Stormy Daniels’ performance in Columbus, Ohio last week wasn’t the first to get interrupted by a vice squad.
On April 18, her performance in Detroit was also paid a visit by the Detroit Police Department Vice Squad. They appeared between her first and second performance, shortly after the majority of journalists had already left to file their coverage. From my seat at the center of the second level, I witnessed a swath of officers travel across the club. There were approximately 15-25 of them, all of them wearing black gear, and a few had their entire faces hidden under balaclavas.
I talked to Mary, a local dancer, who was also there as a patron: “They quietly came in, but were rolling like ten deep. They walked around to tables and asked if we were working and to see ID if we were. We didn’t have any dancers at our table so they quickly left us alone. After they went around doing that, a few of them remained posted up by the front door entrance. I noticed a few of the dancers leaving, but I’m not sure exactly why. I didn’t see anyone be arrested or anything but I’m not sure if tickets were given out. I left at about 11[PM] before Stormy’s [second] stage performance. But when I left the cops were still there.”
Had any reporters stuck around, I’d like to think they would have had some questions for the vice cops. What are you doing? Who gave you this order? Why are there so many of you?
Are you working today and feeling like the woman at the center of this Reductress article? Flag-themed negligee has been a stripper staple since the country’s first peeler swung a tassel at an eager soldier. Historians largely agree that Betsy Ross said upon completing the first flag, “Ah, yes. This will make a delightful scrunchy butt bikini.”
A stripper’s body could be the most patriotic or the most atrocious way to display the flag. Do you blindly love this country (please read a book, by the way)? Then behold the red, white, and blue’s majesty as it blankets your ample bosom! Are you little less enthusiastic for a place that’s propped up by white supremacy and hell-bent on legislating sex workers into the gutter? Well, today’s the day to shove that Lycra flag straight into your ass crack!
I’m a sucker for stripper clichés, so I asked workers to submit July 4th selfies. Unsurprisingly, our submissions tended towards the white and blonde—which could be the topic of an entirely separate post that I’ll save for another day.
Exotic Cancer is a 24-year-old stripper who has been dancing for four years down under in Melbourne, Australia. Since just before the start of 2018, her Instagram account has amassed a respectable fifty thousand-plus followers—many of whom are strippers that delight in her Easter Egg-colored snapshots of the minutiae of work.
An unholy mix of gentrification and trafficking hysteria created the perfect political climate to allow law enforcement to shutter several New Orleans strip clubs, leaving scores of dancers unemployed. The Bourbon Alliance of Responsible Entertainers rapidly sprung into action; they disrupted the mayor’s press conference and organized the Unemployment March the following night, which drew national attention. I talked to them about the situation in NOLA, their strategy, and their future plans.
So, to start, what is BARE? How long has BARE existed and what kind of activism does BARE do?
Lindsey: BARE is the Bourbon Alliance of Responsible Entertainers. We are an organization run by strippers, for strippers. I started coming to meetings a few months ago, but some of our members have been at this since the Trick or Treat raids of 2015. What we do first and foremost is provide a voice that’s been previously underexposed during the city’s assault on strip clubs: the voice of actual strippers. We’re attempting to work with city officials to influence policies and decisions that affect us. Outside of that, we really just want to foster community among dancers and show the people who don’t understand us that we are valuable members of the New Orleans community. During our first ever charity tip drive, participating dancers donated all of their tips from a Friday night’s work to a women’s shelter. Strippers literally paid that shelter’s rent for six months!
Lyn Archer: I arrived in New Orleans after being laid off from two seasonal jobs in a row, one in secretarial work and one in hospitality. I was on unemployment and got a job cocktail-waitressing at a Larry Flynt drag club. One night, a few weeks before Christmas, the club closed without notice and let everyone go. That’s when I saw how quickly fortunes could reverse on Bourbon Street and how little protection there is for workers. My first week on Bourbon, I was the likely the only stripper that didn’t realize that Operation Trick or Treat had just happened. I entered a work environment where strippers were scared, mgmt was over-vigilant, and customers were scarce. Everyone seemed confused about “the rules.” I later learned that’s because what’s written into the city code about “lewd and lascivious conduct” is different than state law and different than federal law. But these supposed “anti-trafficking” efforts are a collaboration of badges. Undercover agents from many offices move through the clubs. I began researching and writing on this for my column in Antigravity, called “Light Work.” I began to see how a feedback loop between press, law enforcement, self-styled “anti-trafficking” groups and civic policymakers can cause so much destruction for people they haven’t even considered. The club I started at was the first to close. The club was inside a building that was the house Confederate president Jefferson Davis lived in. The house I live in was the home of a Confederate general. We are working against, while inside-of, unfolding histories that are deeply, deeply violent. The more I learn about the history of sex worker resistance in New Orleans, the more I know this fight is lifetimes old and will replicate itself if we do not end it entirely.
When hypnotizing videos of robot strippers went viral recently, the internet was abuzz. (At least it was in my circles, comprised primarily of current/former sex workers and horny writers who never miss an opportunity to crack a Philip K. Dick joke.) People marveled and hypothesized about the potential implications these gyrating mannequins might have on the strip club landscape: Were these robots here to replace ladies who dance for a living? Were men actually like, into this? Should your friendly neighborhood strippers start worrying about being usurped by rechargeable batteries and knees that will never need replacement? It seemed that everyone who encountered this quirky bit of tech-lore was either mesmerized, amused, or vaguely hostile to the idea; but was anyone actually turned on? (Turns out, the answer to all of these questions is basically: not really.)
An old friend with tech media connections was able to score an invite to an exclusive media-only event being held at Sapphire, a major pillar of the Vegas strip club scene. We were lucky enough to check out the robots up close and personal before they make their debut on the CES Expo floor later this week. I spoke with the robots’ creator, Giles Walker, about their inception and how they came to be the most buzzed-about attraction at the biggest tech event of the year.
Despite all of the jokes and speculation about emotionally-stunted nerds in basements building girlfriends for themselves, Walker doesn’t even come close to the socially-awkward engineer I had envisioned. In fact, he’s a British sculptor with deep roots in the London punk and art scenes. With his spiked ear-gauges and cheeky fedora, Walker looks more like the guy who wants to sell you rare Japanese Sex Pistols b-sides on eBay, not the Dr. Frankenstein of sexy late-stage capitalism. An active member of art collective, The Mutoid Waste Company, which erects guerrilla-art installations all over Europe, Walker first began incorporating motors into his found-object sculptures in the mid-1990s using scavenged parts from junkyards. “When I first started I was just a broke punk, you know? I didn’t have $10 in my pocket, so I had to use whatever I could find on the street.” Today, the robots are constructed using mannequin limbs, windshield-wiper motors, a gate-opening motor, and CCTV cameras.
The dancing fembot concept first began to take shape for Walker after the broadcast of an infamous “sexed up” report on British television convincing the nation to go to war in Iraq.At the time, Walker says, “I started noticing these CCTV surveillance cameras on every single street corner in London, it was nuts. And those things are total garbage! They don’t even protect people, they only protect f*ckin’ property!”