Why Decriminalizing Sex Work Is A Life Or Death Issue

Illustrated by Lindsay Hattrick

“If you don’t want prostitution, my god, give people jobs! Help them!”

Earlier this month, Lily Allen issued an unusual public statement via Instagram: Four years ago, during her ‘Sheezus’ tour, she slept with female escorts “cause,” she wrote, “I was lost and lonely and looking for something.”  Allen concluded, “I’m not proud, but I’m not ashamed. I don’t do it anymore.” 

According to Allen, the Daily Mail had obtained copies of her forthcoming memoir, My Thoughts Exactly, which includes a section on that experience, her deteriorating marriage, and her postpartum depression. In order to prevent the tabloid from making the situation “sound worse than it was,” Allen wrote, she’d rather have people hear it from her first.

As Jezebel’s Tracy Clark-Flory wrote last week, Allen’s announcement prompted “an avalanche of tabloid stories” about what happened on the singer’s 2014 tour. “I’m assuming that Allen paid consenting adult sex workers for their time,” Clark-Flory wrote. “That she has to ‘admit’ and ‘defend’ that, particularly within the salacious tabloid realm, is unfortunate.”

If the media frenzy surrounding Allen’s announcement revealed anything, it’s that sex workers—and their clients—are still deeply stigmatized. More often than not, though, that stigma has more harmful consequences than a few invasive tabloid stories.

In 2014, the year of Allen’s Sheezus tour, local and federal authorities conducted more than 40,500 prostitution-related arrests in the United States, according to the Federal Bureau of Investigation’s annual Crime in the United States report. The report, which relies on information from local law enforcement for much of its data, uses a loose definition of prostitution that elides the fact that prostitution-related arrests aren’t really prostitution arrests in the first place. Some cities allow police to arrest people for “loitering for the purpose of prostitution,” meaning that police can arrest people for looking like sex workers. Until recently, NYPD officers were allowed to seize condoms from suspected sex workers, which left street-based sex workers more vulnerable to sexually transmitted infections and HIV. NYPD officers are  still allowed to seize condoms as evidence in cases involving sex trafficking.

Chicago’s city council unanimously passed its own loitering law in June, skirting civil rights groups’ warnings that it would disproportionately target women of color. New York’s own loitering law, which has been on the books since 1976, does just that. According to a 2016 report by the Village Voice, 85 percent of those charged under the loitering law between 2012 and 2015 were black or Latina women, some of whom were repeatedly targeted by police. Most arrests were made in a handful of neighborhoods, and trans women were particularly vulnerable, the report found.

For a time, the difficulties of street-based sex work—from arrests to assault, robbery, and rape—encouraged many sex workers to begin advertising online, both for their own safety and because it provided a better opportunity to screen clients, negotiate rates, and find community with other sex workers. But in March, the Senate overwhelmingly voted in favor of the Stop Enabling Sex Traffickers Act, a bill that sex workers said would make their own work more dangerous and stigmatized while making it harder to find and help actual trafficking victims. The House passed its own version of the bill, the Fight Online Sex Trafficking Act, in February. 

The effects were immediate. VerifyHim, a screening site for online daters where some sex workers vetted clients, took down its communication tools in April, according to Rewire.News. Craigslist took down its personal ads section the previous month. And just days before President Donald Trump signed SESTA-FOSTA into law, federal authorities shut down, a controversial personal ads website that was the focus of the SESTA-FOSTA debates and which The Cut described as “the most accessible online marketplace for sex workers.”

Kate D’Adamo, a national policy advocate at the Sex Workers Project, told NYLON that SESTA’s effects were immediate and far-reaching—and that they were exactly what sex workers said would happen. In the wake of SESTA-FOSTA, sex workers have reported a rise in economic insecurity and even homelessness, a need to lower their safety and screening standards in order to make ends meet, an increase in street-based sex work, according to a fact sheet provided by Survivors Against SESTA. 

D’Adamo said she spoke to sex worker outreach organizations in Seattle, San Francisco, and Washington, D.C. who reported negative and abusive conditions. “There were a lot of reports of people who were contacted by predatory third parties who were basically saying, ‘Do you want to work for me? Because you need me to get clients,’” D’Adamo said. 

Ceyenne Doroshow, the founder and executive director of Gays and Lesbians Living in a Transgender Society, put it more bluntly. “Because of the situation, you’ve now given pimps new employment,” Doroshow said. “You haven’t heard the word ‘pimp’ in a very long time. It’s come back.”

