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Coming Out: Lilly Muse

a shocked musical theatre aficionado. photo by CarbonNYC on flickr

A couple of months ago I was at auditions for a musical at my community theater, and during the interminable waiting period I found myself chatting with a group of middle-aged women (why not the shy 20-year-old hottie in flannel? Sigh). Easy conversation bumped along, from “what are you singing?” to “I’m such a horrible dancer” to “yes, I am the kind of mom who plunks her kid in front of the TV so I can pee in peace.” Eventually, we were bound to land on work/money, which is a subject I stay pretty quiet about as long as I can, what with being a dirty whore and all.

The women were discussing a man, a local theater staple, who had to move out of town due to financial hardship. They agreed that times are indeed tough, especially in our city, “unless you want to do something somewhat soul-crushing,” one of them said. My ears always perk up at the term “soul-crushing,” yet without missing a beat, the rest of the group groaned aloud in agreement, as if they’d had this exact conversation the day before. “I did that for a while,” the woman continued carefully. The murky reference awarded no response from the others, so I chimed in, “what, like waitressing?”

John Franc Wants Us Hooked (2011)

“We were all monsters” the nameless narrator tells us four sentences into Hooked by John Franc. The “we” refers to nine men who live in a city where prostitution is conveniently legal and when the men learn this fact, they begin a downward, hooker-hopping spiral of frightening velocity that ends in the most melodramatic plot development in the history of ever. (Does any American man have nine friends he’d trust to join him as he frequents brothels? I digress.) As you might imagine, for me, a prostitute, that opening line was about as appealing an introduction as a fart in the face. But it was accurate warning for what lay ahead. I can’t think of many books I’ve hated as much as I did Hooked, and it’s easy to explain why. The book, a novel imitating a memoir, is essentially a polemic. The husbands are unsympathetic villans, the wives are unsympathetic victims, and prostitutes are the objects with which men hurt non-prostitute women—and ultimately, destroy themselves. Shorter version: prostitution is bad, mmkay? When men hire prostitutes, other people end up hurt. It’s a literal [spoiler alert, as if anything could spoil the already terrible experience of suffering through this] killer!

The plot, which doesn’t show up until halfway through, centers around one of the men deciding he has to tell his wife the truth about his philandering. The other men are all like, “nooo, don’t do it, because we’ll get in trouble too!” and then someone disappears and children start crying and there’s suggestions of committing murder and finally the police show up—you know, the usual fall out from paying for sex even when it’s legal. If you’re conservative-minded enough, Hooked‘s course of events is completely plausible, and the book will be unhesitatingly received as a sober warning against a pressing contemporary danger. (Did you know that nowadays men can cheat on their wives without much trouble? Cue the pearl clutching.) But if you’ve got any objections to our time’s most commonly held sexual mores—monogamy is essential in a romantic relationship; cheating, unavoidably, ruins lives; women are always the vulnerable/wronged parties when it comes to sex—Hooked is going to seem about as hysterical and offensive as those anti-marijuana ads where the guys at the drive-through window killed a little girl on a bike. It’s not profound; it’s just stupid. 

Dogs & Dollars

“This is Zoe. She was definitely not as amused as I was with her money blanket,” says dancer/shot girl/hostess Taylor.

 

Sex workers, send us pictures of your dogs and dollars or cats and stacks at info@titsandsass.com

Breakfast at Tiffany’s (1961)

That'll be $50 to remove my earplugs.

After a lifetime of never seeing Breakfast at Tiffany’s (how gauche), I recently took a lazy morning to revel in what critics have been saying for 50 years is Audrey Hepburn at her best. That may be true for the actress, but I couldn’t get past the obvious helplessness and sheer rudeness of “Holly Golightly” to see in her the lauded prototype of today’s chic, independent woman. Elegant in her timeless Givenchy and pearls, she embodies the “poor girl with a rich dream” thing with incredible facility.

Hepburn is exalted for her portrayal of Holly Golightly, a lifestyle sugarbaby whose name befits someone too afraid of commitment to furnish her Upper East Side brownstone or even to name the cat she considers more of a roommate. Holly is portrayed as a glossy, gold-digging socialite, though some claim the original character in Truman Capote’s 1958 novella is more obviously a call girl (Capote actually considered her an “American geisha”). She makes her living charming one rich dude after another, smoothly collecting her dues ($50 for the powder room) and then leaving them, drunk and horny, begging on her doorstep. She obviously works it (check out those clothes!), but it seems she does it by being an annoying and ungrateful tease.

Stripper Music Monday: Khia, “Pay Your Pu$$y Bill”

Oh, Khia. Tell us how you really feel. This probably won’t have as solid a place in the stripper canon as “My Neck, My Back (Lick It),” but it’s just as subtle.