April M. Short

A breakthrough agreement in Philadelphia could become a template to curb the housing crisis

Months of protests led by homeless residents over the lack of affordable housing in Philadelphia have led the city and the Philadelphia Housing Authority (PHA) to agree to cede 50 vacant homes to a public land trust. The land trust will be managed by Philadelphia Housing Action, which is a nonprofit formed by homeless encampment organizers. The agreement is largely "unprecedented" and marks the first time a transfer of power and property ownership rights of this scope—from the city and PHA to protesters occupying an encampment—has taken place in the United States.

The new land trust designates 50 "properties for use as low-income housing, defined as $25,000 and below, and they would be controlled [and managed] by local committees," PhillyVoice reports.

Philadelphia is dotted with empty, abandoned houses that have sat vacant for years, and in some cases decades, explains protest organizer Nadera Hood. Meanwhile, at least 5,700 Philadelphia residents are homeless. Many of the city's homeless residents are working families with children who find themselves unable to afford the city's increasing rents, Hood says. The city and PHA have been breaking up homeless encampments that have been called "untenable" by Philadelphia Mayor Jim Kenney and other leaders in the city. However, for many residents, the encampments offer the only living space that feels safe, as overcrowded shelters have led to COVID outbreaks and deaths of homeless residents living in shelters.

Talking about the agreement to cede homes to the public land trust, Mike Dunn, deputy communications director for the City of Philadelphia, says, "The agreement was the result of a lot of long discussions since June with the protest camp leaders about the need for affordable housing for the lowest-income Philadelphians, a concern that the mayor has long shared."

Dunn notes that while many of the logistical details surrounding the transition of the land trust properties are still being worked out, camp leaders, the city and PHA are working together to identify vacant houses that are in the public inventory, "to convey to the community land trust, which they will rehabilitate to make habitable. The land trust will identify its own resources [to carry out] these repairs."

Dunn says the protest camp residents' cause is "right and proper, and their needs are valid."

"We hope this agreement could serve as a model for the many U.S. cities whose residents struggle to find affordable housing," he says.

Eric Tars, legal director of the National Homeless Law Center in Washington, D.C., which has held consultations with encampment organizers, explains the significance of this agreement in a Philadelphia Inquirer article by Alfred Lubrano and Oona Goodin-Smith. "We haven't seen a protest encampment like this one that's led to this kind of result," Tars says in the article. "I'm going to tell advocates and other city mayors about how this is a different way, a better way, to deal with people experiencing homelessness."

The Demand for Housing

The protest effort in Philadelphia led by homeless residents successfully transformed itself into a nonprofit organization and a public land trust, and won an unparalleled housing agreement with the city that puts ownership and management into the hands of encampment residents.

Across the United States, there has been an increase in people experiencing homelessness due to the COVID pandemic, and homeless residents have been among the most heavily impacted by the virus. Philadelphia is no exception, and crowding in shelters, often following encampment evictions, has led to a spread of the virus among homeless residents. In May, after the PHA broke up and evicted an encampment outside of the Convention Center, a man who had been evicted from the encampment died from COVID after catching it in a shelter where there was an outbreak of the disease that infected more than three dozen people.

Hood, a leading organizer for the group Occupy PHA, says the death of the resident in the shelter prompted action among homeless residents and existing activist groups in the city.

"The encampment was evicted just as the COVID shelter-in-place orders came," Hood says. "People were moved to the shelter, and there was an outbreak, someone from the encampment died, and that was part of what organized and rallied people."

In March, moms with children, and some other houseless residents, occupied and began living in several vacant Philadelphia homes, inspired, in part, by similar occupations in Los Angeles, Oakland and elsewhere during the coronavirus outbreak.

"All of the people who moved in and have been living in these vacated homes are working people, they're people with families, who can't afford rent in the city," Hood says.

Hood says the racial uprising across the United States following the police killing of George Floyd in Minneapolis on May 25 catalyzed the various existing homelessness activist camps to join forces and inspired enthusiasm among encampment residents who were previously intimidated or fearful of taking action.

"All of our groups had been doing a lot of work around land disposition, gentrification and property rights and ownership in the city," Hood says. "Occupy PHA, which is my group, was fighting the housing authority's role in gentrifying neighborhoods and over-policing; Black and Brown Workers Cooperative was fighting against councilmanic prerogative (which basically gives council members full authority over what can and can't be [done] in a neighborhood, and is mostly used for them to build relationships with developers)," Hood says. "[Black and Brown Workers Cooperative] also focused on land reclamation efforts. For example, they built a little mini-shelter out of corrugated plastic for a homeless person who slept on church steps; they reopened and took over a park that was gated up by new people who moved into the neighborhood. And then the Workers Revolutionary Collective was doing various kinds of outreach with the homeless population."

Following the encampment evictions in January, the groups began to meet and collaborate more frequently. Ultimately, they decided to organize themselves into a collective called the Philadelphia Housing Action to protest the city's handling of housing allocation, and pressure the city and PHA to rethink their response to the housing crisis. This led to the parkway protest—an encampment was set up at Benjamin Franklin Parkway to protest and draw attention to the issues of homelessness and the housing crisis in Philadelphia. This eventually prompted the recent deal with the city, after months of occupation by hundreds of homeless residents, and organized protest actions.

Hood notes that the agreement between protesters and the city does not skip over existing housing waiting lists by giving homes to people from the encampment protests. The homes under consideration that will become part of the public land trust are properties that would have been allocated to private buyers.

"The houses that we were putting people in and demanding that [PHA] give us would not have housed a family on the waiting list; they would have been sold to a developer and been a part of the process of gentrifying our neighborhood," Hood says.

Hood notes that across the country, there are resistance movements forming around housing and land allocation, and says it's up to every person to advocate for affordable housing options.

"It's really everybody's duty," Hood says. "People need to preserve affordable housing and low-income housing. We have to try to find innovative uses for the land. We have to acquire land and homes and build things that are more community-based and not reliant on the administration, or on government funding or [other such] things. I would like to see a national coalition form, to demand [allocation of] land from the government, to be able to preserve affordability, and the culture and values of the neighborhoods."

April M. Short is an editor, journalist and documentary editor and producer. She is a writing fellow at Local Peace Economy, a project of the Independent Media Institute. Previously, she served as a managing editor at AlterNet as well as an award-winning senior staff writer for Santa Cruz, California's weekly newspaper. Her work has been published with the San Francisco Chronicle, In These Times, Salon and many others.