Both D’Adamo and Doroshow told NYLON that in addition to affecting sex workers’ livelihoods, the legislation has been detrimental to their mental health. “There was one person who I knew—I’m friend with a very close friend of hers, who said ‘I’m not going to do street-based work anymore, I can’t take it,’ and took her own life,” D’Adamo said. Doroshow mentioned another woman, a young transgender sex worker named Vanity, who died from suicide last week. “Under these laws, she lost a lot of income, she was very depressed,” Doroshow said. “The loss of this young lady has traumatized our community again. Where was the help for her? She couldn’t get help, because she couldn’t afford it.”

For sex workers, the ongoing fight against stigmatization and criminalization is life or death. If SESTA and FOSTA has had any positive effect whatsoever, though, is that it has encouraged a new wave of sex-worker led activism. And sex workers aren’t just fighting back against SESTA—they’re advocating for full decriminalization, which they say will make their work safer.

D’Adamo and others organized the first federal sex worker lobby day, where sex workers met with lawmakers on Capitol Hill, on June 1. “We brought people in to talk about what impact the bill had, and to talk about the importance of speaking to sex workers when those bills are passed,” D’Adamo said. The following day, sex workers across the country gathered for International Whores Day marches, where opposition to SESTA-FOSTA took center stage. Doroshow will be part of another, New York-specific lobbying day in Albany in October. 

The surge in engagement is “based on a history of sex worker activism” and wouldn’t have been possible without a pre-existing network of sex worker organizations and advocacy groups, some of which have been around for decades, D’Adamo said. “I wouldn’t say this was the beginning of anything, but I think it was the catalyst to a new chapter in sex worker rights in this country.”

As a result, the sex workers’ rights movements is finding allies in the electoral realm. In New York City, state senate candidate Julia Salazar has expressed support for decriminalization, which The Appeals Melissa Gira Grant noted was “unusual for a person running for office,” even in an ostensibly progressive city like New York. Last month, a few dozen sex worker canvassed in Salazar’s district, where they spoke to prospective voters about Salazar’s support for abolishing Immigration and Customs Enforcement, ensuring affordable housing for all, and, yes, decriminalizing sex work. The event was co-sponsored by the Democratic Socialists of America, of which Salazar is a member. 

Mandating that police officers give tickets out for prostitution-related offenses instead of arresting people would be an easy first step that would “actually go a long way in New York State toward decriminalization,” Salazar said in an interview with The Appeal. 

In an interview with NYLON, Doroshow similarly said that having police officers give tickets for sex work-related offenses—”without a fine,” she clarified, since sex workers who are most vulnerable to policing, particularly trans women of color, live below the poverty line—would be a good start. Full decriminalization would also require the expungement of sex-work related offenses from people’s records, as well as increased funding for anti-poverty organizations and other harm-reduction groups. 

“You have to put something [else] in place,” Doroshow said. “If you don’t want prostitution, my god, give people jobs! Help them!”

Both D’Adamo and Doroshow noted that sex workers’ rights aren’t a single-size issue, and other progressive movements should ally themselves with sex workers who are fighting for criminalization. 

D’Adamo said that in addition to LGBTQ groups and public health organizations, groups like Black Lives Matter, Indivisible, and even the Women’s March have been instrumental allies to the sex work movement. “It’s such an intersectional issue,” D’Adamo said. “It touches on poverty, criminalization and policing, race, gender, migration. I don’t think that every organization needs to be a sex worker organization, but I think that recognizing economic survival—and the way that people are piecing together survival—is a cornerstone of every one of these issues.”

“We’re really trying to get the community to be all aligned,” Doroshow said. “Black, white, purple, cisgendered, she, him, they, all of it. We need to be in one room together.”

Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.

Courtesy of Adidas

The Stan Smiths are a must-have

Adidas just shared its capsule of sneakers paying tribute to Keith Haring, and TBH I can already feel my wallet emptying (and they're not even on sale yet). The new collection features three shoe silhouettes, all including the late artist's iconic imagery as embroidered designs.

The standout style of the collection is the Rivalry hi-top; with bright blue and orange stripes and piping along the edges, Haring's stars and cartoon bodies, in black thread, pop right off. If you're looking for something less over-the-top, the quirky white Nizza Hi RF sneakers show a snake wrapping around the back of the shoe and chasing one of Haring's cartoon bodies toward the toe. There's also a minimal embroidered design on the toe of a classic Stan Smith pair. Look a little more closely at the tongue though, and you'll notice the traditional image has been swapped with a caricature of Haring himself.

Peep the three silhouettes, below, and set your calendar for the official drop at the end of the month.

