The Massage Parlor Means Survival Here: Red Canary Song On Robert Kraft

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April 11, 2019

Sonya, a representative from the MinKwon Center for Community Action, holds a memorial sign for Yang Song, a migrant parlor worker driven to jump out a window during a brutal police raid in 2017, after being pressured by the cops to serve as an informant. (Photo by Emma Whitford)

As we gathered on the busy street corner in front of the Queens Public Library in Flushing on Friday March 29th, over one hundred community members heard our cry: “性工作是真工作!” Sex work is work!

The police had blockaded Red Canary Song members from the library steps, protecting the carceral narratives that were being pushed inside by City Council Member Peter Koo and the NYPD—CM Koo, the NYPD, and a slew of other City initiatives were hosting a “How to Spot and Combat Human Trafficking” seminar inside the library behind us. Regardless of the heavy police presence, we continued our teach-in, passing out Know-Your-Rights trainings in English, Spanish and Mandarin to community members and passerby. Direct services providers and advocates spoke, dispelling myths and misconceptions that surround migrant massage and sex work. One of the main myths that we sought to challenge is the perspective both the police and Polaris favor: that all Asian massage workers are perpetrators or victims of sex trafficking. Many speakers and some community members referenced the recent case of Robert Kraft directly. Through the almost three hour long teach-in, we distributed upwards of one thousand pieces of print materials to participants and passersby.

The public is fed the racist myth that all Chinese massage parlors are involved in human trafficking. In fact, most Chinese workers do this work because it is the most sensible work for them to do, especially when they are new immigrants to the country and do not have access to other opportunities or employment training. For many, it is simply the fastest way to send money home, and it makes the most practical sense at this time of their lives.

“The massage parlor is a platform for our survival [here] when there are not [a lot] of other services to help immigrants transition into the country,” explains Elle, a veteran Flushing massage parlor worker.

(Im)migration, as it relates to Asian and specifically Chinese women, as well as feminine and gender non-conforming sex workers, is far more complicated than most people realize.

The Chinese hukou system, which restricts people to living in the rural area where they are born, making workers illegal in their own country, is a huge driver of internal “migrant sex workers” with no working rights in China. It is also a huge driver of migration out of China under Deng Xiaoping’s policies, which actively promoted rural migration out of China rather than overcrowding Chinese cities. These migrant sex workers often end up in Hong Kong, where our comrade Elene Lam met them as Director of Zi Teng, a sex worker rights organization in Hong Kong. By way of Hong Kong, these same workers often end up in Flushing or Toronto.

It’s an incredibly global network, connected through newly possible digital networks. Elene has literally met the same workers she has done outreach with in Canton, then Hong Kong, and then Toronto. This sequence of migration is driven by government policies that restrict the labor rights of Chinese workers who are made illegal in their own country, due to an internal caste system of rural vs. urban workers. Yet these migrant sex workers also do much to support Chinese economic development by sending a large portion of their money home.

It’s ironic and laughable in the darkest sense when Christian charities in “international development” work travel to countries like Cambodia and Thailand to convert sex workers into garment workers. Do they recognize how much “international development” these sex workers are already doing? Much more than a charity promoting the sale of handmade trinkets could ever manage.

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Unequal Desires by Siobhan Brooks (2010)

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Mona Salim

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January 26, 2012

Unequal Desires is a long overdue work that (finally!) focuses on race as central in the lives of strippers. While some of the literature on stripping focuses on race as a footnote or tangent, for Brooks, race is the central concern. Everything from everyday micro-level issues (hiring decisions, shift availability, and stage sets) to the very large-scale (zoning laws, likelihood of arrest) are explored in this book, with the conclusion that stripping is deeply racialized. Brooks uses interviews with dancers and customers as well as her own observations to confirm what she began to suspect during her time at the Lusty Lady: The strip club is another site where the black female body’s inferior position is reinforced. Through everyday actions, customers, management, and strippers all participate in its systematic devaluation.

The strip club presents the black woman’s body in strangely contradictory terms. On the one hand she is thought of as readily available, sexually. Customers may prefer a “black” club or an individual black dancer because they assume they can get more sexual contact than with a non-black dancer. On the other hand, the black female body is systematically made invisibilize or rendered unattractive. Brooks analyzes the pictures on strip club websites as evidence of this invisibility.

Brooks does attend to the clubs that may be considered “black” clubs. She considers the various, complicated motivations that black dancers have for wanting, or perhaps being forced, to work at these clubs, and simultaneously considers the social capital a “high end” (implicitly, not black) club carries as well. For many of the black dancers, hiring practices prevent them from getting in the door at clubs where they are in the minority. If they make it through the hiring process, discriminatory practices prevent them from staying.

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Naked Music Monday: Beyoncé Shows Us Blackness, Unapologetically

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Autumn Rose

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February 8, 2016

Beyonce’s “Formation” can be described with two words: unapologetically black.

Images of black babies sporting their natural hair, lyrics such as “I got hot sauce in my bag (swag)”, and Beyonce atop a sinking New Orleans police car in what appears to be the wreckage of Katrina are what make that description a snug fit.

