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Having The Option: Alissa Afonina/Sasha Mizaree On Her Case And Being A Disabled Sex Worker

Alissa Afonina. (Photo by Twitter user carnalcinema, courtesy of Alissa Afonina.)
Alissa Afonina. (Photo by Twitter user carnalcinema, courtesy of Alissa Afonina.)

In 2008, high school student Alissa Afonina, her mother Alla Afonina, and her brother were in a disastrous car accident on the Trans-Canada highway, the result of her mother’s boyfriend Peter Jansson’s reckless driving running the car off the road and overturning it. Both Alissa and her mother suffered brain injuries. Alla, a Russian immigrant with a degree in chemical engineering, began to have trouble with basic arithmetic and was unable to keep her job as a bookkeeper. Alissa, a bright student with film making aspirations prior to the accident, began the 12th grade displaying problems with impulse control, following directions, memory, energy level, and social appropriateness in class. She dropped out of school to finish grade 12 at home, and was able to only briefly attend college. Psychiatric evaluation revealed that she didn’t have the ability to maintain most employment.

Around 2013, Alissa Afonina became a pro domme in order to support herself, working under the name Sasha Mizaree. In January 2015, the British Colombian Supreme Court finally awarded Afonina and her mother 1.5 million in damages for loss of employment opportunities. Most reporting on this story has taken the court case and salaciously interpreted it as “BRAIN DAMAGE TURNED HER INTO A SEX MANIAC DOMINATRIX!” The following is a condensed and edited version of the e-mail conversation Afonina and I had to clear up the whorephobic hype.

Can you talk about the importance of sex work as an option for disabled people?

Sex work should be decriminalized. The fact is, many disabled or otherwise marginalized people need this as an option, and it makes no sense to take [it] away or make it more dangerous for sex workers to screen clients (which is what happens when you have the Swedish model for example) without offering alternatives.

I am thankful that in my area I was able to work without any legal issues. That is a freedom that everyone should have, disabled or not. However, people with limited options especially need that freedom.

When it comes to brain injuries, what one aspect of your condition do you wish the public were more educated about? How would you instruct our readers to be sensitive to people suffering from the sort of injuries you have?

A huge thing is that people think you need to “look” disabled for it to be “real.” For example, if I had a scar on my face but had no physical or mental difficulties, people would probably feel much more automatically accepting of the reality of my injury. It’s rather backwards since the brain is such an important organ and even small changes in it can have devastating effects, but still, time and time again it comes down to me not looking the way people imagine a disabled person should look.

Another huge thing is how against medication people are when it comes to emotional problems. I have been told countless times by people with zero medical training that I should look for more “natural” alternatives and get off antidepressants ASAP. Can you imagine someone telling a person to get off insulin or their heart meds? But when it comes to things like antidepressants, everyone thinks they’re an expert. Truth is, I had a hard enough time accepting that I need a pill in order to function, and don’t need anyone else doubting me.

Lastly, I wish everyone who got a concussion of any kind would pressure their doctor to do an actual MRI, not just a CT scan. I had a CT scan done when the accident happened and it didn’t show soft tissue damage. Only an MRI did a year later. The only reason that was even done was because my mom took charge of the situation, and a lot of people I talk to seem to think that concussions aren’t a big deal.

As you wrote to me in our initial e-mails, the way the media framed the quotes from the judge and your lawyers in your case was “done specifically to support the sensationalism.” In most coverage on your case, the judgement is interpreted to imply that only someone who was incapable of making “correct decisions” would ever choose to do sex work, rather than sex work being the most rational economic option for someone who’d suffered a brain injury which made it impossible for them to earn a degree or work at a nine-to-five job. How would you retell the story the media tried to tell for you?

The judge’s comment [“the plaintiff argues that it [her pro-domme work] shows a lack of correct thinking on the part of Alissa”], at least how I understood it, had to do with lack of safety measures implemented for my work. That part is very true as I failed to have even the most basic safety measures such as texting a friend. The judge also made comments about how he understood my financial needs and he actually declined the request to open the trial when the defense brought in “new” evidence showing that I am still working. This leads me to believe his comments were not meant to be sex worker negative.