Adidas, Rivalry Hi Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Nizza Hi RF Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Stan Smith Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

NYLON uses affiliate links and may earn a commission if you purchase something through those links, but every product chosen is selected independently.

Photos by Frazer Harrison/Getty Images, Pascal Le Segretain/Getty Images

Hopefully this one will be typo-free

In an Instagram Live on Thursday, Taylor Swift announced that she would be creating a collaboration with fashion designer Stella McCartney inspired by her upcoming Lover album. Although she kept it vague, we can only assume that the two are working on a collection of luxe merch.

Swift noted in the announcement that she has been friends with McCartney "for a really long time," and that the designer already heard the new album. "I respect what she creates, how she creates it," Swift continued. "There's so much whimsy and imagination and romance to the clothing that she designs." Swift has been wearing McCartney's designs "a lot recently," so maybe we should have seen the collab coming.

One eagle-eyed fan pointed out that Swift wore Stella McCartney rainbow-hued shoes during her Wango Tango set. If the collab is anything like these shoes, you can bet I'll be copping it as quick as I can.

Swift detailed in her Instagram Live that the album Lover would be all about romance, which makes McCartney and her feminine designs perfect for the collaboration. We just hope that this collection doesn't have any typos, like some of Swift's "ME!" merch did.

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Photo by Kevin Winter/Getty Images

And spreads the message that "we all got crowns"

Late on Thursday, Taylor Swift dropped a new single, "You Need To Calm Down," and announced her forthcoming studio album, Lover, out this August. Following her lead single "ME!" Swift continues to spread her message of self-love and call out haters—particularly the homophobic ones—in this latest song.

Swift "ended homophobic locals," as one fan put it on Twitter, with one particular lyric: "'Cause shade never made anybody less gay."

Along with the song, Swift shared a lyric video via YouTube which made her sentiments even clearer. With her lyric, "Why are you made?/ When you could be glad?" she spelled "glad" as "GLAAD," referencing the queer media advocacy organization.

Swift sings of homophobic protestors in the second verse: "Sunshine on the street at the parade/ But you would rather be in the dark ages/ Makin' that sign must've taken all night." In the pre-chorus, she adds, "You just need to take several seats and then try to restore the peace/ And control your urges to scream about all the people you hate."

Swift additionally comments on women being pitted against each other—"We see you over there on the internet comparing all the girls who are killin' it"—asserting that "we all got crowns." There's nothing trolls can do to rain on her parade anymore.

One fan pointed out the possible symbolism of the crown lyric. In "Call It What You Want," track 14 on Reputation, she sings "They took the crown but it's alright." Now on "You Need To Calm Down," track 14 of Lover, she sings that there's not just one crown—we all have them.

Some fans are pointing to the double meaning of the track title. If I had a dollar for every time someone said those words to me in a totally condescending way, I'd probably be richer than her! What woman hasn't been told to calm down about an entirely not-calm situation or while expressing their distaste?

During Swift's live stream for the release of the song, she also announced a fashion collaboration with designer Stella McCartney, a peek of which we got during the singer's WangoTango performance.

Lover is set for August 23 release.

Credit: Frederick Elmes/ Focus Features

"I was like, 'Did I sleep with this critic's girlfriend, or what?'"

The day I meet Jim Jarmusch, the sun hangs so bright and hot and yellow and solid in the sky that it's hard to believe that it will actually set at night. It's one of those New York June days that suggests we might be in permanent daylight; it's got a completely different feeling than the crepuscular atmosphere of Jarmusch's latest film, The Dead Don't Die, which takes place in a small town in what feels like one long twilight, maybe the last one.

But for today, Jarmusch and I are sitting at a table in a sun-filled restaurant, though we're in the shade. We're in a part of the city that used to be very punk rock, and is now very NYU, yet being there with Jarmusch, who looks so at home, like he's holding court in the booth (it helps that Larry Fessenden, an old friend of Jarmusch's and a writer/director/producer/actor, who appears in The Dead Don't Die, happens by the table to say hi), makes the area feel a little punk rock again, even with all the sun.

The Dead Don't Die is a very punk rock zombie movie, by which I mean: It's not very scary, but it is very cool, and even when it's sneering, it's a little bit tender. Starring Bill Murray, Adam Driver, and Chloë Sevigny as a trio of small-town cops who fight back against a nascent zombie apocalypse caused by fracking, the film is cast with a who's who of Jarmusch regulars, like Steve Buscemi, Tilda Swinton, Iggy Pop, and Fessenden, to name a few; but it also features younger stars like Caleb Landry Jones, Selena Gomez, and Luka Sabbat—and there's a real earworm of a theme song, courtesy of Sturgill Simpson.

