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New York sex workers revealed in 1970s Times Square film
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Published: 02:59 GMT, 27 April 2016 | Updated: 12:16 GMT, 27 April 2016
In the 1970s, pimps and prostitutes haunted Times Square and drug dealers worked openly.
Back in the bad old days, New York City was at a low point, rife with crime-filled subways and suffering from an economic collapse.
In a new photo series, photographer Stephen Shames , captured daunting images of underage prostitutes in Times Square in the late 1970s.
Originally the heart of New York's night life, Broadway shows and grandiose movie theaters, Times Square's decline began in the 1960s and reached its peak in the late 1980s when prostitution and sex shops dominated the landscape.
In the 1970s, pimps and prostitutes haunted Times Square and drug dealers worked openly. Back in the bad old days, New York City was at a low point, rife with crime-filled subways and suffering from an economic collapse. A 16-year-old child prostitute (right) sniffs glue out of a paper bag as his friend (left), an older hustler, undresses him in 1979
Photographer, Stephen Shames , captured daunting images of underage prostitutes in Times Square in the late 1970s in a new photo series. A child prostitute and his friend in the subway, heading home in the Bronx after a night hustling in Times Square and a teenage hustler fooling around with two transvestites (right)
The boys were called street hustlers, which meant that they were drifters who possibly supported their families through prostitution. Two teenage hustlers walk by an x-rated video store in Times Square that offered nude girls for 25 cents
Originally the heart of New York's night life, Broadway shows and grandiose movie theaters, Times Square's decline began in the 1960s and reached its peak in the late 80s when prostitution and sex shops dominated the landscape. Pictured are hustlers (center) and chicken hawks (left and right), older men who pay for sex with young boys
Boy prostitutes were often referred to as 'chickens' while older men who paid for sex with young boys were referred to as the 'chicken hawks'.
The boys were called street hustlers, which meant that they were drifters who possibly supported their families through prostitution, according to the book titled Runaway Kids and Prostitution .
And the majority of male juvenile prostitutes were runaways or children who were thrown out of their homes.
Around the same time, more than 820,00 people fled the crime and an unreliable transit system over the course of the decade, moving from the city to the suburbs.
New York City went nearly bankrupt as Wall Street sputtered under the economic stagnation of the era.
Buildings went vacant and became home to squatters as they fell into disrepair.
The subway became unreliable and dangerous. Muggings and rapes were reported on trains and in the dark tunnels underground.
But in the 90s major companies such as Disney and Starbucks among others began to arrive. These companies built office towers or opened mega stores turning Times Square into a major commercial intersection.
Boy prostitutes were often referred to as 'chickens' while older men who paid for sex with young boys were referred to as the 'chicken hawks'. Child prostitutes or also known as teenage hustlers share a cigarette while waiting for customers on 7th Avenue near 42nd Street
The majority of male juvenile prostitutes were runaways or children who were thrown out of their homes. Adult male hustler kisses a 16-year-old child prostitute in Times Square
Three boy prostitutes (left) pose for the camera while waiting for customers and a 12-year-old hustler (right) on 7th Avenue near 42nd Street
But in the 90s major companies such as Disney and Starbucks, among others began to arrive. These companies built office towers or opened mega stores turning Times Square into a major commercial intersection. Child prostitutes talk with chicken hawks, men who buy sex with boy prostitutes, in Times Square
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David Pilgrim Ferris State University
“All these millions, and I mean literally millions, of objects were integral to maintaining Jim Crow.”
“Nigger Milk,” a 1916 magazine advertisement that Pilgrim bought in 1988 Courtesy of David Pilgrim/PM Press
An early 1900s game that depicted an African American as a target Courtesy of David Pilgrim/PM Press
“President Obama has been an industry for racist objects.”
A 1940s creamer or pitcher from Pilgrim’s collection Courtesy of David Pilgrim/PM Press
1950s fishing lure Courtesy of David Pilgrim/PM Press
A ceramic figure from the 1950s Courtesy of David Pilgrim/PM Press
Pilgrim writes that historian Henry Louis Gates Jr. found this the most disturbing image in the Jim Crow Museum of Racist Memorabilia. It is from an unknown book. Courtesy of David Pilgrim/PM Press
Early 1900s postcard Courtesy of David Pilgrim/PM Press
“Be-Bop the Jivin Jigger” toy Courtesy of David Pilgrim/PM Press
1950s bar set Courtesy of David Pilgrim/PM Press
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DAVID PILGRIM bought his first piece of racist memorabilia in the early 1970s, when he was a youngster in Mobile, Alabama. It was a set of salt and pepper shakers meant to caricature African Americans. “I purchased it and broke it” on purpose, recalls Pilgrim, who is black. Yet over the next few decades, he amassed a sizable collection of what he calls “contemptible collectibles”—once-common household objects and products that mock and stereotype black people.
In 1996, Pilgrim transformed his 3,200-item collection into the Jim Crow Museum of Racist Memorabilia at Michigan’s Ferris State University, where he teaches sociology. He presents a selection of these appalling objects and images in his new book, Understanding Jim Crow: Using Racist Memorabilia to Teach Tolerance and Promote Social Justice . As the title implies, the book isn’t merely an exercise in shock value. It lays out the philosophy behind Pilgrim’s work as a scholar and an activist: that only by acknowledging these artifacts and their persistence in American culture can we honestly confront our not-so-distant past.
