“Is it ok for 'Juno Mac' to be an anxious hooker and an advocate for sex worker rights? Am I allowed to be a messy, complicated person?” //

The co-author of the indispensable book Revolting Prostitutes join me over the phone from her quarantine in England to discuss: the unfair pressure of compartmentalizing our own sex lives and whoreientations, why doing sex work digitally feels like Buffy losing her super-strength and not being able to open a jar of pickles, dinner party Decrim talking points, and “calling in” the analogy "sex is to rape as sex work is to trafficking." //

Juno Mac is a professional leg spreader and opinion haver; a sex worker, activist, author, and photographer based in London, UK. She is an organizer with Sex Workers’ Advocacy and Resistance Movement, a collective of sex workers based in different cities around the UK. She is one of the co-authors of the book Revolution Prostitutes: The Fight For Sex Workers’ Rights released in 2018, and is currently working on a part documentary/part memoir photographic project about the intimate spaces in sex working lives. Her 2016 TED Talk is called: The laws that sex workers really want. 

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“The push and pull between clarity and imagination is something I think about a lot in visual storytelling.” //

I called up SfSx series artist Jen Hickman to celebrate the release of our SfSx: Volume 1: Protection trade paperback on July 22nd!

Jen and I discuss our collaborative process, and Jen gives some insight into how they think about formatting sequential art, color as music, and an art school game that’s like exquisite corpse but with dicks. We also touch on Jen’s talent for “character acting” and one of my favorite examples of this from SfSx, how they made an air duct scene sex charged and hilarious, the role of time in comics especially smutty comics, and what kind of sex robot we'd want to fuck. // Jen Hickman is a visual storyteller and a graduate of the Savannah College of Art and Design's Sequential Art program. Past work includes TEST, Moth & Whisper, Jem and the Holograms, the Femme Magnifique anthology, and more. They get really excited about dystopian fiction, good coffee, and drawing hands.

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“The funny thing about Crash Pad is: you know that I know that you know that I know that there’s cameras in there." //

In Part 2 of my interview with Shine, we focus in on Why Are People Into Voyeurism. //

Shine tells a legendary tale of how seeing herself in the mirrors at the Lusty Lady inspired Crash Pad Series. We discuss how the voyeurism themes of CPS means she’s both removed her queer woman of color gaze and inserted that gaze into every single scene; how CPS has changed over 15 years of queer p*rn production; why you should pay for your porn; why asking first is necessary. We also explore: Why is voyeurism considered so creepy? Is the voyeur a top? When is looking like touching? There's also some nerdy camera talk and Shine's conspiracy theory about P*rn Hub. //

Shine Louise Houston is the founding producer and director of Pink and White Productions (CrashPadSeries.com, PinkLabel.tv). During a five-year position at the women-owned sx toy purveyor Good Vibrations, Shine recognized an underserved demand for an alternative to mainstream p*rnography. In 2005, she quit her day job to form a p*rn company, kickstarting a renaissance in queer-made p*rn. A graduate from the San Francisco Arts Institute with a Bachelors in Fine Art Film, Shine has always had a unique vision for adult cinema. Her work has been recognized for its craft and cultural contribution to LGBTQ communities around the world. 

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On May 11th, I recorded an episode remotely with Shine, about 15 years of Crash Pad Series, and a second part about voyeurism. On June 24th, I called her back to get her perspective on the Movement for Black Lives. This is part one, including our talks about BLM and CPS. Voyeurism coming soon. //

“If you tell professionals what to do they won’t riff. If you tell amateurs what to do they ignore you. What I found was that the more I took myself out, the more organic the scene could be… The only thing I needed to control was the cameras…” //

In which I call Crash Pad Series the Law and Order of Queer P*rn, Shine explains the origin story of the CPS themes and production values, and her take on the narratives of a sex scene. //

Shine Louise Houston is the founding producer and director of Pink and White Productions (CrashPadSeries.com, PinkLabel.tv). During a five-year position at the women-owned sx toy purveyor Good Vibrations, Shine recognized an underserved demand for an alternative to mainstream p*rnography. In 2005, she quit her day job to form a p*rn company, kickstarting a renaissance in queer-made p*rn. A graduate from the San Francisco Arts Institute with a Bachelors in Fine Art Film, Shine has always had a unique vision for adult cinema. Her work has been recognized for its craft and cultural contribution to LGBTQ communities around the world.

Support this show http://supporter.acast.com/yapit.

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What is the Whorearchy? How can understanding it help us to combat whorephobia? This portmanteau meaning Whore-Hierarchy is a term originating from and used within the sex worker rights movement describing social stratification within the industry. In honor of International Whores Day on June 2nd, here's my lecture from a 10.26.17 Stigma Unbound event at Catland Books in Brooklyn. Check out patreon.com/TinaHorn for a video and my slideshow from the lecture.

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“There’s a part of me that’s going to enact a sadism on you from the inside.” //

It’s YAPIT: COVID-19 Lightning Round Edition, recorded live on Instagram May 2nd 2020. //

In which I really try my best to game-ify YAPIT even though I don’t have a game brain and cannot follow my own rules. //

We cover: masks, medical fetishism, nano-objects, virtual reality, bug-chasing, spit, and breath play. //

Death ethics, Zoom fart trolls, Thomas the Tank Engine lead recalls, how the crisis will change porn, the question “if you had a clone how would you fuck it?”, ovipositors, and sourdough starters also come up because how could they not? //

“You’re a femme fatale, the fluids from your body have the power to destroy me.” //

Empress Wu is an NYC-based dominatrix and cultural activist, primarily operating via performance, curation, writing, and production to explore the semiotics of sex work, and its effect on the body politic. In her spare time, she can be found loudly preaching conspiracy theories about slime videos.