My brain injury is supported by far more than just the sexual symptoms, which is all the media decided to focus on. The truth is I have brain scans, countless assessments[,] and [a] history of behavior that is totally congruent with my type of brain injury. I very much wish that my story was just as readable to people if it was not full of flashy sexual context to spark their enthusiasm. I would love for people to be [just as] interested in being educated about mental illnesses and brain injuries.

Nothing Scarier Than A Black Trans Woman With A Degree: An Interview With Monica Jones

Monica Jones this February. (Photo via the Support Monica Jones Facebook, courtesy of Monica Jones)
Monica Jones. (Photo by PJ Starr, via the Support Monica Jones Facebook, courtesy of Monica Jones and PJ Starr)

In May 2013, sex worker and trans rights activist and Arizona State University social work student Monica Jones was charged with “manifestation of prostitution” in Phoenix after accepting a ride from an undercover cop.  Her arrest ignited a firestorm of protest against Project ROSE, a prostitution arrest diversion program run by the ASU School of Social Work and the Phoenix police that utilized arrest sweeps; transphobia in those prostitution arrests; and the potentially unconstitutional “manifestation of prostitution” statute under which she was prosecuted. The ACLU, SWOP-Phoenix, and other sex work and GLBT activists stood in solidarity with Jones as she gained international attention speaking out against her charges. 

“The reason why this law [the manifestation of prostitution statute] is so unjust is because it gives the police the credibility to say who’s a sex worker, who’s not a sex worker…it violates our [our First Amendment rights]—just to walk down the street, our freedom of speech,” Jones explained to us. Since her arrest, Jones has gained prominence as an eminent activist, been interviewed by dozens of media outlets, met Laverne Cox, and traveled to Australia for public speaking engagements and study, all while working towards finishing her social work degree.

In November, Jones told Best Practices Policy Project that Project ROSE had been shut down, a crucial victory for the movement in Arizona. And though Jones was initially convicted, her January 2014 appeal was successful and the conviction was vacated. We spoke with her just before the announcement was made; below is a condensed and edited version of our interview, originally conducted via video chat.

Recently, your conviction was vacated. What does that mean for you? What’s next?

I got a call from the court yesterday evening saying that the prosecutors are not going to retry me. So right now we’re looking to see if it’s with prejudice or without prejudice and will it still have an effect on me challenging the constitutionality of the law.

So your ultimate goal with your legal team is to use the case to overturn the law altogether. How can people from other states help fight the law; help fight your campaign against it?

I think there’s a lot more laws like this across this country—like “loitering with intent of prostitution,” and condoms as evidence. I think that they need to take on their own fights in their own homes and their own cities. Because when we get rid of these laws it basically gets rid of sexism and discrimination and transphobia. And it takes the power away from the cops and the justice system to say who is sex working and who’s not sex working.

 A story that brought you to the news in the last few months was your deportation from Australia at the Sydney Airport. From what I read, during your encounter with immigration you were pressured by the producers of the reality show Border Security to have your case filmed. When you refused after initially agreeing, after you realized they planned to sensationalize your story, customs officials began to treat you much more harshly. Can you tell us more about what happened there?

So what happened was I was legally constrained to come back to my appeals. I was doing my internship in Australia, with Scarlet Alliance, a great sex worker organization there, and I was leaving there to come back for my case and I was traveling back to Australia in three days. So when I got to the airport to leave to come to the U.S., they went through all my stuff. They went through my purse, they went through my phone, they went through my suitcase, they went through everything. I had everything about my court case in there in the folder. They went in a back room and went through that. They said, “Okay, you’re good to go.” So I was thinking, okay, I’m good to go.

And when I came back from the U.S., they had pulled me to the side and took me into this room, where I was proceeded to be asked, “Do you want to be filmed by this camera crew?” And the producer of the show said, “We think that your story is interesting.” Which, I’d never told them anything about my story—they know nothing about my story! And so I’m thinking, how do they know my story is interesting? So they kept on asking me questions.

