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Credit: Courtesy Serge Sorokko Gallery/Glitterati Editions
Unseen photos provide a sensitive look at America's early 'working girls'
Dita Von Teese is a burlesque performer, model and author. This is an edited extract from her foreword to "Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson.
Women in sexual professions have always distinguished themselves from other women, from the mores of the time, by pushing the boundaries of style. The most celebrated concubines and courtesans in history set the trends in their respective courts. The great dames of burlesque -- Sally Rand, Gypsy Rose Lee -- boasted a signature style on- and offstage, reflecting broader-than-life personalities.
Dita von Teese on the eternal allure of a well-dressed gentleman
Given that photography was still an emerging technology, an emerging creative medium, when these "working girls" posed for William Goldman in the 1890s at a Reading, Pennsylvania brothel, the entire exercise transcends their initial business liaison. The instantaneous concept of click-and-shoot was still decades away. To be photographed required sitting very still. The women featured in Goldman's collection obviously caught his eye. Not just anyone is asked to be the subject of artistic documentation.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The local photographer and his anonymous muses appear to straddle an artful titillation, at times striving toward Degas nudes and at another, more in the spirit of a strip and tease. There is a beauty in even the most mundane moments.
Among Goldman's models, my own gaze zeroed in on the striped stockings and darker shades of their risqué brassieres. These ladies of Reading, Pennsylvania, might not have had the wealth of Madame du Barry, celebrated mistress of Louis XV of France, or the fame and freedom of a silver-screen sex goddess such as Mae West. But they sought to elevate their circumstances, to feel lovelier and more fashionable, with a daring pair of knickers.
Courtesy Serge Sorokko Gallery/Glitterati Editions
To feel special is fundamental to the human condition. Few opportunities outshine a sense of specialness than when an artist asks to record your looks, your beauty. Under the right circumstances, to be the object of admiration -- of desire -- to be what is essentially objectified is not only flattering. It can also provide a shot of confidence and a sense of strength and power and even liberation, however lasting or fleeting.
Courtesy Serge Sorokko Gallery/Glitterati Editions
For these working girls who were already going against the drudgery of toiling in a factory or as a domestic, who were surviving in a patriarchal world by their wits and sexuality, the opportunity to sit for Goldman was very likely not only thrilling. It was also empowering.
One can only imagine the mutual giddiness prevailing among them all, too, at the possible outcome from all these lost afternoon shoots. In a singular image from this collection appears Goldman striking a pose as proud as a peacock. It's one of stock masculinity in the canons of classic portraiture (though usually in military uniform), and like his muses, presented in all his naked glory. By sharing in the objectivity of the process, Goldman basks in the specialness his models must have felt. By stepping around the lens, he becomes a true confidante.
Courtesy Serge Sorokko Gallery/Glitterati Editions
It suggests a balance of power between artist and muse, man and woman -- at least behind closed doors. Their collective decision to strip and strut for the camera reveals a shared lack of shame for the body beautiful and, in that, a shared, albeit secret, defiance of cultural mores.
Courtesy Serge Sorokko Gallery/Glitterati Editions
By all accounts from curator Robert Flynn Johnson's devoted research on this once-lost collection, Goldman seems to have kept his treasured collection as a personal trove. As a successful photographer of weddings and social events, it was most certainly not in his interest for the public to know about his private creative pursuits.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The brothel was a necessary evil in town, where men with certain desires visited women who would oblige. In this case, it was the desire of a man to capture the beauty and sensuality of the women he befriended. There is much to learn and (most of all!) take pleasure in with this discovery.
As these lost photographs illustrate more than a century later, one period's "social problem" is another's cultural revelation.
"Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson, with a foreword by Dita Von Teese, is out now.
Why Russia produces (and quashes) so much radical art
Curator Marat Guelman explains the growing influence of radical protest artists like Pussy Riot and Pyotr Pavlensky in Putin-era Russia.
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How often do you watch porn? And would you consider that a healthy amount or are you compulsive about it?
Watching porn has become the norm for many who use it to spice things up in the bedroom or while away lonely nights.
But new research suggests that not all porn viewers are the same and, instead, can be split into three groups.
What’s concerning, though, is that only one of those groups is considered healthy.
A study published in the Journal of Sexual Medicine revealed there are recreational, compulsive and distressed porn viewers.
Recreational viewers account for 75 percent of all participants in the study, watching an average of 24 minutes of porn a week.
This group consisted of mainly women and people in relationships.
It was closely followed by the distressed group, who watched porn for the least amount of time – about 17 minutes per week.
As the name suggests, the distressed group associate their emotional distress with watching X-rated material.
Then there is the compulsive group.
