EXOTIC DANCERS' ALLIANCE - Revision history

Ccarlsson at 04:51, 5 June 2023

2023-06-05T04:51:04Z

Ccarlsson: added photo and link

2019-12-17T21:47:43Z

added photo and link

← Older revision		Revision as of 14:47, 17 December 2019
Line 3:		Line 3:
	''Interview with Dawn Passar by Siobhan Brooks ''		''Interview with Dawn Passar by Siobhan Brooks ''

			[[Image:Exotic-dancers-union-banner-at-jhp-1984.jpg]]

			'''Exotic Dancers' Union organizers at beginning of [[APOCAPOLITICS IN PRACTICE: THE END OF THE WORLD'S FAIR\|End of the World's Fair]] march, May 1984.'''

	~~[[Image:wimmin$ofarrell-workers.jpg]]~~		''Photo: Chris Carlsson''

	''~~'from the [[Mitchell Brothers\|O'Farrell Theater]]'~~''

	{\| style="color: black; background-color: #F5DA81;"		{\| style="color: black; background-color: #F5DA81;"
Line 116:		Line 116:
	That's what one of the signs at Centerfolds says. Yes, I'm a showgirl at San Francisco's newest club owned by, surprise Sam Conti. It seems Sam owns the Cinema, New Century and Regal even though his name isn't listed as proprietor of Happy or Popular Properties, the private owned corporations operating these adult theaters. Women who make the ill-fated decision to audition at Centerfolds can't happily grind away at these clubs unless they agree to work at Centerfolds. List of women's names appear at the Cinema and New Century the week that Centerfolds opened- these women will be denied shifts until they talk to Isabella. It seemed strange to me that I was essentially being forced to be a showgirl when I was content to remain a sleazy lap dancing queen. When I auditioned, I thought it would be a nice change- none of us, I'm sure will mourn the day we stop lap dancing. Then I attended two mandatory meetings and a dress rehearsal the night before the club opened. During those meetings and dress rehearsal, I got to know Sam Conti a bit no, I didn't speak with him one on one--I listened to him ramble for hours and occasionally insult a dancer if she asked a question. No thanks, I thought. I thought that, because I am an "independent contractor, I could choose where I work in this town" ha ha ha ha heh he ha ha.		That's what one of the signs at Centerfolds says. Yes, I'm a showgirl at San Francisco's newest club owned by, surprise Sam Conti. It seems Sam owns the Cinema, New Century and Regal even though his name isn't listed as proprietor of Happy or Popular Properties, the private owned corporations operating these adult theaters. Women who make the ill-fated decision to audition at Centerfolds can't happily grind away at these clubs unless they agree to work at Centerfolds. List of women's names appear at the Cinema and New Century the week that Centerfolds opened- these women will be denied shifts until they talk to Isabella. It seemed strange to me that I was essentially being forced to be a showgirl when I was content to remain a sleazy lap dancing queen. When I auditioned, I thought it would be a nice change- none of us, I'm sure will mourn the day we stop lap dancing. Then I attended two mandatory meetings and a dress rehearsal the night before the club opened. During those meetings and dress rehearsal, I got to know Sam Conti a bit no, I didn't speak with him one on one--I listened to him ramble for hours and occasionally insult a dancer if she asked a question. No thanks, I thought. I thought that, because I am an "independent contractor, I could choose where I work in this town" ha ha ha ha heh he ha ha.

	~~'''~~A Little History ~~'''~~		<font size=4>A Little History </font size>

	A year ago Sam Conti applied for a license from the San Francisco Police department for his dream club, Centerfolds. Because Centerfolds serves alcohol and food, it is considered a cabaret. Back when Diane Feinstein was mayor, cabarets and adult theaters were both required to obtain licenses from the police department. On Friday, January 25, 1985 at 4 PM "...the Market Street Cinema was raided. Eleven women were arrested and charged with lewd conduct because they would take money to sit in a customer's lap where they would gyrate in mock-intercourse." the police report said. (oh my!) The court order issued against the cinema prohibited any performer from leaving the stage area to contact or mingle with the patrons or customers." On February 1, 1985, five days after the Cinema bust, Marilyn Chambers was charged with soliciting prostitution and engaging in lewd conduct at The Mitchell Brothers. Coincidentally (Ha ha ha) the Board of Supervisors was soon to vote on an ordinance that would end the licensing of adult theaters. Four days after vice cops raided Mitchell Brothers, the Supervisors voted 8-3 to abolish license requirements for adult theaters and instead, require adult theater operators to acquire a permit (which is very different from a license) from the Fire Department. unlike the police codes specific and explicit regulations on "entertainment," the Fire Department's Place of Public Assembly Public Assembly Permit has no specific regulations about what an "entertainer" may do it mostly has regulations about how far apart the seats have to be and how wide the aisles should be, etc.		A year ago Sam Conti applied for a license from the San Francisco Police department for his dream club, Centerfolds. Because Centerfolds serves alcohol and food, it is considered a cabaret. Back when Diane Feinstein was mayor, cabarets and adult theaters were both required to obtain licenses from the police department. On Friday, January 25, 1985 at 4 PM "...the Market Street Cinema was raided. Eleven women were arrested and charged with lewd conduct because they would take money to sit in a customer's lap where they would gyrate in mock-intercourse." the police report said. (oh my!) The court order issued against the cinema prohibited any performer from leaving the stage area to contact or mingle with the patrons or customers." On February 1, 1985, five days after the Cinema bust, Marilyn Chambers was charged with soliciting prostitution and engaging in lewd conduct at The Mitchell Brothers. Coincidentally (Ha ha ha) the Board of Supervisors was soon to vote on an ordinance that would end the licensing of adult theaters. Four days after vice cops raided Mitchell Brothers, the Supervisors voted 8-3 to abolish license requirements for adult theaters and instead, require adult theater operators to acquire a permit (which is very different from a license) from the Fire Department. unlike the police codes specific and explicit regulations on "entertainment," the Fire Department's Place of Public Assembly Public Assembly Permit has no specific regulations about what an "entertainer" may do it mostly has regulations about how far apart the seats have to be and how wide the aisles should be, etc.