After being pressured I agreed to be filmed. But during the middle of it, I said, “I don’t feel right with this, I think this is suspicious.” And once I did that they were very harsh against me—”Oh, you were doing this, you violated your visa…”

If I violated my visa, you guys should have let me know when you guys originally checked me on my way out of the country! The judge later asked [the immigration officials],” Why were you checking her on her way out of the country?” So they said I was a threat to national security. So I guess activism is a threat to Australia’s security.

Gore and Psychic Wounds: Nicole Witte Solomon on Horror, Phone Sex, and Film

Solomon with the star of her short, Manini Gupta, on set. (Photo courtesy of Nicole Witte Solomon)
Solomon with the star of Small Talk, Manini Gupta, on set. (Photo courtesy of Nicole Witte Solomon)

Nicole Witte Solomon and I have kept up with each other online for a while, dating back to the era when she was a young phone sex operator/film student, just beginning to pitch her clever writing on topics ranging from vegan cooking to feminism in pop culture to a variety of venues. As the years have gone by, she’s fulfilled many of her dreams, from directing a video for her favorite Jewish post-riot grrl band The Shondes to co-founding writers’ site The Stoned Crow Press. Having followed the making of her phone sex horror movie short Small Talk since its inception, it’s exciting to get a chance to interview Solomon about it as it finally makes the festival rounds.

What attracted you to horror as a genre? What sort of opportunities do you think horror provides for feminist artists?

I’m attracted to horror as a viewer because it has the potential to make me feel a wide range of intense emotions within a controlled and hopefully safe environment. A great horror director is much like a great domme; of course I gravitate towards the genre as both a viewer and filmmaker.

The whole reason Small Talk happened is I was writing a phone sex memoir and got the image in my head of a PSO taking a phone sex call while dismembering a corpse. It felt a lot more compelling than a long, tedious recounting of autobiographical detail. Horror allows us to break into the supernatural where needed and requires no happy endings.

It was enormously therapeutic for me to make this film. I had some unresolved feelings and then I exploded a couple [of] people in a movie and now I feel fucking great. I am a huge proponent of filmmaking as a form of narrative therapy and encourage any and all sex workers who have unresolved feelings to make art about it, if for no other reason than my own selfish one of I really can go the rest of my fucking life without reading, viewing or otherwise consuming a sex worker narrative by a non-sex worker, and god knows everyone else is apparently starved for them [narratives by and about sex workers] and—

The horror community has been by far the most welcoming of the film. I submitted it to a ton of “women’s” film festivals and not a single one has wanted to touch it. One festival that rejected me offered to send a summary of jury comments for free and the comments were basically like “It was well shot and acted and all but it was about a phone sex operator and it was so disturbing and suddenly people were exploding and I don’t understand why and our audience will be so disturbed and upset.” That was the consensus of why my film was a bad choice for their festival.

I was impressed with how Manini Gupta, as the phone sex operator protagonist, Al, was so versatile with the affect of her voice as she worked the line. And I empathized with her so much as she rolled her eyes through most of those calls. What were you looking for in the actress that would play the PSO? What was most important for you to say about being a phone sex operator in your movie?

It was not easy finding someone who could do all the things you mentioned, and the most important thing to me was that the actress I cast be believable—to me. That was the litmus test. I needed someone who could 1. Convincingly play all those things on the PSO fantasy end—sound like a believable, good PSO while also 2. Play the Al character’s own, usually conflicting reaction to what’s going on. Manini was totally on the right track from the first audition, whereas most people I saw couldn’t really do either, let alone both at the same time.

In terms of what I wanted to say about being a PSO—I guess I wanted to portray it as a challenging job involving a particular skill set. I wanted to show some of the less savory aspects of the job without demeaning it in any way. I wanted to open up to the world about the specific aspects that can be difficult and sometimes emotionally damaging in a way that contextualized it within a broader service industry—looking at race and gender dynamics within capitalism in general, not just the sex industry specifically or the phone sex industry in particular. I meant this film as a kind of valentine to other PSOs, honestly. Our labor and skills are so commonly undervalued and misunderstood, and what we do is so tricky, if we do it well.