Below, I speak with Jarmusch about the movie, being a dilettante, and why he only reads his negative reviews—which is definitely one of the most punk rock things I've ever heard.

Photo by Gareth Cattermole/ Getty Images

This was filmed on a pretty condensed shooting schedule, right?
It was a very rough schedule. A very difficult one, actually.

We only had seven weeks to shoot, and we had to shoot Adam Driver out in three weeks because he had to be delivered to Star Wars, and the financing of the film was incredibly grueling and took a long time, so we were pushed so far that we had about one month of prep, and then three weeks with Adam. And then all these different actors coming in and out; I don't know how Carter and Josh, the two producers, organized it all. And then we'd shoot 15-hour days, and halfway through, I had walking pneumonia; I had two coats; it was 95 out; I was shaking. You know, just weird stuff like that. But it's all okay because we had such great people—our crew—everybody. And then, the visual effects were very taxing and complicated.

How did that all work together? Because there's more than one decapitated head.
Yeah, it's a mixture. First of all, we mixed prosthetics with makeup with masks for some of the zombie stuff, but all of those effects with the decapitations, we had to just imagine. So we had to choreograph everything and then only imagine kind of what it would be like, which was, for me, very abstract because I'm not very versed in visual effects. You know, you had to really kind of trust your instincts, because Adam Driver's chopping away with a machete with no blade.

It could've been a machete, it could've been a lightsaber, who knows? So, to what degree is this a sequel of Paterson with Adam Driver's character's last name being Peterson?
Well, I just do these things to amuse myself while writing, you know? Bill Murray in Broken Flowers was named Don Johnson, and in this, I gave him the name Cliff Robertson. Tilda Swinton's character is Zelda Winston. Rosie Perez is named Posie Juarez. You know, I'm just kind of amusing myself.

And Peterson, Paterson. While we were filming Paterson I was always teasing Adam that the next one, we would make was gonna be a sequel about a psychopathic murderous bus driver named Peterson. Tag line: "Get the fuck off my bus!" Or "Next Stop Hell!" You know, stuff like that. It's just to make them... I love trying to make Adam Driver laugh, because he has a very odd and wonderful sense of humor, but it's on the dry side, so I'm always joking around with him between work to try and see what makes him laugh.

But yeah, there's no sequel of any kind, and I don't think that way, and I don't plan, and I don't see my films from the past ever again. I just look toward the next thing.

Credit: Frederick Elmes/ Focus Features

What was the original concept for this? When did you start coalescing all of these different elements into knowing that you wanted it to be your next film?
Some years ago after Only Lovers Left Alive, Tilda kept teasing me, calling me, saying, "When do we do the zombies? When are we doing the zombies?" And in between I made Paterson and Gimme Danger, but then after those I started writing the zombie one, and my original conception was: I wanna make a film that's really funny and silly like Coffee and Cigarettes, where people talk about whatever nonsense I want them to, and I want to get actors I love, you know? So I thought, okay, if I make a zombie film, I can have a structure where different groups are cordoned off against the zombies, and the zombie attacks will be intermittent and not very long, so I'll have long lags where they're just stuck there, like in the house of The Night of the Living Dead, where they can talk about any kind of nonsense. So that was my first idea, and then when I started writing it, for some reason, I wanted to have a small town, Centerville, and I just followed my intuition, and it became this, I don't really know why beyond that.

What is it about small towns that make them the perfect setting for existential terror?
They're insular. They're kind of… everyone kind of knows each other. It's controllable by the characters. It's believable that everyone kind of know each other. I don't know. I'm not very good at analyzing that. And also, this is not a horror film because horror films use devices that are necessary to frighten people, like suspense, and then you get scared. We have no interest whatsoever in that. This is more of a metaphorical zombie film, but I would not call it a horror movie. It's a comedy with zombies with a kind of sad ending. Beyond that, I don't know what it is.

And horror nerds may not like it if they're expecting creepy, creepy, scary thing! They're not gonna get it. They're not gonna get that delivered to them.

What's interesting about it is seeing who fights back against this existential dread. Or, like, Chloë Sevigny's character, Mindy, doesn't fight, she is on her own separate trip, avoiding the end till she embraces it.
It's a character film. It's not even a plot film, really, although critics say that about all my films. But Chloë… it's a complicated thing, because when I first called Chloë, I told her... I wrote her a letter, and then she said, "Yeah, yeah I'd like to do this." And I said, obviously, this is not a feminist character. She's reactive. She's our sort of "Scream Queen." She screams like six times. But Chloë is the master of reaction, and I love watching her react.