This article was produced by Local Peace Economy, a project of the Independent Media Institute.

How Californians came together to deal with wildfires during the pandemic

It was no fluke that the entire western U.S. was choked by wildfires and blanketed by smoke this past summer. The global climate disaster promises worsening fires, floods, droughts, storms and other natural disasters. The rate of these disasters has doubled over the last 20 years, and this rapid increase is caused by humans, according to the top climate researchers around the world. On October 12, the United Nations warned that the Earth will become "an uninhabitable hell" for millions of people if world leaders continue to fail to take drastic actions necessary to curb the climate crisis.

In a report released in 2020, the UN Office for Disaster Risk Reduction calculated that at least 7,348 major disasters had occurred between 2000 and 2019. The report, titled "Human Cost of Disasters: An Overview of the Last 20 Years," estimates that these disasters cost 1.23 million people their lives, impacted 4.2 billion people, and cost about $2.97 trillion in "economic losses worldwide."

In an effort to mitigate increasing climate impacts, many cities in the U.S. are implementing climate emergency preparedness plans. And at a micro-level, individuals around the nation are working to mobilize their neighborhoods to prepare for increasing climate impacts. In the surf-meets-redwoods city of Santa Cruz, California, about 70 miles south of San Francisco, a coalition of neighbors came together mid-pandemic to mitigate the potential impacts of foreboding disasters. The neighbors were prompted by the efforts of one woman, Nora Shalen*, a small business owner who became increasingly concerned by the research reports coming out about climate change. Her neighborhood formed an emergency preparedness network to offer mutual aid and a plan for resiliency when faced with increasing challenges in the future.

As it happened, the network was formed just in time, before the devastation struck the Santa Cruz region. While much of the West Coast has experienced historic wildfire impacts this year, the blaze in Santa Cruz, dubbed the C.Z.U. Lightning Complex fires, caused some of the worst damage to date. As James Ross Gardner wrote in a September 28 New Yorker article, "of the more than seven thousand five hundred structures damaged or destroyed by California wildfires so far this year, C.Z.U. burned a fifth of them."

And, Gardner further reports, "Climate change undoubtedly played a role, scientists affirm. The fires this summer resulted from a confluence of factors, including a severe drought that California began experiencing in 2012 and this year's unprecedented heat waves, in August and early September, Lenya Quinn-Davidson, a University of California wildfire expert, said, adding that, together, these factors produced 'a condition in California where our fuels are basically drier than they've ever been. … Then we get this slightly unprecedented lightning storm' with thousands of strikes 'within thirty-six hours.'"

In Santa Cruz, the smoke grew so thick over the city that daytime passed for night. Residents were ordered to evacuate amidst the COVID-19 pandemic, and local aid workers and volunteers rushed to piece together emergency shelters that would allow for social distancing.

Shalen, a Santa Cruz resident of 17 years, recalls having to turn on the headlights of her car to see in the middle of the afternoon. She says having the emergency resilience group helped the neighborhood to navigate weeks on end of unbreathable air, darkness and encroaching fires.

"One piece of feedback people kept giving me was that before we started doing this they were feeling really anxious and alone about the pandemic, about what's happening in the country," she says. "They realized once they started participating [in the emergency preparedness effort] that they were feeling a sense of well-being, feeling connected, feeling empowered."

How to Start

While Shalen had no community organizing experience and wasn't sure how the idea would be met by her neighbors—many of whom she had never spoken with before—she decided to take action. She began by distributing flyers in the neighborhood and inviting people interested in the project to email her. She says it's important to note that she, along with her husband, framed the initial outreach as an invitation to people to enter into a mutual aid agreement and bring their best selves to the project.

"All this happened organically, as people just wanted to find a sense of purpose," Shalen says. "I didn't really know these people and it was a lot to ask of strangers, so my husband and I wrote this email introducing the idea of mutual aid. This turned out to be very important, it's what distinguishes what we're doing from other neighborhoods," she says. "We explained that mutual aid is based on an ethic of mutuality, care and resourcefulness, and attending to the most vulnerable. I really wanted to start off with a certain mindset rather than saying, 'This is scary.' It was about introducing the idea with an expectation of agency and capability in the face of disruption."

In the email, she linked to an article predicting that the 2020 fire season would be worse than the previous year and explained that because the pandemic was already impacting the city and county emergency budgets, in a widespread emergency, those emergency services were likely to be overwhelmed and residents faced the possibility of having to be their own first responders.

"I mentioned [in the email] that if we approach these preparedness exercises [prior to an emergency], we will make a giant leap in our ability to respond or to have a resilient outcome; and if we choose to go it alone, we will all be weakened," she says. "If [we recognize] that we are each other's immune system, and we prepare, it will strengthen each of us individually and make us all more resilient. I also said that if we have a clear plan, it helps our chances of being able to think clearly and calmly as a group."

Then, a small coalition of interested neighbors began to hold meetings online, then in socially distanced ways outside. The group quickly grew into a structured one, with each person working together to come up with a plan to tackle any given emergency and assist neighbors in need. While not every household was interested or able to participate, those involved took stock of what resources and skills they collectively had to offer by filling out shared Google Document questionnaires. They shared specifics about their professional skills, adjunct skills, medications and/or special needs during a given emergency. The group discovered that the few blocks of residents who had responded to the survey had all the requisite qualifications needed to form an emergency preparedness team: they ranged from doctors, nurses and EMT workers willing to become emergency medics, to mental health professionals, firefighters and many others who offered a range of additional skills. From there on, they began to form teams based on specific skill sets.

In an initial Zoom call, they reviewed their basic emergency prep plan, agreed on an emergency meeting place, and one family offered their home as a care shelter for seniors and/or families with small children that might be vulnerable during a disaster. Another person offered their home as a place for anyone experiencing emotional or physical trauma.

"If you can have some basic clarity, [decide on] practical steps and roles, it makes a big difference," Shalen says. "We all know where to meet and have a place where we can go if we're injured. If you're elderly, you have a place to go where you will not be alone and there will be someone to help you."

Among the group's many Google Documents is a personal preparation sheet, which includes a checklist of items to include in an emergency grab-and-go bag, how to prepare for fires or an earthquake, how to prepare for a three-day emergency or a month-long emergency, and so on.

Shalen says that because the Santa Cruz neighbors prepared themselves for a number of potentially dangerous scenarios—from earthquakes to water shortages—prior to the fires, the group was able to mitigate feelings of panic or helplessness when the fires hit. Her hope is that their neighborhood collaboration can serve as a replicable model for how any community in any part of the country might become better prepared.

