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We <3 $pread

A couple $pread magazines.
A couple $pread magazines.

In honor of International Sex Workers’ Rights Day, the Feminist Press is releasing a retrospective anthology of $pread Magazine today.  Current and former Tits and Sass co-editors got together to write about our nostalgic love for the magazine and the way it’s inspired our work.

Bettie, Tits and Sass founding editor emeritus: $pread magazine was walking (gracefully) toward its end when I was a bouncing baby ho, but, gee, what an amazing lil era. For a generation of workers who were lucky enough to see it begin I imagine it felt like what starting Tits and Sass felt like: Exhilarating, frustrating (deadlines are for nerds), and always eye-opening.

Sex worker-created media is a fascinating thing. It’s a lot like us, right? Sometimes hard to pin down, intelligent, always changing, and steady spilling tea you didn’t even know you were thirsty for. This book is as important as the magazine itself and I wish you could still get back issues! $pread existed to remind us that we have to keep telling our stories. No one else can do it for us. Even if they are constantly trying.

Also, $pread taught me that I should pay my taxes, so thanks for keeping the IRS off my ass.

Catherine, Tits and Sass founding editor emeritus, former $pread editor: I remember the first time I heard about $pread, in an article in Bitch, during an era when feminist publications didn’t cover sex work politics with nearly the frequency they do today—or, at least, didn’t include sex workers’ own voices, rather than speaking for us. I had already begun stripping in San Francisco, but was somewhat unfamiliar with the term “sex worker” or the burgeoning media movement. The Bitch article had me fascinated, and I soon found my own copy of $pread in my local indie bookstore.

Remembering Stone Butch Blues’ Pledge To Sex Workers

"Vampire Days," a self-portrait by Leslie Feinberg on hir 60th birthday. (Photo via Feinberg's Flickr account)
“Vampire Days,” a self-portrait by Leslie Feinberg on hir 60th birthday. (Photo via Feinberg’s Flickr account)

Trans/queer writer and socialist hero Leslie Feinberg died last week. The event rekindled my memories of squatting on the floor of Barnes and Nobles at the age of 17, reading the work zie’s1 most known for, Stone Butch Blues, a bildungsroman set in the lesbian working class bar scene during the Stonewall era. I was blown away by the novel and the way it brought together class politics, trans rights, and queer rights so explicitly. I’m not the only sex worker for whom the book was important. When I wrote to him about Blues, St. James Infirmary program director and sex working trans man Cyd Nova responded:

When I read Stone Butch Blues nine years ago I was just beginning to understand my gender as something other than female, while working as a stripper and seeing the club as the only place that I felt a sense of home…The way it illustrated feeling at odds with the world and the precise quality of needing to find a community who could guide you to your ultimate true self, navigating the path against the tide, was such an important read for me at that point…I would say that this book gave me some of building blocks to understand my desire to transition, before the internet was such a bastion of resources for trans folks.

In fact, my Facebook feed was awash with queer and trans sex workers linking to obituary pieces on Feinberg last week. So many of us could identify with hir writing about finding one’s people and working along with them in factories, bars, clubs, and the street to keep ourselves afloat. That’s why I was aghast at learning from The Toast that Stone Butch Blues is actually permanently out of print. (“How is that possible, when every dyke in America has at least two copies on her bookshelf?” inimitable Toast editor Mallory Ortberg opined.) But what I remembered most clearly was my rereading of the book in my mid-twenties, when I realized just how much of it was about valorizing femme sex workers as an integral part of the queer community.

Daddy (2014)

adaddycoverMadison Young’s memoir Daddy tackles head-on the daddy issues sex workers are always accused of having. Young skillfully and responsibly presents her journey from a little girl who misses her daddy to an accomplished gallery owner, feminist erotic film producer, author, and “sex positive Tasmanian devil.” She begins by tackling the issue of consent: yours. “I cannot hear the consenting ‘yes’ seep from your lips,” she writes, “but by the simple turn of this page you will be physically consenting to this journey, this scene, between you and I.”

I remember first hearing of Young years ago when a friend quoted her now-famous line, “How many anal scenes does it take to open a feminist art space?” Young made her place in the few areas of the sex industry I have no experience with: San Francisco, the mecca of sex worker culture; pro-subbing on Kink.com; and shooting dozens of anal scenes for mainstream porn. Although our experiences are different, I found myself nodding and occasionally clapping through every interview and article of hers I read over the years.

Usually, I am eager to read sex worker memoirs because of the ways that other peoples’ stories of sex work echo and offer new perspectives on my own experiences. Madison Young’s book was different: I had no idea what it was like to be a pro-sub porn star in a full time D/S relationship, and I wanted to know.

The first thing I noticed was the beauty and honesty of the writing. Young obviously has major skills with words and relating to an audience. She promises to lay her “heart bare, simple, raw, beating, human, and emotional with truth of honesty and vulnerability, fear and heroism,” and she delivers.

Sex Criminals (2013)

ajazmine2Two people who stop time when they orgasm team up to rob banks is Sex Criminals’ basic premise. Written by Matt Fraction with art by Chip Zdarsky, it’s a fairly new comic that’s been getting a lot of attention. The book sounds like it will be a fun sci-fi romp. And it really is. There’s chase scenes and puns and a musical sequence, but there’s more to it than that. It’s about sex and all its weirdness. How awkward it is. How if you have really, really compatible sex with someone after years of feeling isolated by your time-stopping superpowers, it can be hard not to feel like maybe you should spend all your time with that person.

The books centers on two characters: Suzi and Jon. Suzi is a librarian who happens to love sex. Masturbation is a way for her to escape her grief following the murder of her father. She refers to the time-stopped world she reaches through having an orgasm as The Quiet and retreats there when things got too loud. In contrast, Jon mostly uses his power to cause mayhem at a local sex store, Cum World, which he names his time-stopped world after.

Since this is a series about sex, with an issue focusing on a teenage boy’s adventures in a sex shop, the narrative naturally touches on sex workers—in this case, a porn star by the name of Jazmine St. Cocaine. And while I do love this series, and have been recommending it like mad to anyone who will listen, issue two offended me enough that I wrote to the creative team when I first read it a few months ago.

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.