This group may have made up just 11.8 percent of the participants, but watched a staggering 110 minutes of porn per week.
Researchers discovered that men were more likely to fall into this category.
The experts from Université Laval in Quebec who conducted the study said only those who were recreational viewers were healthy porn watchers.
To conduct the study, the researchers asked 830 people to report how often they watched porn, then measured it against how compulsive their porn habits were and their level of distress while viewing porn.
Recreational users reported higher sexual satisfaction and lower sexual compulsiveness, avoidance and dysfunction.
Compulsive users experienced lower sexual satisfaction and dysfunction and higher sexual compulsiveness and avoidance.
Those who were highly distressed but watched porn less were sexually less satisfied and reported less sexual activity and more sexual dysfunction and avoidance.
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The experts concluded that the study “confirms the existence of recreational and compulsive profiles but also demonstrates the existence of an important subgroup of not particularly active, yet highly distressed consumers.”
But while the majority who watch porn appear to be able to do so in a healthy manner, it can be a problem for some.
It is still not classified as a true addiction, but some researchers believe a person can become addicted to watching porn in the same way they can become addicted to drugs and alcohol.
Others argue that there is not enough evidence to support it being treated as an addiction.

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“We met some pimps. One of them had a grill, a giant, gem-encrusted belt buckle in the shape of a “G,” and a bottle of scotch in his breast pocket.”
“Most of the sex workers have been robbed, raped, stabbed, shot. It’s not a profession for the faint of heart.”
Betty works the lot. Photo courtesy Alexander Perlman.
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A must-read letter from Mother Jones ’ CEO as our fall fundraising campaign struggles . Please take a moment to read it, please support our independent journalism with a donation if you can right now.
Monica prepares to work the lot. Photo courtesy Alexander Perlman.
“The truth is, making the movie was a really traumatic experience. I suspect I may have developed some mild PTSD.” This is how filmmaker Alexander Perlman describes shooting Lot Lizard , his hypnotic new documentary about truck stop prostitution. While his claim might sound hyperbolic—or like a canny bit of marketing—it rings true: He logged thousands of miles and hundreds of hours to make the film, braving roach motels, crack highs, and homicidal pimps. Indeed, what Perlman captures in Lot Lizard is visceral and harrowing.
The film’s three protagonists—Betty, Monica, and Jennifer—work on the fringes of the trucking industry. America’s Independent Truckers’ Association estimates there are nearly 5,000 truck stops across the country, and although many offer nondescript places to sleep, eat, or shower, many others host a bustling shadow economy of sex and drugs. Lurk on truckers’ online message boards long enough and you’ll likely come across what amounts to a guide to interstate sex, replete with lurid tall tales (see here , here , and here ).
Life on the road, they say, is lonely. To quote one trucker in Lot Lizard : “These walls close in on you. Being in this truck can actually make you crazy.” As Perlman discovered, however, the women—and, occasionally, men—who cater to this loneliness don’t fare much better. Betty and Monica are addicted to crack, Monica is homeless when she’s not crashing with friends or sympathetic drivers, and both are entangled in dysfunctional relationships. “I can feel money,” Betty says, a kind of human divining rod, and yet she spends most of the film desperately searching for just that.
Jennifer, an ex-addict and single mother who recently quit prostitution, struggles to maintain her sobriety. She buys a house but can’t find a job. With time and money running out, she weighs the economics of earning minimum wage at a McJob versus hustling on the lot again. (Guess which pays more?) It’s a particularly wrenching moment in a film loaded with them.
I recently spoke with Alexander Perlman about life on the lots, dodging the police, and what he left on the cutting room floor.
Mother Jones: So this film was inspired by a truck stop prostitute you met while hitchhiking from New York to San Francisco?
Alexander Perlman: Yes. It was midday at a truck stop in Ohio, and I was sitting on a bench outside the travel center. My camping bag lay on the table next to me and a cardboard sign with the word “WEST” scrawled on it. A woman sat down and struck up a conversation. I assumed she was a truck driver. We were in the middle of talking about her grandchildren when a truck driver who looked like Santa Claus walked by. She offered to show him her breasts for $10, he took her up on it, and they walked off into the sunset.
MJ: What was it about the encounter that intrigued you?
AP: There was something about the set of her jaw—she had the strength of someone who had come to grips with a hard life. Also, it was clear that she was living outside the bounds of traditional society. On a much smaller scale I knew what that was like—I hit a rough patch in my teens and almost dropped out of high school. I identified with her, as I identify with anyone who doesn’t really fit the mold.
MJ: How did you choose specific truck stops?
