while her clients, like Filan, are mostly well-off and well-connected. Filan’s brother William Filan is a high-paid lobbyist whose clients have included the city of Chicago and JP Morgan Chase. His sister Denise Filan is a judge in the third subcircuit of Cook County.

Even Alan Filan himself was covered in a veneer of respectability, a seemingly-upstanding community member who taught at Brother Rice Catholic High School. It was easy for the media to portray Filan as a good man, rather than the violent aggressor he was, despite his tendency to be a mean, misogynistic drunk. Our efforts to screen his e-mails revealed multiple accounts of sex workers listing him as a bad client, cautioning against booking sessions with him. Even the articles most sympathetic to his memory recount his casual verbal abuse of the young soccer players whom he coached.

Walker was held in Cook County without bond for over two years while the media sensationalized the death of her attacker with wildly differing accounts of how many stab wounds he’d actually suffered, going so far as to include hesitation marks among the mortal wounds. Accounts of the stab wounds numbered from 10 to 14 in news articles, though the coroner’s report lists 14 hesitation marks and only two mortally inflicted wounds. Walker’s account of Filan’s drunkenness was confirmed by toxicology reports showing Filan’s blood alcohol content registered at a 0.208 when he was found days after his death.

Filan was remembered as a flawed but lovable man, brutally murdered. Walker, however, was never spoken about as a human being, the devoted big sister and caring and outgoing young woman her mother describes her as. Media outlets covering the story rarely mentioned that she had seen Filan at least twice without incident before he attacked her. Nor did they remark on the fact that she saved her own life and that of another woman’s in the face of Filan’s assault. There were at least 20 Backpage ads printed out on Filan’s desk, but the media often omitted this detail in their stories on the case. Nor did most articles on Walker address rumors that Filan was a habitual client of sex workers, and often (as Chicago sex worker screening sources record) was not respectful of the workers he saw.

[READ MORE]

{ 1 comment }

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.

[READ MORE]

{ 2 comments }

Burn The Narrative

by Josephine on May 9, 2016 · 7 comments

in Media

nytimes

Somewhere underground, in a cave filled with rats, three witches are convening. The witchesRachel Moran, Meghan Murphy, and Lena Dunhamare frantic, distressed. They sense trouble. They’re panicking.

Murphy stirs the bubbling witches’ cauldron dutifully. Moran attempts to remain poised and she recites a dark incantation. Dunham merely observes, eager to absorb the methods of her seasoned sisters.

Murphy nods towards Moran, who unfurls an entire Sunday New York Times and angrily thrusts the paper into the cauldron.

“I have called this conclave because a serious problem is developing,” Murphy snarls. “Something has happened.” She glowers. “The narrative is…shifting.”  [READ MORE]

{ 7 comments }

Happy Mothers' Day. (image via Flickr user owly9)

Happy Mothers’ Day. (image via Flickr user owly9)

The illusion of “common sense” and its alleged empirical certainties is one of the the most steadfast means by which we collectively propagate whore stigma. As a recent example, critics lampoon Imtiaz Ali’s short film, Indian Tomorrow, for portraying an economically savvy sex worker. “Prostitutes who rattle off sensex [India’s stock market] figures during sex,” proclaims one critic, “exist only in the world of fantasy art.”

Tacitly deferring to “common sense” as a barometer of a sex workers’ intellect is not only deeply paternalistic, but it also acts as a censor for the kinds of stories we tell as a society. Surprising no sex worker rights advocate, it seems like the only acceptable cultural depictions of sex workers are those that fall in-line with the “common sense” stereotype of harlots as intellectually inferior. Art allows us to envision a better world. If artists are deterred from producing nuanced depictions of sex workers as agents of their own lives, even if these depictions are utopic fantasies, our culture will likewise be deterred from envisioning better circumstances for sex workers.