	The police codes regulating the "entertainment" prohibit a number of activities. For example, Section 1060.9 of the police code states "No professional entertainer or employee may dance with any customer on the premises in any place of entertainment." When the Century opened in 1989, the ''Chronicle'' did a story on it and of the lap dancing part-owner James Caruba said, "Last time I looked, it was still legal." Where did he look? It seems the regulation of adult theaters hinges upon the owners relationship to vide police officers and the fire department. Fire fighters are given free admittance to Mitchell Brothers and we've all dealt with drooling uniformed policeman checking us out, not to mention undercovers propositioning loudly. I guess all this distresses me because I can get busted if the political climate changes, if I unwittingly say in dollars how much I want for doing a lap dance, if my pimps (the club owners) don't grease the right palms. They create the conditions we work under. They advertise, promote and profit off an activity that's most-likely-illegal, we could get arrested for- and that's fucked up.		The police codes regulating the "entertainment" prohibit a number of activities. For example, Section 1060.9 of the police code states "No professional entertainer or employee may dance with any customer on the premises in any place of entertainment." When the Century opened in 1989, the ''Chronicle'' did a story on it and of the lap dancing part-owner James Caruba said, "Last time I looked, it was still legal." Where did he look? It seems the regulation of adult theaters hinges upon the owners relationship to vide police officers and the fire department. Fire fighters are given free admittance to Mitchell Brothers and we've all dealt with drooling uniformed policeman checking us out, not to mention undercovers propositioning loudly. I guess all this distresses me because I can get busted if the political climate changes, if I unwittingly say in dollars how much I want for doing a lap dance, if my pimps (the club owners) don't grease the right palms. They create the conditions we work under. They advertise, promote and profit off an activity that's most-likely-illegal, we could get arrested for- and that's fucked up.

			[[Image:wimmin$ofarrell-workers.jpg]]

			'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''

	Maybe lap dancing is quasi legal, but calling us independent contractors against the law. To determine whether or not a person is an independent contractor or an employee, California uses the "right to control" test. Every woman who is threatened termination if she doesn't work at Centerfolds has a winnable case before the labor commissioner because this coercion proves that she's treated as an employee and denied the bargaining power of an independent contractor. The contract we sign at the Cinema says the performers "markets his or herself as a professional entertainer, available to provide performances and does, in fact, provide performances at other locations without restriction, supervision, or control by the theater. Employers are warned not to destroy the independent contractor status ,"by exercising control over the means of accomplishing the work." "EMPLOYERS SHOULD BE AWARE THAT DAMAGES AND PENALTIES CAN EXTEND TO TAX WITHHOLDING, UNEMPLOYMENT, INSURANCE CONTRIBUTIONS, WORKERS COMPNSATION CONTRIBUTIONS, OVERTIME, MINIMUM WAGE, ETC. " I, myself, could use two plus years of minimum wage and a refund for my stage fees, and a reimbursement for half the taxes I paid on my tips.		Maybe lap dancing is quasi legal, but calling us independent contractors against the law. To determine whether or not a person is an independent contractor or an employee, California uses the "right to control" test. Every woman who is threatened termination if she doesn't work at Centerfolds has a winnable case before the labor commissioner because this coercion proves that she's treated as an employee and denied the bargaining power of an independent contractor. The contract we sign at the Cinema says the performers "markets his or herself as a professional entertainer, available to provide performances and does, in fact, provide performances at other locations without restriction, supervision, or control by the theater. Employers are warned not to destroy the independent contractor status ,"by exercising control over the means of accomplishing the work." "EMPLOYERS SHOULD BE AWARE THAT DAMAGES AND PENALTIES CAN EXTEND TO TAX WITHHOLDING, UNEMPLOYMENT, INSURANCE CONTRIBUTIONS, WORKERS COMPNSATION CONTRIBUTIONS, OVERTIME, MINIMUM WAGE, ETC. " I, myself, could use two plus years of minimum wage and a refund for my stage fees, and a reimbursement for half the taxes I paid on my tips.