Mapping the Neighborhood

One of the resources the Santa Cruz group used is a program offered by the Emergency Management Division of the state of Washington called Map Your Neighborhood (MYN). This program offers step-by-step guidance to improve emergency preparedness in small neighborhood communities. According to the MYN website, the idea is "to improve disaster readiness at the neighborhood level, 15-20 homes or a defined area that you can canvas in 1 hour."

The group also looked to Community Emergency Response Team (CERT) programs, and two members completed an online CERT training through the University of Utah, followed by a COVID-compliant in-person CERT training in Santa Cruz.

Richard Roullard, one of the members who completed the training, says CERT has been a key resource. "Much of what we were trying to create [in our neighborhood] already exists," he says.

Once the group had formed and agreed to participate, Shalen sent each member a bright yellow folder including the MYN program's nine crucial steps to take immediately following a disaster. The folders also included an emergency contact list the neighbors had filled out online and a map of the street, as well as a laminated sign to indicate whether anyone needed assistance with one side reading "HELP" and the opposite side that said "OKAY," which the MYN program recommends placing on the front door or in a window visible from the street during an emergency.

The neighbors also masked up to meet in person and walk around the neighborhood, physically mapping out the locations of potentially dangerous utilities, like gas and water mains, electrical lines, etc., in their surrounding blocks, as recommended by MYN.

"We all put on our masks, and we brought our folders, we showed up at our meeting place and then we went from house to house and carefully marked and took note of where the gas and water turn-offs were," Shalen says. "What was really amazing is that everybody had a blast. People were talking to each other, everybody was getting to know each other. And in the end, we put a portable speaker at the center of the street and we had a little dance party and raffle to celebrate."

Next, the group formed action teams within the larger group.

"Everybody was so energized by the in-person MYN event that during the next Zoom call we started thinking about our different skill sets," she adds. "It turns out, we have two retired surgical nurses, a firefighter and a paramedic [along the street]. There are several neighbors with wilderness survival skills training… We have people who know CPR or have emergency first responder training."

The group created an emergency medical responders' team, an emergency radio communications team, and a team dedicated to going door-to-door to check on seniors, differently abled individuals, or those with little kids. Several neighbors with professional water resources expertise became dedicated to a water resilience information team. One member created a Google Drive folder dedicated to water, which includes a dynamic FAQ where neighbors can post questions for the member to respond to.

Another group, made up of trauma survivors and mental health experts, formed as an emotional resilience team dedicated to helping those experiencing a fight-flight-freeze trauma response or other mental health impacts during a given emergency. Shalen, who joined the emotional resilience team, says it's been critical to offer this kind of support throughout the fires and pandemic.

"The emotional resilience team is what distinguishes our group from other neighborhood disaster approaches that focus on known impacts of natural disasters and are often motivated by fear," Shalen says. "Our approach is more proactive. The emotional resilience team has emotional first aid tools for emergencies, but we also have practices for strengthening trauma resilience in advance of an emergency. My hope is that this will create the conditions for our street being an island of sanity and stability as things unravel in unpredictable ways following the election."

Plan in Action

Not long after the emotional resilience group was formed, the skies darkened, the air outside became unhealthy to breathe and emergency evacuation orders began to take effect as the wildfires began to threaten Santa Cruz. While Shalen's neighborhood is located closer to the ocean, and most of the fire devastation happened up in the forested hills, she says she and her neighbors were aware of the fires that had spread to destroy entire towns in Northern California recently so they were on alert. She adds that rather than panicking or adopting an "every house for themselves" attitude, Shalen's neighborhood put their plans into place.

"It was really good that we had a system in place," she says. "We all had roles. We had clarity about a lot of things, and mostly we had the trust and communication, and that was what we relied on the most."

The team assigned to check on neighbors who were elderly and/or differently abled began to go door-to-door every day. Neighbors stayed in communication and took advantage of the support system.

"We knew who the vulnerable people were," Shalen says. "We went to their doors and asked 'Are you doing okay? Can we do anything for you? Do you have any concerns?' A lot of the seniors really just wanted to talk because they felt alone, [since] they don't go online as often or stay in constant communication in the same way."

Since the fires, more neighbors have joined the resilience group.

"We had a resilient response and it actually made us feel closer," she says. "What's really nice is I now have some very good friends on the street, which was kind of a happy accident… it's been deepening the trust among us, and there's a lot of appreciation. All of us are so glad we had this in place."

She adds that looking toward the future, with the election and the uncertainty that lies ahead, she is especially glad the resiliency group is in place.

"I'm glad we started with the mindset of collaboration, care for the vulnerable, and coming to it with our best self and a sense of inner resourcefulness and agency," she says. "I think what lies ahead is going to come down to your capacity for self-regulation. And I think we really do need each other. Even if it's just a few neighbors, our capacity to endure what lies ahead will be much more enhanced if we have a foundational mindset that we are in this together. It creates a better chance of group and individual emotional resilience. It helps our capacity to remain clear, calm, connected, flexible, compassionate and collaborative. It ensures a much more resilient response to whatever comes at us—whether it's social unrest or even violence, or overlapping things that we can't anticipate."

*Name has been changed to protect their identity.

April M. Short is an editor, journalist and documentary editor and producer. She is a writing fellow at Local Peace Economy, a project of the Independent Media Institute. Previously, she served as a managing editor at AlterNet as well as an award-winning senior staff writer for Santa Cruz, California's weekly newspaper. Her work has been published with the San Francisco Chronicle, In These Times, Salon and many others.

This article was produced by Local Peace Economy, a project of the Independent Media Institute.

How artists have been on the front lines of political resistance for the past 50 years

"There's no us versus them—there's just us. Everybody in the world is us."

Shepard Fairey's voice rings out over a haunting Damned Anthem cover of the Muse song "Uprising," as images of recent protests in the U.S. flash across the screen at the beginning of the trailer for a new feature-length documentary, "The Art of Protest." It is a montage of the scenes that have come to define American protests: police lined up in riot gear, a car that was dented after it sped toward a crowd, a woman with a bloodied face, men shouting and carrying Confederate flags, people cheering as a statue is torn down, climate activists carrying a large model of the Earth, a structure on fire and law enforcement aiming pepper spray and water cannons at people from behind shields and tanks.