But this cultural imperative to tell one dimensional stories is limited to the stories of marginalized people like sex workers. Stories that transcend the simplistic theme of victimization are critiqued as dangerous and sexist. This is in spite of Standpoint Feminists themselves claiming that the moral obligation of any society is to tell more stories, not fewer. 

[READ MORE]

{ 6 comments }

MARYWEPT_cover300Canadian comic artist Chester Brown is probably the most well-known punter-writer our there. His latest, Mary Wept Over The Feet of Jesus: Prostitution And Religious Obedience In The Bible, is an analysis of the Bible as a graphic novel. (Maybe Brown likes illustration because most clients need pictures in their books.) This review of his newly published book is composed of an edited version of an email and g-chat conversation between Tina Horn and Caty Simon.

Caty: I was surprised by Chester Brown’s Christianity as demonstrated by this book. In its afterword, Brown explicitly identifies himself as a Christian, albeit one focused on mysticism who’s “interested in personally connecting with God, not in imposing my views on anyone else.” His avowed, classic libertarianism in his sex work client graphic novel memoir Paying For It (2011) would’ve had me assume that he was a fervent atheist a la Richard Dawkins. His libertarianism does come up at an interesting point in this book when he puts the words “it’s none of your business how other people spend their money” into Jesus’ mouth when he chides Judas about not judging Mary for spending money on anointing oils for Jesus’ feet rather than on charity.

Tina: Especially when you consider that he ran for Canadian Parliament in the Libertarian Party! This was in the years right before Paying for It came out.

Caty: So he’s actually having Jesus Christ parrot his party politics—that’s ballsy.

Tina: When I was a teenager, I thought Mere Christianity by C.S. Lewis was the shit, because it taught me more about what the Bible actually teaches than most of the aggressive Christian kids at my high school. Mary Wept puts me in mind of C.S. Lewis: a Christian highlighting the hypocrisy of other Christians through rational interpretation of their text.

Caty: When people say that Judeo-Christian values oppose prostitution, it gets me fuming, because it’s a lot more complicated than that. There are plenty of heroic whores in the Bible, and many more Biblical heroines who explicitly had transactional sex at some point in their stories. So I enjoyed how Brown highlights the stories of women like Rahab, the prostitute who sheltered Hebrew spies from discovery when they scouted out the city of Jericho, and Tamar, the woman who whored herself out to her father-in-law in disguise in a complicated plot to expose his hypocrisy. I only wish he’d included the story of badass Judith, the woman who beheaded the general Holofernes as he lay drunkenly asleep in her tent after possibly purchasing her services, ushering the Hebrew army to victory.

Maybe Brown felt like he just couldn’t compete with all the exquisite Renaissance and Baroque era artistic renditions of Judith in her moment of triumph, like this one:

Trophime Bigot's "Judith Cutting Off The Head Of Holofernes" (via Wikimedia)

Trophime Bigot’s “Judith Cutting Off The Head Of Holofernes” (via Wikimedia)

But I think the real reason Brown didn’t include tales like Judith’s is because he seems more focused on outlining these sex work-related Biblical narratives in order to glorify sex workers’ clients. He has a convoluted thesis going about men whoremongering as a transcendent challenge to rigid religious dogma. This ascribes nonexistent significance to an activity which is really morally neutral, and it obscures all these awesome sex working Biblical women in stories which are about them. In a memoir about being a sex work client like Paying for It, centering the client perspective makes sense. But in a book like this, it feels beside the point. I’d love to see how this material would look tackled by a sex worker amateur Biblical scholar/comic book artist.

Tina: The book does explore the subjectivity of the clients more than that of the women. Brown’s reinterpretation of a lot of these stories seems to amount to, “God totally says it’s ok to be a whoremonger!” Which is great, but I would love to see more, “God says it’s totally cool to be a whore!” Not because I personally need the validation, but because undermining Christian values with their own text is a longtime favorite sport of mine.

Caty: So, what do you make of Brown depicting God as some sort of Biblical version of a WWE wrestler? His God is BUILT.

[READ MORE]

{ 5 comments }