Roryc at 20:27, 18 October 2016

2016-10-18T20:27:22Z

← Older revision		Revision as of 13:27, 18 October 2016
Line 3:		Line 3:
	''Interview with Dawn Passar by Siobhan Brooks ''		''Interview with Dawn Passar by Siobhan Brooks ''

	~~{\| style="color: black; background-color: #F5DA81;"~~
	\| colspan="2" \| '''First person account by an exotic dancer who was present in the strip club scene of the 1980s. Along with a light background of the industry in San Francisco, Siobhan Brooks interviews Dawn Passer as she explains how her experience fighting alongside other dancers for their rights as workers led to her being blacklisted from the city’s strip clubs and her transition into activism. Her experiences gives her a unique insight into the mindset of exotic dancers and the health problems and risks they face, working in the industry.
	~~'''~~
	\|}

	[[Image:wimmin$ofarrell-workers.jpg]]		[[Image:wimmin$ofarrell-workers.jpg]]

	'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''		'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''

			{\| style="color: black; background-color: #F5DA81;"
			\| colspan="2" \| '''First person account by an exotic dancer who was present in the strip club scene of the 1980s. Along with a light background of the industry in San Francisco, Siobhan Brooks interviews Dawn Passer as she explains how her experience fighting alongside other dancers for their rights as workers led to her being blacklisted from the city’s strip clubs and her transition into activism. Her experiences gives her a unique insight into the mindset of exotic dancers and the health problems and risks they face, working in the industry. '''
			\|}


	Dawn Passar is one of the co-founders of EDA (Exotic Dancer's Alliance) along with Johanna Breyer. She was born in Thailand and has worked in the sex industry in the United States for ten years. She works at the Asian AIDS Project in San Francisco where she does outreach to clients. In this interview Dawn gives an account of her experiences in the sex industry and her political activism.		Dawn Passar is one of the co-founders of EDA (Exotic Dancer's Alliance) along with Johanna Breyer. She was born in Thailand and has worked in the sex industry in the United States for ten years. She works at the Asian AIDS Project in San Francisco where she does outreach to clients. In this interview Dawn gives an account of her experiences in the sex industry and her political activism.

Roryc: Abstract added

2016-09-19T20:08:47Z

Abstract added

← Older revision		Revision as of 13:08, 19 September 2016
Line 2:		Line 2:

	''Interview with Dawn Passar by Siobhan Brooks ''		''Interview with Dawn Passar by Siobhan Brooks ''

			{\| style="color: black; background-color: #F5DA81;"
			\| colspan="2" \| '''First person account by an exotic dancer who was present in the strip club scene of the 1980s. Along with a light background of the industry in San Francisco, Siobhan Brooks interviews Dawn Passer as she explains how her experience fighting alongside other dancers for their rights as workers led to her being blacklisted from the city’s strip clubs and her transition into activism. Her experiences gives her a unique insight into the mindset of exotic dancers and the health problems and risks they face, working in the industry.
			'''
			\|}

	[[Image:wimmin$ofarrell-workers.jpg]]		[[Image:wimmin$ofarrell-workers.jpg]]

Lisaruth at 07:30, 26 January 2011

2011-01-26T07:30:58Z

← Older revision		Revision as of 00:30, 26 January 2011
Line 1:		Line 1:
	'''<font face = Papyrus> <font color = maroon> <font size = 4>"I was there..."</font></font> </font>'''		'''<font face = Papyrus> <font color = maroon> <font size = 4>"I was there..."</font></font> </font>'''

			''Interview with Dawn Passar by Siobhan Brooks ''

	[[Image:wimmin$ofarrell-workers.jpg]]		[[Image:wimmin$ofarrell-workers.jpg]]

	'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''		'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''

	~~''Interview with Dawn Passar by Siobhan Brooks ''~~

	Dawn Passar is one of the co-founders of EDA (Exotic Dancer's Alliance) along with Johanna Breyer. She was born in Thailand and has worked in the sex industry in the United States for ten years. She works at the Asian AIDS Project in San Francisco where she does outreach to clients. In this interview Dawn gives an account of her experiences in the sex industry and her political activism.		Dawn Passar is one of the co-founders of EDA (Exotic Dancer's Alliance) along with Johanna Breyer. She was born in Thailand and has worked in the sex industry in the United States for ten years. She works at the Asian AIDS Project in San Francisco where she does outreach to clients. In this interview Dawn gives an account of her experiences in the sex industry and her political activism.
Line 83:		Line 83:
	'''SB: '''What is your definition of a feminist?		'''SB: '''What is your definition of a feminist?

	'''DP: '''I think it comes back to the choices one makes in life. I think the choices that women make need to be supported by everyone. Being a sex worker, some feminist would say, "How could you do that? You're being exploited." I think the problem is that I would need them to support me, not condemn me. We should be looking at how to make the sex industry safer to work in. But by telling me to stop doing what I chose to do for a living is not empowering. I find it disempowering to be around people who are quick to judge ~~mepeople~~ like that are neo-Nazi feminist. We need to support one another.		'''DP: '''I think it comes back to the choices one makes in life. I think the choices that women make need to be supported by everyone. Being a sex worker, some feminist would say, "How could you do that? You're being exploited." I think the problem is that I would need them to support me, not condemn me. We should be looking at how to make the sex industry safer to work in. But by telling me to stop doing what I chose to do for a living is not empowering. I find it disempowering to be around people who are quick to judge me; people like that are neo-Nazi feminist. We need to support one another.