The film, released for free to the public online in October via the Rolling Stone website, is executive produced and distributed by Zero Cool films. The project was created by the anarchist artist collective Indecline and "Saving Banksy" director Colin Day. Indecline is responsible for many notorious art pieces, including the famed statues of a naked Donald Trump that popped up in cities across the country overnight prior to the 2016 election.

The film moves through a series of interviews with resistance artists from around the world, coupled with B-roll images of protests and art projects in the making. Its interview subjects range from Pussy Riot's Nadya Tolokonnikova; to Jello Biafra, former Dead Kennedys frontman (and so many other punk rock artists that the filmmakers plan to convert unused footage into a short documentary dedicated to punk); to Black Panther Party's artist Emory Douglas; to gonzo illustrator Ralph Steadman; to transgender porn star Buck Angel, and many more. Colin Day estimates the film team has interviewed at least 40 people.

A filmmaker and founding member of Indecline who spoke with the Independent Media Institute anonymously says it was important to the film's creators to include a range of artists—not just the big names.

"We've got people you wouldn't expect to hear from, from different corners of the art world," he says. "[There are] some people who you've maybe never heard of, like Jodie Herrera, an incredible artist out of [northern] New Mexico. I think she's just as good if not better than a lot of the artists that we have in the documentary who are household names."

He said the film offers a "timestamp of this moment," in the lead-up to the critical upcoming election on November 3, and he also hopes it will remain relevant into the future.

"Hopefully, it can serve a double purpose and 15 years from now, you can still put this thing on and listen to Tom Morello [of Rage Against the Machine and Audioslave] or Noodles [of The Offspring] or someone from Indecline talk about why it's important to use your privileges to go creatively fight for people who don't have those privileges or don't have a voice or a platform or the means to do these things."

Day, the film's director, says "The Art of Protest" is the film he and his co-creators at Indecline wanted to watch: a film that could offer insights from artist-activists around the world, across decades, and provide inspiration—even some "how-to guidance"—to the next generation of resistance artists.

"It started with us wishing that [a] movie [like this] existed, so we decided to make it," he says. The film, he continued, is "really about freedom. We feel like that's what's at stake: the freedom not to be brutalized by law enforcement with no repercussions. Because it's looking more and more like that's just a normal thing that can happen to anybody, a 70-year-old man, women, kids, it's a whole spectrum now. We don't want to see that become normalized."

Day says while the team had been working on the film for over a year, interest from artists became "electric" following the police killing of George Floyd on May 25.

"It was almost like a lightning bolt… people wanted to do something," he says. "In the movie, you'll hear a bunch of people talk about using their art to activate people. And that's [one of our goals for the film]… to touch people on a sort of firmware level where they're not even thinking about it, but when they see something like an anti-masker doing something racist in a 7-Eleven, they won't just ignore it. They won't just walk away. They'll have the courage to stand up for what's right."

He says that while he was making the film, hearing from Oakland-based Emory Douglas who created well-known artwork for the Black Panther movement throughout the '60s and '70s was particularly poignant for him.

"The Black Panthers' reputation was run through the mud by the press at the time, and the FBI [targeting the group], and the disinformation that was occurring, but they did a lot of good, a lot of social programs and good work for their communities—which were just being left to fend for themselves," Day says. "I feel [Emory Douglas] should be a household name."

Day adds that he finds Douglas' work inspirational and resonant today, as the current movement toward racial reckoning parallels with protests during the civil rights era. He points to the moment in the 1968 Olympics when Black athletes Tommie Smith and John Carlos raised their fists upon accepting their medals during the national anthem to "protest the treatment of Black Americans," as a parallel with former 49ers quarterback Colin Kaepernick taking a knee during the anthem in 2016, before his team's preseason games, to "protest racial and social injustice."

The filmmaker from Indecline says it was key for the film team to release the project prior to the 2020 election.

"The term 'resistance art' has become a household term, and in the last four years, it's been in your face more than it has in any other time I've been around—definitely since the '70s," he says. "The idea is to put this thing out and have it serve as a call to action."

Indecline began in the Bush administration years as a group of disenchanted "punk skater kids" in Los Angeles for whom street art and punk rock were outlets to protest the general direction the country seemed to be going. It has since grown into a collective that includes artists from a range of mediums and backgrounds across the country. While not solely focused on Indecline, "The Art of Protest" does include many projects of the collective in its decades of bringing resistance art to the public.

"It's hard to explain to somebody who doesn't know who we are, what it is we do, because one week we might write a play and the other week we might be scaling down the side of a building, painting it," says the Indecline member. "We [work with] performance artists, poets, teachers and all kinds of people."

Day says he hopes the film will inspire young and upcoming artist-activists and adds that for him, art provides a way to address the many traumatic realities of the world without losing himself in the trauma. In the same way, he says while the film gets into the difficult territories of protest artists, addressing things like oppression, racism, misogyny and fascism, it also shows the joy and the light that are inherent to art and activism.

"We want it to be positive. There are some intense parts, but we wanted to also show resistance art as fun and welcoming, and something people would want to do. We have artists talking about how art has been good therapy for them, self-help even, and why it's good to be having fun and enjoying yourself when you're fighting against the powers that be," he says. "If we could get an army of people out there creating art, mission accomplished."

In addition to the new film, Indecline recently announced an upcoming exhibit in Las Vegas focused on drawing attention to mass shootings in America, which repurposes 600 decommissioned guns into a sculpture titled " On Second Thought." The piece is a takeoff on the iconic Auguste Rodin sculpture "The Thinker," and went on display on October 1, which is the anniversary of the Route 91 Harvest festival mass shooting in Las Vegas.

Day notes that the film licenses two songs from the English band Idles, which has an album called "Joy as an Act of Resistance."

"For me, that became a mantra this whole last year [2020], because every day it's like a damage report, you feel like you're taking blows," he says. "But when I see that album [by Idles] and I hear those words… it is kind of true that just having fun, that in itself is a form of resistance nowadays. Not letting them destroy you emotionally or psychologically, that's a win."

April M. Short is an editor, journalist and documentary editor and producer. She is a writing fellow at Local Peace Economy, a project of the Independent Media Institute. Previously, she served as a managing editor at AlterNet as well as an award-winning senior staff writer for Santa Cruz, California's weekly newspaper. Her work has been published with the San Francisco Chronicle, In These Times, Salon and many others.

This article was produced by Local Peace Economy, a project of the Independent Media Institute.

How activists across the US are using street art to protest Trump

"Defund the wall—fund our future." This is the message painted in giant yellow letters as a street mural that fills the entire block's worth of asphalt in front of the federal courthouse in Laredo, Texas.

