Sex 18 2022

Sex 18 2022
U.S. | Carol Leigh, Who Sought a New View of Prostitution, Dies at 71
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Carol Leigh, Who Sought a New View of Prostitution, Dies at 71
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She was serious about issues related to sex for money. But she also spoke through an amusing persona she called Scarlot Harlot.
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Carol Leigh, who sought to change the image and treatment of sex workers — a term she is generally credited with coining — through both mainstream advocacy work and her colorful performances and writings under the name Scarlot Harlot, died on Wednesday at her home in San Francisco. She was 71.
Kate Marquez, her executor, said the cause was cancer.
Ms. Leigh (pronounced “lee”) began working as a prostitute after moving to San Francisco from the East Coast in 1978. In a 1996 interview with The San Francisco Examiner, she said she was galvanized into activism in 1979 after two men raped her at the sex studio where she worked and she realized that if she reported the crime, the establishment would be shut down, leaving her and other women there unemployed.
“I became very, very dedicated to changing conditions so that other women would not have to deal with what I dealt with,” she said.
At the time, prostitution was rarely thought of as anything but a crime, and men and women who sold sex were viewed as criminals and, often, as people who had been forced into the work by traffickers or circumstances.
Ms. Leigh was among a group of advocates who proposed a different view, one captured in the slogan that the movement adopted: “Sex work is work .” She argued that some people engaged in prostitution by choice, and that many sex-for-money transactions — the escort business, for instance — were not the street-corner deals the general public pictured.
Her point, sometimes expressed humorously, was to encourage a rethinking of the possible relationships between sex and commerce.
“There are so many women who make a living in the sex business and who don’t admit it,” she told The Arizona Daily Star in 1985. “Topless dancers are sex workers, for example. And we’ve all heard the story about the wife who has sex with her husband to get a new refrigerator.”
Ms. Leigh took credit for introducing the term “sex work” as an alternative way to describe the business of prostitutes and others. In “Inventing Sex Work,” an essay she contributed to the collection “Whores and Other Feminists” (1997, edited by Jill Nagle), Ms. Leigh recalled a conference organized by Women Against Violence in Pornography and Media that she attended in San Francisco in the late 1970s or early ’80s. The title of a workshop involving prostitution, she said, used the term “sex use industry.”
“The words stuck out and embarrassed me,” she wrote. “How could I sit amid other women as a political equal when I was being objectified like that, described only as something used, obscuring my role as an actor and agent in this transaction?
“At the beginning of the workshop,” she continued, “I suggested that the title of the workshop should be ‘Sex Work Industry,’ because that described what women did.”
Now the phrase is in common use, and it has been credited with helping to reframe the continuing debates on the subject.
“Carol Leigh was — and will always remain — a staple in the movement for sex workers’ rights,” Jenny Heineman, who teaches sociology and anthropology at the University of Nebraska Omaha and has written about sex work and feminism, said by email. “Never shying away from hard conversations, she coined the term ‘sex work’ to encapsulate the intersecting challenges that stigmatized and criminalized laborers across the globe face.”
Ms. Leigh was born on Jan. 11, 1951, in Queens. She described her parents as “disenchanted ex-socialists.”
“I was raised on discouraging tales of the failure of political struggles,” she wrote in “Inventing Sex Work.”
In the early 1970s she discovered feminist authors like Betty Friedan and Kate Millet. According to the 1996 profile in The Examiner, she earned a bachelor’s degree at Empire State College in 1974. She then studied creative writing at Boston University and founded a women’s writing group where feminist ideas were discussed and debated.
“By 1978 I had had enough of Boston’s mean and repressive atmosphere,” she wrote; she moved to San Francisco, where she hoped to explore a life in the arts.
“My friends who were artists were working in restaurants,” she told The Examiner. “I looked at them and I thought, I don’t want to work in restaurants. I’m an artist, I want to explore life. So for me, initially, prostitution was an investigation. I was also poor and feeling desperate at the time.”
The further she got into the life of prostitution, the more she felt a disconnect between her experiences and the feminist doctrines she had espoused earlier.
“Feminist analysis of prostitution as the ultimate state of women’s oppression didn’t fit the strength and attitudes expressed by the diverse women I met,” she wrote.
“Many lesbians were ‘out’ as lesbians,” she added, “but where was the prostitute in this new woman we had been inventing? She was degraded and objectified anew by the feminist rhetoric.”
In the early 1980s Ms. Leigh developed a one-woman show, “The Adventures of Scarlot Harlot,” which she performed in San Francisco and elsewhere. In it she told stories from her working life, argued for a place at the feminist table and suggested that sex for money was perhaps not that different from whatever the audience did for money.
She also sold her own brand of perfume, Whore Magic, and other novelties. When she spoke at events, she would sometimes hand out colorful stickers that read “Whore Power” or “Be Nice to Prostitutes.”
But she was serious about decriminalization, health care, needle exchanges, reducing the prison population, how AIDS should be dealt with and other sex-work issues, and she was taken seriously. In the mid-1990s she served on a commission on prostitution created by the San Francisco Board of Supervisors, and in 2008 she was among the more vocal advocates of Proposition K in San Francisco, a ballot measure that would have had the effect of decriminalizing prostitution in the city. It failed. Its opponents included the city’s district attorney at the time, Kamala Harris.
Ms. Leigh is survived by a brother, Phillip.
Ms. Leigh made videos, organized art shows by sex workers, and in 2003 published “Unrepentant Whore: The Collected Work of Scarlot Harlot.” In the 1996 interview, she offered a succinct take on sex and decriminalization.
“This,” she said, “is the only activity that you can do for free but you can’t get paid for.”