The scene that made tears well up in my eyes, however, was at 3:45 – a little black boy in a hoodie, clearly an homage to Trayvon Martin, dances, carefree and passionately, being,well, unapologetically black. But here’s the catch; he does this in front of a line of police officers, all standing at ease. When he finishes and throws his hands up gymnast-style, their hands fly up in surrender. This scene is immediately followed by footage of graffiti that reads:“Stop shooting us.”

Last night, Beyonce went even further. She made history when she brought this imagery to one of the most widely watched television events of the year: the Super Bowl 50 Half Time Show. Her live performance of “Formation” continued the theme of unapologetic blackness. Her costume was a tribute to one of the greatest performers in history, Michael Jackson, and her dancers mirrored the attire of the Black Panther army.

The line in the song that hits home the hardest for me as a black sex worker is “always stay gracious/ the best revenge is your paper.” It’s reminiscent of Missy Elliot’s “Work It,” where she spat, “get that cash/ whether it’s 9 to 5 or shaking your ass.” It acknowledges us black sex workers in a way we usually don’t experience in our community. Beyoncé has alluded to sex work positively before in lines such as “a diva is a female version of a hustler.” She’s come a long way from the rampant whorephobia in her earlier work (side eyeing “Nasty Girl” here).

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How Everyone Has It Wrong On Blac Chyna

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Jay St. James

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July 13, 2017

Recently, Blac Chyna has been relegated to being nothing more than a sex worker by opponents and supporters alike, people who reference her “finesse” and gloss over the abuse she’s suffered, reinforcing a dangerous narrative. Her humanity and her role as a mother are edited out of the persona people are now creating for her, as if being a sex worker makes those things less authentically part of her.

Blac Chyna is a mother who left her abusive partner Rob Kardashian several times in the last few months, and had his abuse of her play out in the court of public opinion. She happens to have been a stripper, a model, a sought-out video vixen, and a business owner of multiple companies not related to sex work, so to reduce her to a one-dimensional caricature of a sex worker strips her of every bit of her life off the pole.

Men are resources regardless of your occupation. Cis men come with access to respect, personal safety, often a degree of financial stability, and societal power that women are so often denied. To comment on what Blac Chyna was or wasn’t given during her relationship with Kardashian and cite it as the only reason she stayed exhibits a myopic and biased view of a person who engages in sex work. All people can benefit from proximity to men, proximity to whiteness, and the combined resources of both identities. That’s not exclusive to sex workers. Furthermore, financial abuse is often a tactic used by abusers, especially ones of Rob Kardashian’s means, and we can’t ignore that he got even more generous with his gifting once she started leaving him. We can’t blame her for being pulled into a cycle of abuse, and we shouldn’t keep running score of what women and femmes receive in a relationship as a ledger of emotional and physical debt they owe to the provider, regardless of their occupation.

I first became aware of Blac Chyna when friends would tag me in posts of a trailer video for Kardshian and Chyna’s then-upcoming reality show, Rob and Chyna, in which Chyna screamed into her phone at Kardashian: “Are you still texting bitches, yes or no?!” It was supposed to illustrate how possessive and mentally unstable she was. All I saw was someone responding to a deep lack of trust in their relationship and obviously being emotionally tormented by their partner’s actions. I felt her pain and empathized with her reactive search for reassurance from the one causing it. Sis knew he was talking to other women as sexual interests and she had just lost her first child’s father, Tyga, to his pedophilic interest in her current partner’s teenage sister, Kendall Jenner. I didn’t see anything funny to laugh at in that trailer video.

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Who Gets Left Out: The People Who Coined The Term—Addendum to the Respectability Politics Round Table

By

Peechington Marie

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October 10, 2013

Evelyn Brooks Higginbotham, Black feminist scholar credited with coining the term "the politics of respectability" (Image courtesy of the Hutchins Center for African and African American Research) — Evelyn Brooks Higginbotham, Black feminist scholar credited with coining the term “the politics of respectability” (Photo courtesy of the Hutchins Center for African and African American Research)

When we posted the Respectability Politics Round Table, Black beauty blogger and sex worker Peechington Marie immediately spoke up on Tumblr with a well-justified critique: Why, given that the term “respectability politics” itself originated within Black feminist scholarship, did the round table not include any Black sex workers as participants? We apologized for having this kind of Oh Shit Moment and asked Peechington Marie to write a short addendum to the round table elaborating on the history of the concept within the Black community and how respectability politics affect Black sex workers.

We call it “respectability politics,” but when the phrase was first coined in 1994, it was called “The Politics of Respectability” and was used by Evelyn Brooks Higginbotham as a chapter title in her book Righteous Discontent: The Women’s Movement in the Black Baptist Church, 1880-1920. But respectability politics, even before Ms. Higginbotham called them by name, affected every African American person in one way or another, and still affect us today. Try asking a Black friend of yours: “Do you know anyone who goes out in public with curlers in their hair?” and you’ll likely get an earful, maybe about why they absolutely don’t know anyone who would do that (except for their great aunt who always acted like she never had home training anyway).

Being respectable in the early Black community meant behaving in a way that would not embarrass yourself or other Black people. For example, The Baptist Women’s Convention used to visit poor Black folks, giving them pamphlets with titles like “How To Dress” and “Take A Bath First.” This was done to educate working class people on what were both the accepted and acceptable social norms established by wealthier Black communities. No one wanted their cousin LeRoy or his wife to show up to a church function improperly dressed or without their manners, and so the politics of respectability were born.

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