She definitely feels like a stand-in for what a normal person would feel during these absurdist experiences, which is nice to have. It's not necessarily that you need a relatable character in a movie like this, but...
Yeah, but she's an empathetic human that's in a job with some authority, but in a small town where that means taking care of whatever, you know, as a police officer, pretty minimal [stuff]. There's not a lot of rampant crime or anything going on… or anything at all, really.

Credit : Frederick Elmes / Focus Features

A lot of people are going to be projecting tons of different meanings onto this film, like with all your films. To what level do you participate in that or pay attention to that? Or, once you're done making a film, is it just out there, and you just let people project onto it whatever they will?
I've always felt that anyone's interpretation of a film that I write and direct is probably more valid than my own. Because it's a funny thing, the beauty of films is going into a world—or a book or whatever—but going into a world that you don't know, and you are entering a world, and it takes you. And if you wrote it, and you were there filming it, and you're in the editing room every day for six months, the mix, and all that... I can never possibly see it. I like hearing what friends or people I know... I like Q and As after screenings because they have no agenda except their interest. I like that a lot, and I value that. I don't really like to read a lot of reviews unless they're really negative. I love the negative ones.

You do?
Yeah, because they must be very far from me in their perception of the world, and that is interesting to me. But I try not to read a lot...

I think you're probably the first person who I've ever spoken to who says they like to read the negative reviews.
I really like them. The worst one I ever got in my life, I laminated and used to carry in my wallet. It was a brief thing from a right-wing French [paper], maybe Le Figaro or something, of a film called Dead Man that we made, and they said—this is the English translation—"The French intelligence celebrates Jarmusch in the way death and blind parents would celebrate their retarded child. Jarmusch is 33 years old, the same age as Christ when he was crucified. We can only hope the same for his film career." I was like, Whoa! That is harsh! I'm keeping that one!

It gets personal.
But that was vicious. I was like, Did I sleep with this critic's girlfriend, or what? What happened? It was really... the knife was sharpened, you know.

That speaks to a very specific kind of agenda for sure.
A friend of mine Amos Poe, he's sort of a mentor of mine, a punk filmmaker, whatever, and when we were young when he made, in the late-'70s, one of his films—The Foreigner or Unmade Beds—the New York Times called it "the cinematic equivalent of kindergarten scribbling," and he put that on his posters and put "New York Times" and we were like punks, we were like, "Yes! Amos! That's great!"

I mean, it genuinely is a pretty great pull quote, and I think also a little bit oblivious to the charms of a kindergartener's scribbles and what the value is in that anyway.
Yeah, it was kind of accurate in a positive way, and they intended it as very negative.

In this film, there are so many actors who are veteran actors, but there are also a lot of younger actors. What do you like about the combination of that dynamic?
I just like the variety of sort of world perceptions—indicated in a very minor way when Bill Murray's character says, "I've known Hermit Bob since we were in junior high," and Adam's character says, "Oh, wow! That must've been like 50 years ago!" And Bill says, "Yeah. It was." But just the kind of difference of perception of age I find as I get older really interesting. And I'm very interested in young people, especially teenagers, because I think they form our sense of style, of music, of so many things, and yet they're kind of pushed around and treated badly and constantly told, "You don't know how the world really works! You're just a teenager!" But they gave us poetry. They gave us Mary Shelley and Rimbaud and chess masters, and all the great music comes a lot from teenagers. So I tried to keep a pulse, that's why the three teenagers, I would not let them turn into zombies. There are only four people [who don't get turned by zombies]: those three that are delinquents, and the Tom Waits character, who's already removed himself from the social order long before.

When the zombies become zombies, they all have one inciting thing that they're still pursuing in the real world. Do you have one thing that you think you would pursue if you were a zombie?
You know, it's hard because I'm a self-proclaimed dilettante. I'm interested in so many things, I don't know if I would be breaking into a bookstore, or if I would be in the alley outside of a movie theater, or if I would be trying to get into a guitar shop. I'm not sure. I have a lot of interests.

I mean there's a way in which it's a really tender portrayal of the human impulse to just seek out these things that they love.
It's not totally a critique; it's their vestigial memory of some things that they were drawn toward, whether it was power tools or oxycontin.

The Dead Don't Die is in theaters now.

Credit: Frederick Elmes/ Focus Features