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Needlessly, Porn Work Is Now More Risky
Time to legislate and enforce condom use on every adult film set in North America.
By Emily Walker, Today, TheTyee.ca
Mandatory equipment? Porn industry is dangerously unregulated.
In 2004, Lara Roxx was a 21-year-old sex worker in Montreal, working as a stripper for three years and shooting a few Canadian porn films. But in order make any real money, she had to come to the San Fernando Valley, where 90 per cent of the porn in North America is made. Her plan was to stay and book as many shoots as possible until she made $30,000 to open her own modeling agency.
On Lara’s second porn shoot in Los Angeles, she was asked to have unprotected sex with two men at the same time. She initially said no but was told by the director “either do it or we’ll find another girl who will.” She agreed and then was told the scene would not just be “double penetration” but “double anal.” With a hefty paycheque promised to her, and the threat that she was replaceable, Lara went ahead and did it.
See the full article from “TheTyee.ca”
It’s safe to say that through the ages, the representation of femininity in Western culture has largely been the work not of women – who presumably knew something of being female – but of men who might conceivably have known a little about women (or just as conceivably might have known nothing at all). Whether portrayed as virgins or saints, whores or ladies, the widespread feminine image in art, literature, movies or dance seems largely to have sprung from masculine imagination.
The artistic portrayal of femininity has been altered in the West in the five decades since women’s liberation thanks to a proliferation of female creators. In the Montreal dance world since the 1970s, the number of female choreographers probably far surpasses the number of male (PhD thesis, someone please).
In 2006, Marie-Gabrielle Ménard founded Mandala Sitù as a “laboratory-incubator-greenhouse” for feminine dance studies. Its first production was Marie-Pascale Bélanger’s L’Oeil du pigeon. Last year, it presented Tartare by Manon Oligny, whose Manon fait de la danse company has also concentrated on feminine characterizations. Her own show last year, Icônes, à vendre, had a trio of strippers and whores performing in front of what looked like church windows.
Itâs safe to say that through the ages, the representation of femininity in Western culture has largely been the work not of women â who presumably knew something of being female â but of men who might conceivably have known a little about women (or just as conceivably might have known nothing at all). Whether portrayed as virgins or saints, whores or ladies, the widespread feminine image in art, literature, movies or dance seems largely to have sprung from masculine imagination.
The artistic portrayal of femininity has been altered in the West in the five decades since womenâs liberation thanks to a proliferation of female creators. In the Montreal dance world since the 1970s, the number of female choreographers probably far surpasses the number of male (PhD thesis, someone please).
In 2006, Marie-Gabrielle Ménard founded Mandala Sitù as a âlaboratory-incubator-greenhouseâ for feminine dance studies. Its first production was Marie-Pascale Bélangerâs LâOeil du pigeon. Last year, it presented Tartare by Manon Oligny, whose Manon fait de la danse company has also concentrated on feminine characterizations. Her own show last year, Icônes, à vendre, had a trio of strippers and whores performing in front of what looked like church windows.
But itâs the Dick Powell show, performed in the Centaur gallery, thatâs being held over for two more performances next week, at 8 p.m. on Jan. 20 and 21. Extending more productions isnât possible, because the other Centaur spaces will be in use for upcoming season plays.
According to Centaur communications director Eloi Savoie, attendance at the Wildside is slightly down from last year, and the previous year, at mid-fest. (Things could pick up this weekend. One show, A Thousand Paper Cranes: The Weapons of Peace, presented by Geordie Productions, doesnât open until Friday.)
While thereâs no obvious reason for the drop, one factor may be that the 2012 festival doesnât score as high on the erotic scale. Last yearâs Wildside featured two striptease-enhanced shows, Neon Nightz and Miss Sugarpuss Must Die. And while the 2010 festival didnât have strippers, it did have three hugely popular Fringe Festival hits â Dance Animal, the X-rated Penumbra and Johanna Nutterâs My Pregnant Brother, which already had their local followings.
Con-U students give their take on strip clubs
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Pfaus believes that going to a strip club as a couple should be beneficial for a relationship.
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“Yes, I would go to one,” said Amanda Signoretta, who’s majoring in Italian. “I would go to a male strip club with friends and I would go to one with girls.”