Mother Jones: What made you decide to turn your collection into a museum?
David Pilgrim: When I got to Michigan, someone mentioned that they knew this elderly black woman who was an antiques dealer. After many months, she agreed to let me see her personal collection. It was just objects floor to ceiling in a barnlike structure. I was overwhelmed by the sheer volume. It shook me! I thought I’d seen everything. What she had was a testimony to—this is going to sound weird—not just the creativity of racism, but the diversity in it. I remember that day thinking that I wanted to do what she’d done, but in a different way.
MJ: How popular were these collectibles?
DP: They were everyday objects in a lot of people’s homes, including African Americans’. [The antiques collector] had postcards, posters. She had records, 78s. She had ashtrays. She had a racist bell. I think she had the game called Chopped Up Niggers —it’s a puzzle. She told me that she hadn’t paid very much for many of those pieces because at the time people were throwing stuff away. Some people were ashamed.
MJ: Why own them in the first place?
DP: These toys, games, sheet music about “coons” and “darkies”—all these millions, and I mean literally millions, of objects—were integral to maintaining Jim Crow. Jim Crow could not work without violence, real violence, but also the threat of violence and the depiction of violence. There are a number of games in the museum where you throw things at black people : “hit the nigger” or “hit the Negro” games. If you had such a game, you were actually creating safe spaces to do that.
MJ: Do you also keep track of racist images and memorabilia online?
DP: Absolutely. With the power of the internet and social media, one person can do the damage that in the old days it took many to do. When you have a race-based incident—and I make it my business to look—within one week there are material objects that reflect that incident in a racist way: lunch boxes, posters, puzzles, T-shirts, pillows. President Obama has been an industry for racist objects . He has been portrayed as a witch doctor, a Rastus character from Cream of Wheat, as a Sambo, as an Uncle Tom—and also as gay, as transgender, as communist, as socialist, as a terrorist, as a Muslim. [Many of the] images that appear online are old. The images from the old “coon” songs from the late 1800s and early 1900s show up in memes, and people don’t realize they’re older images.
MJ: What sort of people collect this stuff?
DP: There are some who want to educate. I’ve met collectors who collect to destroy the pieces. But by far the biggest segment are speculators who know that a McCoy cookie jar was $3 and you can get several hundred dollars for it now.
MJ: Do you see a role for your collection in today’s movement for racial equality?
DP: One of the questions I get often is why we’re still having these conversations. And my answer is: The objects are still being made, they’re still being sold and distributed. There’s not an image in the museum that’s not being reproduced in some way. Secondly, the reason we still have these discussions is because race still matters. But Americans don’t often talk about it in places where their ideas are challenged. We want our museum to be safe but uncomfortable.
MJ: I found myself hiding your book from my kids. At what age do you think it’s okay to expose children to this stuff?
DP: I believe that young people—8, 9, 10—should have discussions appropriate to their age about race. But no one under 12 can come into the museum by themselves, and we discourage parents from bringing them. Right in the center of the room is a lynching tree. Even though it’s contextualized, it can be a house of horrors.
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Published: 11:07 BST, 19 March 2018 | Updated: 18:55 BST, 19 March 2018
With clients that included princes, artists and a future King of England, these are the women who ruled Paris from their bed.
Fascinating pictures reveal the prostitutes who featured in 'The Pretty Women of Paris' - the nineteenth century directory for the French capital's best courtesans and brothels.
Published in 1883 and limited to 169 copies, the notorious guide listed the names of the city's most famous scarlet women - along with their addresses, qualities and faults.
All of these women featured in an 1883 booklet entitled Pretty Women Of Paris, which served as a guide to the city's prostitutes for visiting English gentlemen. Left is Leontine Massin, one of France's most famous prostitutes who once bedded Edward VII, the future King of England. She was described as being 'short, plump, and chubby, with lovely blue eyes, fair hair and complexion and spending pulpy lips that she is always biting and licking with her rosy tongue’. Right is Louise Valtesse, 'she allows herself to be rummaged by anybody, and takes what she can get, refusing no man ... Valtesse is one of the most handsome and clever of the whores of our time,' it says. She amassed a fortune of $3million in today's money
Prostitution became legal in France in 1804 under Napoleon, who ordered that all sex workers had to register and submit to fortnightly health checks. Pictured left and right is Cora Pearl, a British-born prostitute. The guide says 'she was once served up naked, with a sprinkling of parsley, upon an enormous dish borne by four men'. Cora dressed creatively, with the intent to provoke either shock or awe, and dyed her hair with bold colours. She was once seen riding out in her carriage, her hair dyed to match the carriage's yellow satin interior. She also appeared in a blue gown, with her dog’s coat colored to match
By 1809 there were officially 180 brothels in Paris alone, although the true number was likely far higher. Pictured left and right is Alice Loady who could be found at 12 Rue D'Edimbourg. Alice was an acting prodigy and was rushed onto the stage by he
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