	'''SB: '''Where did you go to school?		'''SB: '''Where did you go to school?
Line 89:		Line 89:
	'''DP: '''I went to San Francisco Art Institute, and I got my Master's from the California College of Arts and Crafts. I was always a visual person and I come from an artist background; my uncle is an artist. When I thought about going to school I was thinking in terms of traditional education---writing and reading, all the things school requires. But I realized I could take pictures, so I was majoring in photography and film making which didn't requiring reading and writing.		'''DP: '''I went to San Francisco Art Institute, and I got my Master's from the California College of Arts and Crafts. I was always a visual person and I come from an artist background; my uncle is an artist. When I thought about going to school I was thinking in terms of traditional education---writing and reading, all the things school requires. But I realized I could take pictures, so I was majoring in photography and film making which didn't requiring reading and writing.

	The Merit Fellowship and the Fourth Foundation liked my work and gave me scholarships which helped my self-esteem and made me believe that I was good at something. When I reached my senior year I realized that I had to write a thesis, three to five-thousand words. I was a student at the Adult Literacy Program at the Berkeley Read Program. My skills in writing and reading English improved. Thanks to Miss Audrea Folley, my tutor		The Merit Fellowship and the Fourth Foundation liked my work and gave me scholarships which helped my self-esteem and made me believe that I was good at something. When I reached my senior year I realized that I had to write a thesis, three to five-thousand words. I was a student at the Adult Literacy Program at the Berkeley Read Program. My skills in writing and reading English improved. Thanks to Miss Audrea Folley, my tutor.

	'''SB: '''What are some of the main mental health problems with women in the sex industry?		'''SB: '''What are some of the main mental health problems with women in the sex industry?
Line 100:		Line 100:

	'''DP: '''The dancers need to be well-informed about their labor rights, in relation to employee status, and work together at having an organized work force. The dancers can get together and have a co-op strip club---that way working conditions can be improved.		'''DP: '''The dancers need to be well-informed about their labor rights, in relation to employee status, and work together at having an organized work force. The dancers can get together and have a co-op strip club---that way working conditions can be improved.

	~~''--Siobhan Brooks''~~

	''photo and design by Chris Carlsson''		''photo and design by Chris Carlsson''

	'''Don't Swear. Don't Slouch. When in Doubt, Smile'''		'''Don't Swear. Don't Slouch. When in Doubt, Smile'''

			''--from Queens of The Tenderloin ''

	That's what one of the signs at Centerfolds says. Yes, I'm a showgirl at San Francisco's newest club owned by, surprise Sam Conti. It seems Sam owns the Cinema, New Century and Regal even though his name isn't listed as proprietor of Happy or Popular Properties, the private owned corporations operating these adult theaters. Women who make the ill-fated decision to audition at Centerfolds can't happily grind away at these clubs unless they agree to work at Centerfolds. List of women's names appear at the Cinema and New Century the week that Centerfolds opened- these women will be denied shifts until they talk to Isabella. It seemed strange to me that I was essentially being forced to be a showgirl when I was content to remain a sleazy lap dancing queen. When I auditioned, I thought it would be a nice change- none of us, I'm sure will mourn the day we stop lap dancing. Then I attended two mandatory meetings and a dress rehearsal the night before the club opened. During those meetings and dress rehearsal, I got to know Sam Conti a bit no, I didn't speak with him one on one--I listened to him ramble for hours and occasionally insult a dancer if she asked a question. No thanks, I thought. I thought that, because I am an "independent contractor, I could choose where I work in this town" ha ha ha ha heh he ha ha.		That's what one of the signs at Centerfolds says. Yes, I'm a showgirl at San Francisco's newest club owned by, surprise Sam Conti. It seems Sam owns the Cinema, New Century and Regal even though his name isn't listed as proprietor of Happy or Popular Properties, the private owned corporations operating these adult theaters. Women who make the ill-fated decision to audition at Centerfolds can't happily grind away at these clubs unless they agree to work at Centerfolds. List of women's names appear at the Cinema and New Century the week that Centerfolds opened- these women will be denied shifts until they talk to Isabella. It seemed strange to me that I was essentially being forced to be a showgirl when I was content to remain a sleazy lap dancing queen. When I auditioned, I thought it would be a nice change- none of us, I'm sure will mourn the day we stop lap dancing. Then I attended two mandatory meetings and a dress rehearsal the night before the club opened. During those meetings and dress rehearsal, I got to know Sam Conti a bit no, I didn't speak with him one on one--I listened to him ramble for hours and occasionally insult a dancer if she asked a question. No thanks, I thought. I thought that, because I am an "independent contractor, I could choose where I work in this town" ha ha ha ha heh he ha ha.
Line 119:		Line 119:
	But I'm chicken. So I'll anonymously grip for a while longer until I win the lottery and can afford to legally challenge my indentured slavery from all the clubs in town. A new policy is that "showgirls" who are caught allowing men to touch them will be fined ten bucks per infraction. Okay--there is nothing worse than being exploited by somebody stupid--it sounds like a sure fire pimping and pandering bust--we can only hope.		But I'm chicken. So I'll anonymously grip for a while longer until I win the lottery and can afford to legally challenge my indentured slavery from all the clubs in town. A new policy is that "showgirls" who are caught allowing men to touch them will be fined ten bucks per infraction. Okay--there is nothing worse than being exploited by somebody stupid--it sounds like a sure fire pimping and pandering bust--we can only hope.