AP: The majority of filming was done over eight weeks. Dan Livingston, the field producer, looked for ride shares on Craigslist and eventually found one with Juliana Star Asis, his friend who was headed to Tucson, Arizona. We set out from New York, drove south on I-95, then west on I-10 until we hit L.A. We did a lot of research online and spoke with truck drivers to find out where the sex workers were most prevalent. We put together a map indicating hotspots around the country. In the end, it came down to luck. A lot of the truck stops were clean as a whistle. When that happened, we hit the road.
MJ: You focus on three women—Betty, Monica, and Jennifer. How did you describe the project to them?
AP: We pitched the film as a feature documentary about truck stop sex workers. We resolved ahead of time that we wouldn’t pay them because we thought that would make the film disingenuous. Unsurprisingly, most of them turned us down. We had to go through a large volume of sex workers to find our cast.
They weren’t writers, filmmakers, musicians, or painters. They had no outlets, but like everyone else had a need to express themselves and sort out their personal histories. Eventually we became their therapists—listening patiently, empathizing, asking questions, and being there for them to the best of our abilities. By the end it was challenging to document rather than participate. My experience on the project helped me recognize that I would rather be a participant. I’m applying to MSW programs in February.
MJ: Describe the different codes or shorthand that prostitutes use when advertising themselves on CB radios.
AP: Where do I begin? Most truck drivers refer to the sex workers as “lot lizards.” The girls prefer the term “working girls.” They call the act itself “turning a trick” or “dating.” I find the euphemisms indicative.
“Commercial Company” refers to sex workers, as in, “any commercial out there tonight?” Or, “anybody looking for some company?” The sex workers play an elaborate game of tag with the security guards and police officers. The sex workers hide in a “safe truck” when the heat turns up. It’s kind of like base. In the truck, they use the CB to advertise their services and arrange to meet with other truckers on the lot. There can be several safe trucks on a large lot.
“40-60-80” is shorthand for a fairly standard rate: $40 for oral sex, $60 for sex, and $80 for both. When arranging deals over the CB radio, the sex workers would ask the truck drivers, “what color is your house?” Which means, “what does your truck look like?”
MJ: The film briefly introduces a gay male prostitute offering “massages.” How common are male sex workers on the lot?
AP: We heard a lot of stories, but the only one we met was Jesse. I think there’s less demand for male sex workers. There’s the risk of violence motivated by homophobia.
MJ: None of the women you profiled had pimps. Did you meet any who did?
AP: We met some pimps. One of them had a grill, a giant, gem-encrusted belt buckle in the shape of a “G,” and a bottle of scotch in his breast pocket. This begs the question: Why did none of them feature prominently in the film? Unfortunately, the pimps prohibited it.
One of the concerns we had with our lead characters is that selecting them downplays the prevalence of pimps and trafficking in the industry. There’s an amazing organization called Truckers Against Trafficking that addresses the issue. We had to bite the bullet on that because we just didn’t have the footage to deal with the issue of trafficking in a meaningful way that was consistent with the rest of the film.
MJ: Describe the police or security presence on the lot.
AP: It varied. Like I said, some truck stops were clean as a whistle. Others were out of control. When police rolled through, truckers would announce their arrival and precise location. If you closed your eyes and listened you could see the police cars driving around the lot. The sex workers hid out in safe trucks until the lot cleared.
In many truck stops, security was comically ineffective. Some of them enjoyed ogling the sex workers as much as the truck drivers did. We heard stories about security guards and police officers receiving “favors” in exchange for freedom, but can’t verify these. It seemed there was a bias towards targeting the sex workers as opposed to Johns. It makes sense from the truck stop’s perspective—they don’t want to alienate paying customers.
MJ: The film depicts both prostitutes and truckers as victims in this larger drama of human appetites and loneliness. Do you see both parties as victims? How would you describe the power dynamic?
AP: As one sex worker put it: “We sell our bodies, they sell their time—how different are those really?” Both truck drivers and sex workers were doing a job that wore them down emotionally, but the money was good enough to keep them working.
Power dynamics varied from one person to the next. In some cases, it seemed like truck drivers were taking advantage of sex workers, in others like sex workers were taking advantage of truck drivers, and, in a rare few, it seemed there was mutual respect.
MJ: One of the film’s most powerful moments is Jennifer’s reunion with the trucker who introduced her to prostitution. How did that come about?
AP: Oddly enough it was Jennifer’s suggestion. It seemed like she needed a sense of closure and empowerment. Ultimately, I think she bit off more than she could chew. It’s hard to confront your past when you’re struggling to redefine yourself.
I think he [the trucker] was in love with Jennifer and that he was genuinely remorseful for what had happened. Jennifer approached the interview with a confr
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