Chi-Raq (2015)

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December 29, 2015

Imagine Lysistrata—the classical play you probably read in Greek Lit class —but in the hood.

In this fictional but all-too-real version of Southside, Chicago, the women of Chi-Raq, lead by Lysistrata (Teyonah Parris), opt to withhold sex as a negotiating method to force an end to the gang related violence their men engage in. Lysistrata is inspired by the story of Leymah Gbowee, a Liberian woman who organized a sex strike amongst her peers to end a gruesome civil war. Her efforts were successful and earned her the Nobel Prize. The purpose of the Chi-Raq women’s strike is not so much to save their men from themselves as it is to bring a stop to the stray bullets that kill innocent children caught in the crossfire. These female revolutionists consider their responsibility to put children first an unwritten condition of womanhood. While Lysistrata herself is not a mother, her solidarity with them over her gang leader boyfriend, whom she loves, is powerful.

Is the labor of the Chi-Raq women’s strike itself a sort of sex work? As a sex worker myself, I have a very liberal definition of what falls under that (red) umbrella. I consider any situation where sex is used as a means of negotiation to be a form of sex work. Cash exchange is not a requirement. This definition can include negotiations between married couples or any suggestion of potential future sex to get what you want in the now—what some might call “flirting.” I understand this is a controversial opinion and an incredibly broad demarcation of sex work. But the reason I keep my definition of sex work so broad is because it normalizes the behavior. The more parallels I can draw between prostitution and sexual labor within civilian relationships, the weaker the arguments for intimate labor being an inherent evil become. This also means that when I work, I feel no guilt over avoiding terms such as “escort”—which would get me targeted by law enforcement—in favor of “sugarbaby” or “spoiled girlfriend”—even though nine times out of 10 they mean same goddamned thing, just without leaving me subject to the same legal implications.

The women of Chi-Raq considered themselves activists, and peaceful ones at that, but they still end up facing federal charges for their disruptive behavior. “Activists” sounds much better than “pissed off girlfriends.” There exists near infinite terminology to frame sexual negotiations depending on the conditions in which you negotiate. As the leader of this unconventional protest, Lysistrata is careful in navigating PR—it is her articulation of the dire circumstances in which the neighborhood lives, in addition to her resolve, that makes her a force to be reckoned with as opposed to being considered a joke, or worse, a terrorist. Different titles for the same actions produce vastly different outcomes.

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Unequal Desires by Siobhan Brooks (2010)

By

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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Today in Questionable Strip Club Advertising: A Trayvon Martin Party

By

Bubbles

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March 29, 2012

This was canceled. Thankfully.

How Everyone Has It Wrong On Blac Chyna

By

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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Naked Music Monday: Beyoncé Shows Us Blackness, Unapologetically

By

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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