	~~''--from Queens of The Tenderloin ''~~

	<hr>		<hr>

Texteradmin at 06:44, 21 August 2009

2009-08-21T06:44:28Z

← Older revision		Revision as of 23:44, 20 August 2009
Line 123:		Line 123:
	<hr>		<hr>

	[[Image:Tours-labor.gif]] [[TOM MOONEY\| Continue Labor History Tour]]		[[Image:Tours-labor.gif\|link=TOM MOONEY]] [[TOM MOONEY\| Continue Labor History Tour]]

	[[REPRODUCTIVE RIGHTS RANT \|Prev. Document]] [[A San Francisco Matron \|Next Document]]		[[REPRODUCTIVE RIGHTS RANT \|Prev. Document]] [[A San Francisco Matron \|Next Document]]

	[[category:Women]] [[category:Tenderloin]] [[category:1970s]] [[category:1980s]] [[category:1990s]] [[category:Labor]]		[[category:Women]] [[category:Tenderloin]] [[category:1970s]] [[category:1980s]] [[category:1990s]] [[category:Labor]]

Texteradmin at 14:35, 20 August 2009

2009-08-20T14:35:02Z

← Older revision		Revision as of 07:35, 20 August 2009
Line 121:		Line 121:
	''--from Queens of The Tenderloin ''		''--from Queens of The Tenderloin ''

	[[Image:~~Labor-history~~-~~button~~.~~jpg~~]] [[TOM MOONEY\|~~-->~~Labor History Tour ~~next stop~~]]		<hr>

			[[Image:Tours-labor.gif]] [[TOM MOONEY\| Continue Labor History Tour]]

	[[REPRODUCTIVE RIGHTS RANT \|Prev. Document]] [[A San Francisco Matron \|Next Document]]		[[REPRODUCTIVE RIGHTS RANT \|Prev. Document]] [[A San Francisco Matron \|Next Document]]

	[[category:Women]] [[category:Tenderloin]] [[category:1970s]] [[category:1980s]] [[category:1990s]] [[category:Labor]]		[[category:Women]] [[category:Tenderloin]] [[category:1970s]] [[category:1980s]] [[category:1990s]] [[category:Labor]]

Ccarlsson: Protected "EXOTIC DANCERS' ALLIANCE": personal account [edit=sysop:move=sysop]

2009-01-19T00:23:37Z

Protected "EXOTIC DANCERS' ALLIANCE": personal account [edit=sysop:move=sysop]

← Older revision	Revision as of 17:23, 18 January 2009
(No difference)

Ccarlsson: PC and protected

2009-01-19T00:23:23Z

PC and protected

← Older revision		Revision as of 17:23, 18 January 2009
Line 1:		Line 1:
			'''<font face = Papyrus> <font color = maroon> <font size = 4>"I was there..."</font></font> </font>'''

	[[Image:wimmin$ofarrell-workers.jpg]]		[[Image:wimmin$ofarrell-workers.jpg]]

	'''from the O'Farrell Theater'''		'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''

	''Interview with Dawn Passar by Siobhan Brooks ''		''Interview with Dawn Passar by Siobhan Brooks ''

Ccarlsson: labor tour

2008-12-29T08:33:08Z

labor tour

← Older revision		Revision as of 01:33, 29 December 2008
Line 119:		Line 119:
	''--from Queens of The Tenderloin ''		''--from Queens of The Tenderloin ''

			[[Image:Labor-history-button.jpg]] [[TOM MOONEY\|-->Labor History Tour next stop]]

	[[REPRODUCTIVE RIGHTS RANT \|Prev. Document]] [[A San Francisco Matron \|Next Document]]		[[REPRODUCTIVE RIGHTS RANT \|Prev. Document]] [[A San Francisco Matron \|Next Document]]

	[[category:Women]] [[category:Tenderloin]] [[category:1970s]] [[category:1980s]] [[category:1990s]] [[category:Labor]]		[[category:Women]] [[category:Tenderloin]] [[category:1970s]] [[category:1980s]] [[category:1990s]] [[category:Labor]]

← Older revision		Revision as of 21:51, 4 June 2023
Line 22:		Line 22:
	'''SB:''' What was the first club you danced at?		'''SB:''' What was the first club you danced at?