Laredo is a city of about 260,000 residents that sits along the north bank of the Rio Grande. The river marks the border between the U.S. and Mexico, and early efforts to move forward on the Trump administration's proposed border wall project have already begun to negatively impact life for residents of the city, many of whom have relatives and friends who live just across the border in Mexico.

Melissa Cigarroa has lived in Laredo since 1993 and is board president of the Rio Grande International Study Center, which seeks to preserve the river's water and its surrounding environment. Cigarroa was present at the protest in front of the federal courthouse where the street mural was painted and says she has also been involved with several other local protests against the border wall. Concerned about the prevalence of misinformation on the border wall situation (much of which comes from President Trump), she strives to make sure her community is aware of the facts.

"It's just an idea of standing up for what's right," Cigarroa says. "The wall is a lie. It's based on a lie. It won't solve the problems that they say it will solve. The whole promotion of it is this gross, capricious promise that was just a [campaign] line—and then a bunch of racist people started promoting it. It's just so deeply disturbing."

On July 14, the U.S. Office of Inspector General released a report detailing the shortcomings of U.S. Customs and Border Protection (CBP) in its analysis and acquisition process of the southern border for the "Wall Acquisition Program."

Cigarroa says the wall project threatens the health of the Rio Grande's ecosystems and greenery—and could significantly worsen flooding that is already an issue in the region. Removing trees and plant life surrounding the river, as is the proposed plan, also threatens the health of the river's drinking water, which is the city's only drinking water source, and doing so could lead to increased pollution.

A lawsuit filed by landowners in Zapata County—where Laredo is located—on July 6 claims that the wall project is also racist. The lawsuit has been filed against President Donald Trump, the U.S. Department of Homeland Security (DHS) and the CBP. Cigarroa, a Laredo landowner in neighboring Webb County, is also a plaintiff in the lawsuit.

The lawsuit's complaint against the border wall is 51 pages long and alleges that the project is rooted in little more than racism and politics. It cites the Fifth Amendment to the U.S. Constitution, which guarantees the right to due process and equal protection to any person in the United States. And, it quotes the president's own comments as evidence against the project's legality.

The lawsuit's introduction alleges that the DHS and the CBP under President Trump's direction "are engaged in a full-on assault against the people who reside in Zapata County and Webb County, Texas.… The people of Zapata County and Webb County, who are overwhelmingly Mexican American, are the targets of an animus that demonizes immigrants, Mexicans, Mexican Americans, and people who live on the border."

The South Texas lawsuit is one among a number of lawsuits that have been filed against the wall, including a lawsuit filed by 19 U.S. states in March, and another filed by the ACLU, Sierra Club and Southern Border Communities Coalition asking the Supreme Court to block construction of the border wall. An appeals court ruled against the continued construction of the wall on October 10.

Laredo residents have been largely opposed to the wall project from the beginning, as has the Laredo City Council, which voted in favor of the "Defund the Wall" mural on July 27.

City residents organized by a coalition of anti-border wall groups, including LULAC (League of United Latin American Citizens), painted the enormous street mural across Victoria Street on August 15. A newly formed group that is part of the coalition, Veterans United to Stop the Border Wall, did maintenance on the mural on September 12, derailing a "Trump Train" car rally (which Cigarroa says was made up mostly of out-of-towners who came to Laredo to drive over the mural). Residents of the city have been organizing against the border wall for months. The street mural was a way for residents, many of whom have been impacted by the COVID-19 pandemic, to collaborate while remaining socially distanced.

The Trump administration's border wall will cost Americans dearly—and those costs reach far beyond the hefty $5 billion price tag the project carries. The beginning stages of the border wall are already proving to cause serious environmental and cultural damage for U.S. communities. Laura Parker's article in National Geographic in 2019 outlined six potential environmental threats of the border wall. Work crews in the Sonoran Desert in Arizona, for instance, have been destroying protected Saguaro cactus plants that are sacred to the Indigenous cultures of the region. It is a felony offense to cut down the cacti, which can live for more than 200 years, but the work crews have barreled through protected zones nonetheless. As the New York Times reported in February, Native American leaders in the area say the fast-tracked border wall project poses a range of environmental and archaeological threats.

In Laredo, residents are concerned not only over the racist motivations of the wall project but also about the threat the wall poses to the Rio Grande, their only drinking water source, as well as the beloved local wildlife trail systems and parks that run along the river.

Cigarroa says the current plans for the wall project include removing all vegetation surrounding the river for the length of half a football field to create a security enforcement zone. She is concerned that the river's ecosystems—already among the top ten most endangered rivers in the world—will become further polluted if the wall construction is allowed to continue, and since the river is her community's only drinking water source, that is a serious concern for humans as well as the river's plant and animal ecosystems. She also says the community would lose some of its most cherished outdoor spaces. And on top of that, she says, the wall would damage the local culture.

"Putting a wall in does a couple of things," she says. "Physically, it destroys the land, and you lose access to that land… Then there's [the fact that] we have this deep connection with Mexico because our heritage is Mexican. My grandmothers came over through the river and then married Tejanos who had been here since before the United States was the United States. [The wall is] a symbol of racism and hate against our ancestry—and so many Laredo families have a deep connection to Mexico… our identity is a bicultural bilingual identity, and it would be a slap in the face and an insult to all of that."

The Outpouring of Anti-Trump Artwork

The street mural in Laredo is far from alone when it comes to public art that stands against Trump and his administration's many degrading actions. Art has always been a tool of political activists, and the Trump presidency and the COVID-19 pandemic have inspired some particularly memorable works of public art.

In the lead-up to the 2016 election, a mural on the side of a restaurant in Lithuania showing Trump kissing Russian President Vladimir Putin went viral. Around the same time, a mural painted on the border wall in Tijuana, Mexico, depicting Trump with a ball-gag wedged in his mouth and the words "!RAPE TRUMP!" became a tourist attraction. Who could forget the day in 2016 when numerous naked Trump statues, sculpted by the horror artist Ginger, appeared overnight in Cleveland, Los Angeles, New York, San Francisco and Seattle for the project known as "The Emperor Has No Balls."

Both the Tijuana mural and the naked Trump sculptures were executed by the anonymous political activism artist collective Indecline. The group is also responsible for transforming a Trump Tower luxury hotel suite into a prison cell for the president, complete with live rats, in 2018, as the Russia investigation—which the U.S. Justice Department never fully examined—was ongoing.