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"That’s the sex appeal of fascism: the desire to be violated. To be cut through like butter and spread... Fascism is sexy because it’s dangerous, confident, and... leather! It’s scary and comforting at the same time, because you don’t have to make any decisions. We’re afraid of it because our power is taken away, and we want it because we want our power to be taken away." //

CW: two Jewish anti-fascist leftist queers in Brooklyn talking about the history, aesthetics, and complicated erotic allegories of fascism.

In Part Two: The empty symbolism of punk / Derek Jarman’s Jubilee, / Adam Ant’s "Deutscher Girls" / Are people jerking off to Mel Brook’s "Hitler Rap"? / Are gay skinheads fascist? / Yukio Mishima / Forced breeding and medical experiments / Adrienne Rich’s response to Susan Sontag’s NYRB essay / Slave Play //

"Unless you contend with desire, you’re never gonna get anywhere.” //

JB Brager is a writer and cartoonist living in Brooklyn NY, Lenape-ho-king. They are a founding editor of Pinko Magazine and founding host of the Bluestockings bookstore comics reading series In The Gutter. They hold a PhD in Women’s & Gender Studies from Rutgers University New Brunswick. They are on all social media as well as Patreon at @jbbrager

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“What does our desire endorse?” //

Content Warning: This episode features two Jewish leftist queers in Brooklyn talking about the history, aesthetics, and complicated erotic allegories of fascism. Some graphic references to torture from fictional films including Salò and The Night Porter. //

In the first YAPIT recorded during the COVID-19 quarantine, JB Brager joins me remotely from their home to discuss the spectacle of fascism. Discussed: shiny shiny shiny boots of leather, Nazisploitation, the fashion inspirations of Night Porter, why Salò isn’t actually a BDSM film but could spark scene material, Cate Blanchett's Soviet jodhpurs, why the Borg don't understand dating, the gender politics of Ilsa, She Wolf of the SS, and this entire fucking 1975 Sontag quote: “Fascist aesthetics… flow from (and justify) a preoccupation with situations of control, submissive behavior, extravagant effort, and the endurance of pain... They endorse two seemingly opposite states, egomania and servitude. The relations of domination and enslavement take the form of a characteristic pageantry: the massing of groups of people; the turning of people into things; the multiplication or replication of things; and the groupings of people/ things around an all-powerful, hypnotic leader-figure or force... Fascist art glorifies surrender, it exalts mindlessness, it glamorizes death. Never before was the relation of masters and slaves so consciously aestheticized... Now there is a master scenario available to everyone. The color is black, the material is leather, the seduction is beauty, the justification is honesty, the aim is ecstasy, the fantasy is death.” //

JB Brager is a writer and cartoonist living in Brooklyn NY, Lenape-ho-king. They are a founding editor of Pinko Magazine and founding host of the Bluestockings bookstore comics reading series In The Gutter. They hold a PhD in Women’s & Gender Studies from Rutgers University New Brunswick. They are on all social media as well as Patreon at @jbbrager

Support this show http://supporter.acast.com/yapit.

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“I really like people to cry at my titty show!” //

In part 2, Fancy and I get to the bottom of that age old debate: is burlesque stripping? Fancy recounts the plastic bag routine that won her Miss Coney Island 2016, as well as some of her favorite acts by Tiger Bay, Julie Atlas Muz & Mat Fraser, and Darlinda Just Darlinda (including an apocalyptic one that’s almost too prescient...) //

Fancy Feast is a burlesque performer, sex educator, and writer. She holds the title of Miss Coney Island 2016 and is the recipient of the Revolutionary Award at the 2017 New York Burlesque Festival. She is a 2018 New Jewish Culture fellow. She has performed nationwide at venues including the Whitney, the Brooklyn Museum, the Metropolitan Opera, and the Burlesque Hall of Fame in Las Vegas. She is the subject of the 2016 documentary “Fancy Feast: the Fat Burlesque Performer”, by Leon Chase. 

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“I don’t experience my naked body as inherently erotic. It’s my body, and I like it. It has so much more to do for me with the glamour and the transgression. That’s the part where I’m comfortable and excited. Burlesque was the first time I ever saw an exalted fat body.” 

Fancy Feast joins me for a talk about the art of burlesque. But first we discuss her Jewish Currents piece about identity fetishism and what kind of Jewish-themed porn she would make. Her act called 50 Shades of Oy Vey is a great segue into a discussion of the money she’s put into big rhinestone, why she’s not body positive, and whether good girls can do burlesque. Pt 2 coming soon! //

Fancy Feast is a burlesque performer, sex educator, and writer. She holds the title of Miss Coney Island 2016 and is the recipient of the Revolutionary Award at the 2017 New York Burlesque Festival. She is a 2018 New Jewish Culture fellow. She has performed nationwide at venues including the Whitney, the Brooklyn Museum, the Metropolitan Opera, and the Burlesque Hall of Fame in Las Vegas. She is the subject of the 2016 documentary “Fancy Feast: the Fat Burlesque Performer”, by Leon Chase. 

Support this show http://supporter.acast.com/yapit.

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Hosted on Acast. See acast.com/privacy for more information.