The Truth Will Come Out: An Interview With Jill Brenneman and Amanda Brooks

Bruises Brenneman sustained from one of the beatings she suffered at the hands of men hired by Isgitt. (Photo by Amanda Brooks via her blog, courtesy of Amanda Brooks and Jill Brenneman)
Bruises on Brenneman’s back from a beating she suffered at the hands of Isgitt’s hired men. (Photo by Amanda Brooks via her blog, courtesy of Amanda Brooks and Jill Brenneman)

Interview co-authored by Josephine and Caty

Content warning—the following contains descriptions of extreme injuries and rape suffered by two sex workers due to a campaign of violence by an abusive client, as well as an account of child abuse.

Jill Brenneman and Amanda Brooks are veterans and heroines of the sex workers’ rights movement.  As a teen, Brenneman suffered years of of brutal abuse in which she was coerced into working as a professional submissive. In the early aughts, Jill made an amazing conversion from membership in the prohibitionist movement to sex workers’ rights activism. She set up SWOP-EAST from the remains of an anti sex work organization she’d led. SWOP-EAST grew to be one of the most vital sex workers’ rights organizations of the era. Brenneman was also a frequent contributor to early sex workers’ rights blogs like Bound Not Gagged.

Amanda Brooks is the acclaimed author of The Internet Escort’s Handbook series, the first one of which she published in 2006. They served as an important resource for escorts advertising online back when there were few other how-to sources on the topic. She was also one of the earliest escort bloggers starting in 2005, writing entries brimming with eloquence and common sense at After Hours.

The two fell off the map recently.

When they returned, we were shocked to read Brooks’ blog post about what they’d endured: a campaign of terror by one of Brooks’ clients, affluent lawyer Percy LaWayne Isgitt. Isgitt—Brenneman and Brooks call him “Pig”—caused both Brenneman and Brooks severe brain injuries when his arrogance and negligence piloting a plane the three of them were in led to a catastrophic “hard landing.” Despite the fact that Brooks was clearly incapacitated and near death, Brenneman had to browbeat Pig into taking her to the hospital the next day. Once Brooks was checked in, Pig fraudulently signed in as her relative and attempted to control her treatment. Despite her still severely injured state, Brooks continued to see Pig as a client for two sessions after her hospitalization, in desperate need of money to pay for medical bills. When she finally tried to break ties with him, he hired people to make threatening phone calls to both women. In response, Brooks went into hiding, so Pig sent men to stalk, rape, and beat Brenneman on a number of occasions, trying to discover Brooks’ location. Neither the police, nor the many medical facilities that misdiagnosed them along the way, nor the personal injury lawyer they hired were any help to the two women against a deranged, abusive man with wealth and social capital.

The injuries Brenneman suffered from the plane crash combined with the injuries she sustained from the attacks led to the fatal exacerbation of her previous medical conditions. Her doctors have told her she has very little time left to live.

This story illustrates the insidious way institutions empower abusers to commit violence against sex workers. The only people they can often rely on in these situations are other sex workers. You can read the original account here and donate to their Giftrocket account using this email address: abrooks2014@hush.com. Donations will be shared equally between them to cover their respective medical costs.

Amanda, you write in your blog post, in reference to Jill’s past abuse:

To those who doubt, her stories are true. They’re things only men would think up and most of the time, it’s the mundane details that stand out the most to both of us. I’ve read stories from so-called trafficking victims who describe ridiculous “Satanic” rituals or elaborate set-ups. The truth is, the men who were Bruce’s [Jill’s captor’s] clients weren’t very bright, in my opinion, and they had a lot of the same stupid fantasies and beliefs that most vanilla clients do—only much darker and violent.

This factor plays into your story of how Pig hurt you both, too. There’s a voyeuristic undertone to the way people listen to stories of abuse. People expect the “elaborate set-ups,” and yet abuse is usually no different than other misbehavior in kind, if not in degree—abusers do it because they want to feel big, or because they care about themselves a lot more than they care about anyone else. How do you think the fact that often stories of abuse are mundane and banal makes it harder for victims to get help?