Indecline, which began as a group of "punk kids" in Southern California looking for an outlet during the Bush administration years, has grown into a national collective of artists whose work makes headlines around the world regularly—especially since the Trump statues project.

"The best thing to do, for us, has always been to find a way to therapeutically make the best of these situations through activist art," said a founder of Indecline who spoke anonymously with the Independent Media Institute.

The idea behind Indecline, he says, is to use art to shock people into paying attention to the things they care about, but often feel too depressing to look at.

"This has been around forever… Since the first time some asshole came in and pulled some oppressive move on a community, resistance art has been there," he says. "Activist art or street art has ways of reaching people at an emotional level that more traditional forms of protest can't."

Indecline's mission, per se, is to get people into a dialogue around the hard things to look at and invite them to look from new angles.

"We break so many laws in the quest to create our art, and that in and of itself has always been a touchpoint for us with the general public," he says. "[We're asking people to think about] why they care more about the billboard that we put a sticker on to address school shootings, rather than the school shootings themselves… When people are choosing property over people, for us that [indicates] a clear need to readjust, recalibrate your moral compass."

The need to break laws in the name of civil disobedience and public awareness is a running theme throughout Indecline's new 40-minute documentary "The Art of Protest," which is distributed by Zero Cool films and premiered on the Rolling Stone website. Elisabeth Garber-Paul, who previewed the film in detail for Rolling Stone, writes:

"Indecline teamed up with Saving Banksy director Colin M. Day to turn that footage—as well as footage of their numerous installations since, from prison rooms fabricated in Trump hotels to walking a pack of leashed MAGA supporters—to illustrate the importance of art and satire in the movement for social change."

Rather than continuing to focus their efforts primarily in places that already have fairly progressive populations, Indecline is working to bring more art projects to places like the South, where they expect most Americans will not offer them as warm a reception as they've received in places like New York and the West Coast.

"We're trying to think of how we can go to Arkansas, for example, and do something that really wakes that community up," he says. The goal, he says, is not just for the sake of shocking people but rather "to try to engage with the small pockets in that community that wished they had a platform or some resources to make more noise in their community—rather than feeling like they're going to get shot for wearing a Black Lives Matter T-shirt to Walmart."

He says even if Trump loses to Biden in the upcoming election, there will be just as much need for community activism and public art: "A lot of things that we have to look at in the wake of a Trump presidency were always around beforehand—even though he's exacerbated them," he says.

April M. Short is an editor, journalist and documentary editor and producer. She is a writing fellow at Local Peace Economy, a project of the Independent Media Institute. Previously, she served as a managing editor at AlterNet as well as an award-winning senior staff writer for Santa Cruz, California's weekly newspaper. Her work has been published with the San Francisco Chronicle, In These Times, Salon and many others.

This article was produced by Local Peace Economy, a project of the Independent Media Institute.

A strike by Portland strippers has grown into a nationwide movement

In the midst of the Black Lives Matter protests, which erupted around the world following the killing of George Floyd by police officers in Minneapolis on May 25, protesters in Portland, Oregon, carried signs with messages like "No Justice, No Booty," and "We Won't Perform Without Reform." The Stripper Strike is centered on exposing racially biased labor practices and calling for the equitable treatment of Black and other non-white dancers within sex-forward Portland's many strip clubs. The localized strike has since grown into a nationwide labor movement for racial justice, as well as better treatment overall of dancers in strip clubs around the country. Black dancers are leading the charge, mobilizing the nascent labor movement—and dismantling stereotypes and taboos along the way.

The problematic strip club environments that Black and other non-white dancers of color have put up with for years, according to the movement, include a range of loosely cloaked racial biases like disallowing hip-hop music or claiming a venue is a so-called "rock and roll club" going for a certain aesthetic that in effect alienates Black or other non-white dancers. Then there are more overt policies, like clubs that primarily hire white dancers, pay them more and give them the best time slots. These and other trends have been widespread throughout the strip club industry and until recent months received little pushback, largely for fear of retaliation among dancers. The Stripper Strike in Portland, however, drew widespread media attention to the issue.

The Stripper Strike and the ongoing movement it has inspired expose and seek to tackle the uncomfortable realities that, until recently, were only discussed among dancers in the dressing room or on closed social media threads, says Cat Hollis. Hollis is a Portland-based Black dancer and founder of the Haymarket Pole Collective, which is the central organizing force behind the Stripper Strike. The collective, which is made up of local dancers, advocates for "proactive policy and equitable treatment for Black and Indigenous workers by facilitating restorative justice in the adult entertainment industry." Haymarket Pole Collective seeks to protect the labor rights of dancers who belong to marginalized groups, including dancers who are people of color, queer, and/or differently-abled.

Hollis says fighting vocally to protect those who are most at risk of harm gives the whole industry of dancers a leg up. As reported in detail by Iman Sultan at ZORA, the Stripper Strike's demands include safer working conditions, fair wages, and protection from sexual assault. Sultan writes:

"Even though strippers are the main entertainers at strip clubs, most of them are independent contractors, who pay stage fees to perform. As a result, they are not guaranteed safety, fixed wages, health care, or recourse for the sexual harassment, stalking, and rape they experience on the job. And for Black women, the risks of sex work are magnified by racism."

In the U.S., Portland has the most strip clubs per capita, and it carries a sex-positive, sexually liberated reputation. However, as the Stripper Strike and efforts of the Haymarket Pole Collective have revealed in recent months, many of Portland's clubs have had injurious racial biases, racially discriminatory policies and a lack of racial and cultural sensitivity training.

The Haymarket Pole Collective has been gradually implementing cultural sensitivity training, led by dancers of color, throughout local clubs willing to comply with the strike's demands. Hollis says she has been in regular online meetings with organizing dancers and collectives that have emerged around the country in solidarity and with similar intentions for their local industries. The groups are collectively working to streamline the cultural sensitivity training processes.

Independent Media Institute (IMI)'s April M. Short spoke with Hollis about the Stripper Strike, its impacts on the strip club industry and the long-term goals and plans of the larger movement for dancers' rights.

The following interview transcript has been edited for length and clarity.

April M. Short: Thanks for speaking with me—I know you've been busy taking interviews and getting the word out about all that you are doing. I'm hoping to hear from you about your future plans and long-term visions. Also, what has already come out of the Stripper Strike, what hasn't come out of it; what has changed?