The Sex Party review – spiky comedy fails to satisfy
Bigotry in the bedroom … Timothy Hutton and Pooya Mohseni in The Sex Party. Photograph: Alastair Muir
Timothy Hutton on The Sex Party: ‘Do I think it will be controversial? I don’t know …’
Original reporting and incisive analysis, direct from the Guardian every morning
© 2022 Guardian News & Media Limited or its affiliated companies. All rights reserved. (modern)
Menier Chocolate Factory, London There’s tension in Terry Johnson’s tale of four couples meeting for sex and nibbles but the unruly debate isn’t deep enough
A t first, The Sex Party looks like a retro BBC sitcom about swingers, although that term is banned at this adult shindig. Four couples collect for sex and nibbles at a cool north London postcode. There is gleeful talk about getting it on and a fair share of parading around in lingerie and thigh boots.
But Terry Johnson’s spiky comedy takes us from the familiar fare of smut and sniggering double entendres to something bolder and more awkward in the sex/gender debate at its centre, even if it does not reach a satisfying end.
We only ever see what happens in the high-end kitchen (set designed by Tim Shortall) but we get a vivid idea of the action in the living room from the moans and groans we hear. In a production also directed by Johnson, the acting stays fine across the board although the characters are flimsy (Lisa Dwan especially does wonders with her part) and the star casting of Timothy Hutton stays strangely marginal for too long. He drifts on and off stage, saying little and looking like a cliched California guru in yoga pants.
The dialogue often goes off on random, unruly riffs; one character (Will Barton) talks about taking MDMA and the dialogue sounds under the influence too.
The play’s grenade is lobbed as the first act closes, with the entry of Lucy (Pooya Mohseni), a trans woman, and from here on in it feels like another play altogether. Doris Lessing, in a Penguin introduction to Lady Chatterley’s Lover, wrote that what happens in the bedroom is a “report on the sex war” outside it and it seems to be the case with this living room; suddenly, no one wants to convene there and a very live tension is in the air.
Much is flung at us, from talk of toilets to language and JK Rowling and it feels genuinely edgy. It is brave of Johnson to grapple with a debate that has become so divisive that a meeting of this kind would be unimaginable in real life. But arguments come thick and fast without being explored. Johnson seems to be shooting an arrow through the issues of the day – including, too briefly, consent – but it comes to feel like a dramatised version of Twitter.
The room exposes its bigots and we finally see the point of Hutton’s character but as more plot-points are lobbed at us in the closing moments it feels much less like a sitcom than an entire series rolled into one production.