	'''DP: '''I danced at the Penthouse on Broadway, the Roaring 20's, the peep-shows. After that I went to the [[Mitchell Brothers \| Mitchell Brothers]]'. In 1982 the Mitchell Brothers' was the only lap dancing stage show theater in town. The rest of the clubs were topless and the customers would buy the girls drinks. On Broadway the girls would make minimum wage an hour and tips. We would split more than 50% of our tips with the bartender, the waitress, and the doorman. When I went to the Mitchell Brothers' they hired me right away, I worked there for five and a half years. I was making minimum wage an hour. I worked there until 1987 until I was laid off. I asked the management why I was laid off and they told me it was a matter of turning over new faces.		'''DP: '''I danced at the Penthouse on Broadway, the Roaring 20's, the peep-shows. After that I went to the [[Mitchell Brothers \| Mitchell Brothers]]'. In 1982 the Mitchell Brothers' was the only lap dancing stage show theater in town. The rest of the clubs were topless and the [[Strip-Club Business: A Brief History\|customers would buy the girls drinks]]. On Broadway the girls would make minimum wage an hour and tips. We would split more than 50% of our tips with the bartender, the waitress, and the doorman. When I went to the Mitchell Brothers' they hired me right away, I worked there for five and a half years. I was making minimum wage an hour. I worked there until 1987 until I was laid off. I asked the management why I was laid off and they told me it was a matter of turning over new faces.

	Around this time the Market Street Cinema was another live nude theater with lap dancing. The difference between Market Street Cinema and the Mitchell Brothers' was that the Cinema didn't have wages, and didn't pay the dancers, but you got to keep all your tips from lap dancing. After I was laid off at Mitchell Brothers' the theater stopped paying dancers wages, and the dancers had to pay to go to work. The paying of stage fees started at the Mitchell Brothers' and the trend trickled down to other theaters. Soon after that the Market Street Cinema adopted the system of not paying dancers wages and charging dancers to work. This system is snowballed nationwide and in most clubs in San Francisco.		Around this time the Market Street Cinema was another live nude theater with lap dancing. The difference between Market Street Cinema and the Mitchell Brothers' was that the Cinema didn't have wages, and didn't pay the dancers, but you got to keep all your tips from lap dancing. After I was laid off at Mitchell Brothers' the theater stopped paying dancers wages, and the dancers had to pay to go to work. The paying of stage fees started at the Mitchell Brothers' and the trend trickled down to other theaters. Soon after that the Market Street Cinema adopted the system of not paying dancers wages and charging dancers to work. This system is snowballed nationwide and in most clubs in San Francisco.
Line 66:		Line 66:
	'''SB: '''Why don't you talk a bit about your job at the Asian AIDS Project?		'''SB: '''Why don't you talk a bit about your job at the Asian AIDS Project?

	'''DP: '''When I got blacklisted from the sex ~~industry--the~~ stripping ~~industry--I~~ became an activist and I gave talks to different women's gatherings. I was giving a talk at a gathering with Carol Leigh from C.O.Y.O.T.E and I announced in the audience that I didn't have a job, and I asked people if they knew of a job. One of the men from the Asian AIDS Project told me to apply for a job there. At that time I was like, "Well, that's nice." I never called him back, three months later he called me back asking if I was still interested. I never called him back because I thought it was just an office job and that I didn't even read and write English that well. I could write and read English by the time I graduated school, but the idea of working in an office was too scary. After a year and a half without a job I thought I would give this job a try. I applied and got the job I have now. I've found that I have a lot of support from people who work here, they knew that I could do the job, they helped me with different trainings. Come to think of it, it's not that different from being a sex worker.		'''DP: '''When I got blacklisted from the sex industry—the stripping industry—I became an activist and I gave talks to different women's gatherings. I was giving a talk at a gathering with Carol Leigh from C.O.Y.O.T.E and I announced in the audience that I didn't have a job, and I asked people if they knew of a job. One of the men from the Asian AIDS Project told me to apply for a job there. At that time I was like, "Well, that's nice." I never called him back, three months later he called me back asking if I was still interested. I never called him back because I thought it was just an office job and that I didn't even read and write English that well. I could write and read English by the time I graduated school, but the idea of working in an office was too scary. After a year and a half without a job I thought I would give this job a try. I applied and got the job I have now. I've found that I have a lot of support from people who work here, they knew that I could do the job, they helped me with different trainings. Come to think of it, it's not that different from being a sex worker.

	My job requires outreach, case management, advocacy, and training. The idea of the HIV prevention education is to bring the service to the community, which is women in massage parlors. People are not going to come out and say that they need to learn more about HIV and AIDS. They won't take time to do that or they feel that their family comes first and they won't think about themselves. They are thinking about work, taking care of the kids and the family. But their health comes last. We are the first ones in the whole nation to do outreach to the massage parlor people. Every big city has a massage parlor or a Chinatown: New York, L.A. Other agencies have tried but we have giving trainings and shared information with them. It takes a different level of togetherness to reach people successfully. When I say successfully I mean people who can get successfully into the massage parlor, and earn the trust of the manager, the owners, and the workers there. We let them know that you are providing health education and HIV testing.		My job requires outreach, case management, advocacy, and training. The idea of the HIV prevention education is to bring the service to the community, which is women in massage parlors. People are not going to come out and say that they need to learn more about HIV and AIDS. They won't take time to do that or they feel that their family comes first and they won't think about themselves. They are thinking about work, taking care of the kids and the family. But their health comes last. We are the first ones in the whole nation to do outreach to the massage parlor people. Every big city has a massage parlor or a Chinatown: New York, L.A. Other agencies have tried but we have giving trainings and shared information with them. It takes a different level of togetherness to reach people successfully. When I say successfully I mean people who can get successfully into the massage parlor, and earn the trust of the manager, the owners, and the workers there. We let them know that you are providing health education and HIV testing.
Line 94:		Line 94:
	'''SB: '''Where did you go to school?		'''SB: '''Where did you go to school?