Cat Hollis: I like to say stripper strike is a verb, right? And the noun behind stripper strike is Haymarket Pole Collective, at least for this particular strike [in Portland]. What has been really cool, as we've grown and continued to incite action, is we are finding these other autonomous collectives of dancers across the country and we're collaborating with them on a larger action.

A big part of me [wondered], "Are there other people doing this work? Are we overlapping with people who have been working hard for years?" What I realized is that, although there are a lot of autonomous dancer collectives, there are very few Black-led or Black-trans-Indigenous-centered collectives.

I was having a meeting with a bunch of different dancers from all over the country, and even though many of the dancers were people of color, it was Haymarket Pole's mission that brought up the need to highlight the struggles of Indigenous, trans and Black folks. It was really cool just to meet with this group… and they were asking whether we were ready to do a collaborative effort. I was like, I am, and you need to put it in writing that you're trying to protect these vulnerable communities within our communities. And they said, "Of course, of course."

But I feel like that "of course" is what has left these communities behind. We assume that these rights are inalienable. And if power wasn't real [then inclusion would be a matter] "of course," but power is real. It was great to lend a voice and lend weight to the voices of people who are in this community and are marginalized, on top of being sex workers. So that felt really good.

AMS: I think that's kind of a landmark of the era that we're in. People are realizing that in order for anything to shift, we have to say the thing rather than just assume it's implied.

CH: Yeah. And some of what I've learned through this process is that a lack of active language preventing discrimination is inherently discriminatory. And that's on a federal level.

There are so many rights that were fought for already, in the past, that aren't being fulfilled in the present. One of my favorite discoveries was that the Equal Employment Opportunity Commission says that if there is not active language preventing future discrimination—so not responsive, but proactive language protecting those most vulnerable people—that is inherently discriminatory. It's just so important, as a bottom line, that we start off by including in our language.

… I've been talking a lot about fostering consent culture, and I think that a way that [people], especially white women, can more easily understand why these things are important is if you think about consent culture. Consent is FRIES. It's freely given, reversible, informed, enthusiastic and specific. A sex worker can still be raped if her consent was not fully informed or enthusiastic or specific, right? And that's if you're about to have a sexual encounter. The same thing goes if you want to touch a pregnant person's belly or a Black woman's hair.

In a similar way, I think it's important that we as allies get consent from the communities that we are assisting. We should look for enthusiastic and specific and informed and reversible consent. Do they want our help? What do they need? I think that the people who are in those communities have the best vision for what their ideal outcomes are. It's important to be putting them in leadership positions and in a place where they can advocate for their own, where they're the ones leading the charge, and they're the ones determining the opportunities.

One thing that I keep on thinking about is how people are like, "Oh, I can't believe that dancers are doing this." And I'm like, "Okay, but if you really see us as the lowest of the low, how are we able to do this work and vocalize for our rights, and yet you're still struggling with the idea?"

I've been saying that we're done teaching people how to jump over hurdles that have been there for years. People have been telling communities, "Hey, you're just not jumping high enough. We get that the hurdles are there, but let's teach you how to jump higher." And it's like, no, man—let's move these hurdles out of the way. As we go along, we're finding these systemic problems and hitting the glass ceiling, so to speak. And we have decided that every time that we find a glass ceiling, we break it so that it's not there for other people.

I think that it's so important to have people define where they want those hurdles lifted from. Because I think that it goes back as far as [white European colonists] giving blankets to the Native Americans [that gave them smallpox], for example. Intent and outcome are often completely different, and a lot of our intents are unknowingly harmful to these communities. The blankets are bad examples of that, because it was often fully cognizant [that the blankets could spread smallpox], but, you know.

AMS: I saw this meme or Instagram post that I think maybe you shared, about a similar idea: being given a "seat at the table." It said something like, "We don't want to sit at your table; we'd prefer a different table."

CH: Yeah, and we've always had a table and the idea that you're like, "Hey, let's build a little table next to ours." We're like, "Oh no, we have a table." And you [say], "No, no, no, no, no—our food is really good." And we're like, "I'm telling you that you've been hitting the fork out of my hand for 500 years." And then people are still [saying]: "I don't understand, is our table no good?" And we're like, "Well, you poisoned me at that table like six times before. Why would I want to sit there?"

There is a banquet of opportunities available that people of color have been trying to build for years. And it's been torn down over and over again in a variety of ways. I think that it's really important to think about that when we help these communities—we're not determining their outcomes; we're expanding their opportunity to choose their own outcomes.

Not all people are the same, and they don't all want the same opportunities.

AMS: Going off of that a bit, I wanted to hear about the cultural sensitivity trainings you've been putting together, led by dancers.

CH: Yes, so we're providing the trainings for clubs to do cultural sensitivity training with staff. And we've recently facilitated sex workers in learning to impart those trainings.

I, for example, have a really hard time—I upset white people a lot because I'll say things like "white people suck." And then someone's like, "What about me?" I'm like, "Oh, I mean, yeah, you're fine."

AMS: Right, some people take it personally rather than looking at the meaning or context.

CH: And the people who don't take it personally are already on their path to anti-racist action. So, how do we approach the people who do not understand and come from a place of confusion? And confusion leads to anger…

I'm having to learn to say things like: "Yeah, Greg, all lives do matter, but what we were trying to do was this and this…" You know? These are skills that I feel I'm learning. We have the wisdom to impart the path to justice in our communities; we just need to make sure that people have the skills to listen and to hear [when they lead these trainings]. Because these are our rights—it's not a game and it's not an option.

AMS: Can you tell me more about where you are in the process of cultural sensitivity trainings for club staff, and how it's been going?

CH: We have been actively training. We are fiscally sponsored through the YWCA of Greater Portland, which means we are a 501(c)(3) [nonprofit]. They have been doing the trainings for clubs. We have three clubs that are scheduled and in the process of doing these trainings on interrupting racism, how to approach a situation that is racially charged.

Originally the clubs were saying, "We don't need it because we're not racist." Well, when Dominique Dunn, a Black man, was shot outside of a strip club in Portland [in July] by a white dude, I think that brought to light the idea that it doesn't matter that your bartender or hiring manager or staff are racist; in this current political climate we are all, whether we like it or not, going to be dealing with escalating tensions surrounding race. No matter what your view on the progressive nature of Black liberation is, we can all see the benefit of reducing conflict in our communities. Learning how to approach the problems is really important.

AMS: Returning to something you touched on before—has there been significant pushback or difficulty getting through to people during trainings, and/or is there anything new or unexpected coming back to you from the larger community?