Jill Brenneman: People don’t want to believe the mundane stories, they want to believe the exotic stories. Like a wife who gets hit. Unless she’s put in the hospital, no one cares. Or she returns home because she has children. But the trafficking victim imported from Estonia gets all the attention.

Amanda Brooks: Because they’re too believable or not dramatic enough. [Pig] raped me twice, yet it’s not something most people acknowledge as rape. It even took me a while to realize that it was rape, despite how I felt about it. People like to parse situations down to the point where the only way it’s “real” is if it’s outlandish.

Jill, you were held captive by a sadist for three years in your teens, and forced to endure unimaginable abuse. As an adult you returned to sex work voluntarily to make a living, and then you went through this ordeal with Amanda at Pig’s hands. What unusual problems have you faced as a sex working abuse survivor? What can we do as a movement to make things better for the abuse survivors among us?

Jill: The ordeal that Amanda went through made me livid and still does.

Working as an abuse survivor led me to more abuse. I learned from [my captor and abuser] Bruce in the 80’s. Bruce was a cliche master sadist. There was never a sense of love or affection between him and I. I was an object. I did what I was was told. I was taught how to relate to clients. I overapplied this training as an adult. I willingly went back to work as a professional submissive. This was a place that I did not belong. Despite there being a 19 year gap between [my captivity and going back to] sex work, I did not belong in sex work —especially as a professional submissive. I needed the money to pay for very expensive subcutaneous blood thinners because of a clotting disorder. I needed to pay the rent, the car payment, food, care for the dog, etc. I took the work that came. I started off with two old pictures of myself, no website, no reviews, and took some pro-sub clients to make money when it was tight. I did not belong in sex work. I was still far too impacted from previous abuse to be doing it but I had no choice, I needed the money.

The most important thing the movement needs to do is work on decriminalization so that we have options.

Amanda: The movement truly doesn’t have the power to deal with this, unfortunately. Until the laws are changed, we never will.

Moving Through Archetypes: Juniper Fleming and Reclamation and (Dis)Atonement

Juniper Fleming's "Venus of Urbino" in Reclamation and (Dis)Atonement. (Via Fleming's site)
Juniper Fleming’s “Venus of Urbino” in Reclamation and (Dis)Atonement (courtesy of the artist)

I interviewed sex worker artist Juniper Fleming on her collaborative photo series with other sex workers, Reclamation and (Dis)Atonement.

Your project consists of remaking iconic Western art works, creating photographic reproductions in which you replace the main figures in the paintings with sex workers. What does depicting sex workers in these roles achieve?

As sex workers we use the archetypes represented in these paintings every day in our performances, at work and in life. This history, and reality, of the feminine script is one that you cannot escape, but you can define your relationship to, through fantasy and inversion. As sex workers we are the inversion, at the same time as we are the embodiment, of the feminine.

How do you feel about the way sex workers are classically portrayed in the Western canon? I do recall some bright points, like all those gory paintings representing the triumph of heroic Biblical harlot Judith, when she beheads the general (and client) Holofernes for the Israelites.​ I was happy to see one of your photos is a riff on one of these paintings.​

Well, first what has to be re-established from history is that sex workers were often models and muses for artists. Caravaggio often employed sex workers as models in his paintings. His piece ”Death of the Virgin” was rejected by the commissioning parish because it depicted the well-known courtesan, Fillide Melandroni, as the Virgin Mary. And the modern (Western) canon has painters such as Manet, Degas, Picasso, Toulouse-Lautrec, and Seurat divulging their fascination or at least proximity to sex work in their paintings. Many of them went directly to brothels to do some of their most famous work. Countless other times, however, our position as the model, muse, and/or subject has gone undocumented. These reimaginings are so important because they include us in celebrated and preserved artifacts, when so much of our history has been erased, deemed invaluable, throughout time.

Which model did you decide to use for each photo and why?

Actually, when a worker decides they want to collaborate with me on the project, they get to choose the painting. I have a growing index of paintings, throughout the span of art history, that represent the feminine in some way. Each person looks through that index, or comes with a painting I don’t have, and we go from there. Then we work together to design the props, with them collaborating as much or as little as they want.