Many girls share the same view. Guys, however, tend to automatically associate male strip clubs with homosexuality.
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That fear of being looked at as homosexual still looms over some guys when it comes to male strip clubs. Even with a girl, most said they would not want to go to one.
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There are many misconceptions about going to a strip club. Dancers at strip clubs are not escorts. Seeing how prostitution is illegal in many parts of the world, it seems that dancers are not looking to sleep with customers at the end of the night.
MONTREAL â A 20-year-old man shot in the abdomen about 3 a.m. Sunday outside a stripper bar in Terrebonne, north of Montreal, is expected to survive, local police said.
He was hit by gunfire during a dispute in the parking lot of the O’Gascon bar, apparently between two groups of three to four persons each.
There have been no arrests.
© Copyright (c) The Montreal Gazette
His innovations are a result of an interest in gadgets that goes back to his early university days. Initially he trained not as a dancer but as a photographer and visual artist. While dancing for distinguished local choreographers (he was one of the nude dancers in Daniel Léveilléâs trilogy that began with Amour, acide et noix), Gladyszewski began staging his own creations like Aura (2005), that combined videos and real dancers.
His 2008 solo, Corps Noir, which he re-staged this past November, used scrims and curtains as backcloths for reflecting fantastic light images cast by a thermal camera. Body heat determined the coloursâ hues, an effect that Gladyszewski exploited more fully in an extraordinary duet that he created for a collective work in October, Danse à Dix, at the Kingdom Gentlemenâs strip club. For several minutes, colours swirled across the two dancersâ nude bodies, intensifying or fading according to the skinâs temperature. A simple scene of two people in close embrace became an erotic fantasy â mesmerizing from start to finish.
See the full article from “Canada.com”
His innovations are a result of an interest in gadgets that goes back to his early university days. Initially he trained not as a dancer but as a photographer and visual artist. While dancing for distinguished local choreographers (he was one of the nude dancers in Daniel Léveilléâs trilogy that began with Amour, acide et noix), Gladyszewski began staging his own creations like Aura (2005), that combined videos and real dancers.
His 2008 solo, Corps Noir, which he re-staged this past November, used scrims and curtains as backcloths for reflecting fantastic light images cast by a thermal camera. Body heat determined the coloursâ hues, an effect that Gladyszewski exploited more fully in an extraordinary duet that he created for a collective work in October, Danse à Dix, at the Kingdom Gentlemenâs strip club. For several minutes, colours swirled across the two dancersâ nude bodies, intensifying or fading according to the skinâs temperature. A simple scene of two people in close embrace became an erotic fantasy â mesmerizing from start to finish.
The Canadian Press – ONLINE EDITION
Pattern of police repression makes prostitution more dangerous, experts say
By: Benjamin Shingler, The Canadian Press
Posted: 01/2/2012 4:01 AM
| Comments: 0 (including replies)
| Last Modified: 01/2/2012 7:54 AM
MONTREAL – It wasn’t so long ago that prostitutes were a common sight on Montreal’s historic lower Main, standing on street corners in high-heeled boots.
For years, the intersection of Ste. Catherine Street and St. Laurent Boulevard was the epicentre of the city’s bustling red light district.
Over the past decade, though, nearly all the strip clubs and street-level prostitution has been pushed to the outskirts to make way for a city-backed development of office buildings and trendy shops.
The changes may be good for business — but they also have sex workers worried about their own safety.
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Police repression puts sex workers at risk: experts
The Canadian Press
Experts say police repression is pushing prostitutes into more isolated parts of cities, leaving them more vulnerable to violence.
MONTREAL It wasn’t so long ago that prostitutes were a common sight on Montreal’s historic lower Main, standing on street corners in high-heeled boots.
For years, the intersection of Ste. Catherine Street and St. Laurent Boulevard was the epicentre of the city’s bustling red light district.
Over the past decade, though, nearly all the strip clubs and street-level prostitution has been pushed to the outskirts to make way for a city-backed development of office buildings and trendy shops.
The changes may be good for business — but they also have sex workers worried about their own safety.
See the full article from “CTV.ca”