	'''DP: '''I went to San Francisco Art Institute, and I got my Master's from the California College of Arts and Crafts. I was always a visual person and I come from an artist background; my uncle is an artist. When I thought about going to school I was thinking in terms of traditional ~~education---writing~~ and reading, all the things school requires. But I realized I could take pictures, so I was majoring in photography and film making which didn't requiring reading and writing.		'''DP: '''I went to San Francisco Art Institute, and I got my Master's from the California College of Arts and Crafts. I was always a visual person and I come from an artist background; my uncle is an artist. When I thought about going to school I was thinking in terms of traditional education—writing and reading, all the things school requires. But I realized I could take pictures, so I was majoring in photography and film making which didn't requiring reading and writing.

	The Merit Fellowship and the Fourth Foundation liked my work and gave me scholarships which helped my self-esteem and made me believe that I was good at something. When I reached my senior year I realized that I had to write a thesis, three to five-thousand words. I was a student at the Adult Literacy Program at the Berkeley Read Program. My skills in writing and reading English improved. Thanks to Miss Audrea Folley, my tutor.		The Merit Fellowship and the Fourth Foundation liked my work and gave me scholarships which helped my self-esteem and made me believe that I was good at something. When I reached my senior year I realized that I had to write a thesis, three to five-thousand words. I was a student at the Adult Literacy Program at the Berkeley Read Program. My skills in writing and reading English improved. Thanks to Miss Audrea Folley, my tutor.
Line 102:		Line 102:
	'''DP: '''The suicide rates, substance abuse, and sexual harassment exist at the work place. In professional work settings companies usually offer health care or counseling to their employees. That doesn't exist in the sex industry. The sex industry should offer this kind of health care coverage for their workers. When women do get sick, they have to relay on the City and County and taxpayers' money to pay for their medical expenses. This should be the responsibility of the employer. In terms of psychological problems that I have seen: suicide, drug overdose, and domestic violence are the leading cause of death among sex workers. Currently, there are not any health outreach workers providing safe-sex information and health education in strip clubs. More young women are seeking this kind of work because it seems glamorous, and a way to make easy money. I mean all of that is there, but other shit comes with the job. Emotional abuse is very high within the job.		'''DP: '''The suicide rates, substance abuse, and sexual harassment exist at the work place. In professional work settings companies usually offer health care or counseling to their employees. That doesn't exist in the sex industry. The sex industry should offer this kind of health care coverage for their workers. When women do get sick, they have to relay on the City and County and taxpayers' money to pay for their medical expenses. This should be the responsibility of the employer. In terms of psychological problems that I have seen: suicide, drug overdose, and domestic violence are the leading cause of death among sex workers. Currently, there are not any health outreach workers providing safe-sex information and health education in strip clubs. More young women are seeking this kind of work because it seems glamorous, and a way to make easy money. I mean all of that is there, but other shit comes with the job. Emotional abuse is very high within the job.

	I remember there was this student who came from U.C. Davis. She never drank, smoke, or did any drugs. She was going to school and she just wanted to make extra money, and she did. The first three months she was fine, she was new, everyone liked her and she made a lot of money. I saw her a year later and she was on the street on every type of drug she could ~~get---she~~ was unemployed and homeless. If she was an "employee" rather than an "independent contractor" at the strip club she was working in, she would be entitled to health benefits. These kinds of situations are not uncommon to women in the sex industry.		I remember there was this student who came from U.C. Davis. She never drank, smoke, or did any drugs. She was going to school and she just wanted to make extra money, and she did. The first three months she was fine, she was new, everyone liked her and she made a lot of money. I saw her a year later and she was on the street on every type of drug she could get—she was unemployed and homeless. If she was an "employee" rather than an "independent contractor" at the strip club she was working in, she would be entitled to health benefits. These kinds of situations are not uncommon to women in the sex industry.

	'''SB: '''How do you think the situation for exotic dancers can be improved?		'''SB: '''How do you think the situation for exotic dancers can be improved?

	'''DP: '''The dancers need to be well-informed about their labor rights, in relation to employee status, and work together at having an organized work force. The dancers can get together and have a co-op strip ~~club---that~~ way working conditions can be improved.		'''DP: '''The dancers need to be well-informed about their labor rights, in relation to employee status, and work together at having an organized work force. The dancers can get together and have a co-op strip club—that way working conditions can be improved.