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Tanyel Mustafa Saturday 19 Nov 2022 9:57 am
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Welcome back to How I Made It , Metro.co.uk’s weekly career journey series.
This week we’re delving into the world of digital sex work with Cherry the Mistress , a US-based sex content creator who has an OnlyFans page among other platforms.
The 20-year-old left her job as a barista after watching her salary steadily climb in the industry she’s in now.
Cherry hasn’t shaved in the two years she’s been making sex content either, building up a legion of fans who love her natural hair and empowered approach.
This makes her presence in the sex space unique too, as she decided to go this way after realising she had been removing her body hair for years for people other than herself – leading her to turn her back on shaving.
Here’s how she made her career happen.
Hey Cherry. How long have you been creating hairy sex content?
I’ve been making hairy content for exactly two years now!
Before sex work, I was working at a barista at a coffee shop for over three years.
What made you first think working in the sex/erotic content industry was something you wanted to do?
When I was in college, I was really broke and was barely able to pay all my bills.
I saw the success that other people have had doing adult content and I have always been a sexual person who liked to express myself that way, so I thought why not give it a try?
Had anyone introduced you to the idea or did you think of it alone? Did you go in having researched first?
I remember seeing the hype of OnlyFans at the start of the pandemic and I wondered if I could ever do that.
I definitely thought about starting OnlyFans for a few months to really make sure this was something that I wanted to do.
I researched a lot in the beginning, because I had no clue what I was doing.
Now doing this for two years, I have learned so much and am always learning everyday.
To keep myself safe, I do not share where I’m from or what state I’m in to anyone.
I also am a big homebody and don’t leave my house often.
The world is so crazy as it is and I want to avoid any adverse circumstances.
Long-term, is this what you want to do, or do you have other plans and ideas?
I really love what I do, so I want to do this for as long as possible!
I’ve also been posting videos on YouTube recently and want to continue doing that.
For the future, I have a lot of ideas. I have thought about getting into the housing market or starting my own clothing company or modeling for clothing brands.
Do you think platforms like OnlyFans have made sex content work safer for people and more accessible? Has it democratised that space a bit in your opinion?
Absolutely. I think online sex work platforms has made sex work so much safer for people.
There’s less of a risk than doing FSW (full service sex work), because you’re less likely to be sexually harassed (though you can still be harassed online), human trafficked, or contract STDs.
What do you earn in an average month?
I can make anywhere from $18k-$20k a month.
8am-10am : She wakes up, responds to DMs from subscribers, posts on all social media accounts.
11am-12pm : Cherry hits the gym, then gets ready.
1pm-4pm : Cherry makes videos (both for social media and for explicit sites), and then takes pictures (explicit and SFW).
5pm-8pm : She schedules and queues content for all her sites, networks with other models, edits videos, answers emails.
9pm-10pm : Time to chat with subscribers, send out PPV videos to those who buy them.
11pm-midnight : She researches, reads group chats I’m in, then finally calls it a night.
What do you love most about your job?
I absolutely love my subscribers. I have known quite a few of them for a long time and the connections I make with them is really special to me.
I talk to them everyday and I talk to them even more than I do to my friends in my personal life.
I also really love the freedom I have, and of course, the money I make is certainly a huge plus.
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There’s definitely a lot about this job that can be tough, like how unstable it is, how people constantly objectify you and don’t take you seriously, unsolicited dick pics, and how isolating it can be.
However, what can be the most mentally taxing is constantly being deplatformed.
I, along with a lot of other sex workers, spend so much time and effort into building our online presence and social media apps will ban and delete us randomly.
However, celebrities or people who are verified on these apps can post such provocative photos and don’t get penalised.
Do you have an interesting job or career journey?
Email tanyel.mustafa@metro.co.uk to share your story for How I Made It.

FILE - Cardinal Matteo Zuppi, the new head of the Italian bishops conference, arrives for a press conference in Rome, Friday, May 27, 2022. Italy’s Catholic bishops on Thursday, Nov. 17, 2022 provided their first-ever accounting of clergy sexual abuse, but Italy's main survivor advocate said it was “shamefully” inadequate given it only covered reports to church authorities over the last two years and omitted documentary research into church archives. (AP Photo/Alessandra Tarantino, File)

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