	''photo and design by Chris Carlsson''		''photo and design by Chris Carlsson''
Line 112:		Line 112:
	'''Don't Swear. Don't Slouch. When in Doubt, Smile'''		'''Don't Swear. Don't Slouch. When in Doubt, Smile'''

	''~~--from~~ Queens of The Tenderloin ''		''—from Queens of The Tenderloin ''

	That's what one of the signs at Centerfolds says. Yes, I'm a showgirl at San Francisco's newest club owned by, surprise Sam Conti. It seems Sam owns the Cinema, New Century and Regal even though his name isn't listed as proprietor of Happy or Popular Properties, the private owned corporations operating these adult theaters. Women who make the ill-fated decision to audition at Centerfolds can't happily grind away at these clubs unless they agree to work at Centerfolds. List of women's names appear at the Cinema and New Century the week that Centerfolds opened- these women will be denied shifts until they talk to Isabella. It seemed strange to me that I was essentially being forced to be a showgirl when I was content to remain a sleazy lap dancing queen. When I auditioned, I thought it would be a nice change- none of us, I'm sure will mourn the day we stop lap dancing. Then I attended two mandatory meetings and a dress rehearsal the night before the club opened. During those meetings and dress rehearsal, I got to know Sam Conti a bit no, I didn't speak with him one on one--I listened to him ramble for hours and occasionally insult a dancer if she asked a question. No thanks, I thought. I thought that, because I am an "independent contractor, I could choose where I work in this town" ha ha ha ha heh he ha ha.		That's what one of the signs at Centerfolds says. Yes, I'm a showgirl at San Francisco's newest club owned by, surprise Sam Conti. It seems Sam owns the Cinema, New Century and Regal even though his name isn't listed as proprietor of Happy or Popular Properties, the private owned corporations operating these adult theaters. Women who make the ill-fated decision to audition at Centerfolds can't happily grind away at these clubs unless they agree to work at Centerfolds. List of women's names appear at the Cinema and New Century the week that Centerfolds opened- these women will be denied shifts until they talk to Isabella. It seemed strange to me that I was essentially being forced to be a showgirl when I was content to remain a sleazy lap dancing queen. When I auditioned, I thought it would be a nice change- none of us, I'm sure will mourn the day we stop lap dancing. Then I attended two mandatory meetings and a dress rehearsal the night before the club opened. During those meetings and dress rehearsal, I got to know Sam Conti a bit no, I didn't speak with him one on one--I listened to him ramble for hours and occasionally insult a dancer if she asked a question. No thanks, I thought. I thought that, because I am an "independent contractor, I could choose where I work in this town" ha ha ha ha heh he ha ha.
Line 126:		Line 126:
	'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''		'''from the [[Mitchell Brothers\|O'Farrell Theater]]'''

	Maybe lap dancing is quasi legal, but calling us independent contractors against the law. To determine whether or not a person is an independent contractor or an employee, California uses the "right to control" test. Every woman who is threatened termination if she doesn't work at Centerfolds has a winnable case before the labor commissioner because this coercion proves that she's treated as an employee and denied the bargaining power of an independent contractor. The contract we sign at the Cinema says the performers "markets his or herself as a professional entertainer, available to provide performances and does, in fact, provide performances at other locations without restriction, supervision, or control by the theater. Employers are warned not to destroy the independent contractor status ,"by exercising control over the means of accomplishing the work." "EMPLOYERS SHOULD BE AWARE THAT DAMAGES AND PENALTIES CAN EXTEND TO TAX WITHHOLDING, UNEMPLOYMENT, INSURANCE CONTRIBUTIONS, WORKERS ~~COMPNSATION~~ CONTRIBUTIONS, OVERTIME, MINIMUM WAGE, ETC. " I, myself, could use two plus years of minimum wage and a refund for my stage fees, and a reimbursement for half the taxes I paid on my tips.		Maybe lap dancing is quasi legal, but calling us independent contractors against the law. To determine whether or not a person is an independent contractor or an employee, California uses the "right to control" test. Every woman who is threatened termination if she doesn't work at Centerfolds has a winnable case before the labor commissioner because this coercion proves that she's treated as an employee and denied the bargaining power of an independent contractor. The contract we sign at the Cinema says the performers "markets his or herself as a professional entertainer, available to provide performances and does, in fact, provide performances at other locations without restriction, supervision, or control by the theater. Employers are warned not to destroy the independent contractor status ,"by exercising control over the means of accomplishing the work." "EMPLOYERS SHOULD BE AWARE THAT DAMAGES AND PENALTIES CAN EXTEND TO TAX WITHHOLDING, UNEMPLOYMENT, INSURANCE CONTRIBUTIONS, WORKERS COMPENSATION CONTRIBUTIONS, OVERTIME, MINIMUM WAGE, ETC. " I, myself, could use two plus years of minimum wage and a refund for my stage fees, and a reimbursement for half the taxes I paid on my tips.

	But I'm chicken. So I'll anonymously grip for a while longer until I win the lottery and can afford to legally challenge my indentured slavery from all the clubs in town. A new policy is that "showgirls" who are caught allowing men to touch them will be fined ten bucks per infraction. ~~Okay--there~~ is nothing worse than being exploited by somebody ~~stupid--it~~ sounds like a sure fire pimping and pandering ~~bust--we~~ can only hope.		But I'm chicken. So I'll anonymously grip for a while longer until I win the lottery and can afford to legally challenge my indentured slavery from all the clubs in town. A new policy is that "showgirls" who are caught allowing men to touch them will be fined ten bucks per infraction. Okay—there is nothing worse than being exploited by somebody stupid—it sounds like a sure fire pimping and pandering bust—we can only hope.