CH: Well, a part of what slowed down the street action was that COVID-19 cases were going up, but really what it helped us do is sit back and ask ourselves: are we able to provide the things that we are asking of these clubs? And we've been learning how to do that. For instance, we're asking these clubs to do these trainings, so we're taking the trainings. We're asking clubs to have nondiscrimination policies. Well, we're now forming our own 501(c)(3), so how does a model policy look? We're working with a committee of dancers who are at one of the clubs to help develop a model policy for folks.

One of the surprising things for me is that I feel like a lot of dancers are very hesitant to participate in asking for compliance with state law because of their lack of agency in their places of work. And, how do we expedite justice for those groups of people? I think the big change that we've seen is an educational standard of independent contractors asking to understand what their contract means and what their rights are.

Some of the pushback I feel is from a lack of communication, which is inherently the problem. At our first rally, for example, the venues said they did not get our demands. And it's like, "How?"

I think that the real issue that has come up in this is that these strip club owners and managers are trying to say that they did not know. And the question is, how was one dancer at 2 a.m. ever supposed to receive aid for issues surrounding the workplace, surrounding discrimination, clients, and things like that if it took 9,000 of us to get through to clubs? If it doesn't matter that we have 300 people standing outside of clubs with signs, we delivered the demands, we've emailed the demands, we've mailed the demands, and yet somehow [club management] still doesn't know? So the real question is: if you really don't know, isn't that an issue?

AMS: Right, at this point how could they possibly not know?

CH: Yeah. And if you don't hear us now, how did you ever expect things to be going so perfectly before this? If you really didn't hear us, maybe there's a lot more you didn't hear.

What I've been surprised by is the openness of some of the managers to improve their places of business. I've actually been really surprised by the support, and it has been lovely to see the support. That was something I was not expecting.

The other thing I was not expecting is that, even with pro bono legal services, even with extensive opportunities for training, there's still a level of fear in our community of retaliation. I think that that is something we need to remove because if someone is afraid to say no, how is their yes enthusiastic?

AMS: I was going to ask you about that potential fear of retaliation because in any line of work standing up to the boss is hard, no matter who you are—and then [there are] the added layers that dancers face, and people of color on top of that.

CH: Right. And, also just to admit that there's improvement that's possible. We like to think that we [in Portland] are the best because we have the most clubs and we have a lot of opportunities, but the question is, is that enough?… At the beginning, people were like, "At least you can wear tennis shoes." Or the attitude was, at least we can do these certain things. And I'm like, it's not really enough. Do you feel that extending your own privileges is going to remove something from you? Do you feel that by arguing for your indemnity rights somehow you were going to forego the caveats you have?

AMS: Could you talk a bit about the bigger picture of why sex workers' rights and strippers' rights are relevant and important in the larger BLM movement, and overall in society?

CH: I think the important thing that people can realize from any sort of a vulnerable community raising an issue is that marginalized communities are part of our communities. They're just on the fringes. If we have hardships or problems come into our communities, the first people to see them are those people on the edges. And it means that these things are coming for us.

People were really freaking out about [protesters] on the street getting nabbed and thrown into unmarked vehicles. And this is something that immigrant and Native and Black communities have been experiencing for centuries. In resolving harm for our marginalized communities, we can uplift the community as a whole. Black folks are a marginalized community, and within that community we do have even more vulnerable communities. Differently-abled people, trans people, sex workers are all vulnerable; harm is potentially exponential [for them]. We can also determine that if the harm is potentially exponential, the benefit is potentially exponential if we reduce harm for these communities. If we can reduce harm for them, we can see how quickly we can effect change for the larger community. It's too bad that often people don't realize until it's too late, or they're coming to help after a community is in crisis. What this movement is really bringing to light is the need to proactively address these issues before they cause crisis, before they cause harm.

For instance, we don't have support services, so when COVID-19 hit, these vulnerable communities were exponentially more likely to experience harm. So, if we can improve our health care system, if we can improve our social services system, if we can uplift communities and get people therapy and social services they need, we can reduce harm so that when a community is in crisis there's a lot less to deal with.

One of the important terms that I've heard within Black Lives Matter is all Black lives matter. We cannot forget our trans family and we cannot forget our differently-abled family and our Indigenous families. Because those are the people who walk the margins. And like we were talking about before, we've been trying to get a seat at the table for them, and at a certain point why don't we just protect them where they are?

AMS: On the Haymarket Pole Collective website there's a line that says: "Our existence has always been counter-culture, profiting off the male-gaze and relying on mutual aid. In an effort to alleviate the systematic pressures of the status quo, we now join hands, click heels, and dance together as a unified front." I would love to hear a little bit about that counterculture, and the mutual aid in particular. How and what are the ways in which the community has had to, and continues to, support one another from the inside? And why has that been necessary?

CH: I think that one of the ways that we are extremely proud of our culture is that the human body has been monetized in many ways through labor. I recently had an interaction with [my mother] where she said to me: "I just don't understand how I'm supposed to deal with you selling your body."

And I was like, wow, is that counterculture? Because in a capitalist system, we are all selling our bodies at some point, whether we are breaking our backs in an Amazon warehouse or sucking dick on the corner. There's survival sex work, right, where people are doing labor for survival, but there's survival [in] so many types of work.

[This movement] is about reclaiming the means of production. We're seizing the means of production in that our butts run these clubs. And as far as the world's oldest profession goes, I don't understand why people think it's going anywhere. If we can look at how to address the problems that are presented by patriarchal culture and by capitalist culture—because basically, if something doesn't work within the systems that exist, they throw it out—so if we can look at the systems that they've thrown out, we can see how to dismantle that system. We want to be the wrench in the gears of that system. And so, if we've been determined to be a wrench, then by all means let's get ourselves in the gears.

Especially in regard to mutual aid, I think Tennessee Williams said it best: "I have always depended on the kindness of strangers." Sex workers have been crowdfunding their rent $20 at a time way before GoFundMe. I think that we have a lot of unique skills that can help benefit our communities, and because we have been left out of discussions, we have not been able to help solve problems that affect everyone, including us. So we're using that rub, using that friction, to create heat and spark some change for all labor. We're done with trickle down and we decided to trickle up.

AMS: Could you share the challenges many strippers and sex workers face accessing basic social services like unemployment?

CH: [Dancers] cannot apply for [unemployment] because, for the most part, we're independent contractors. [Another] part of the problem is a lot of dancers have trouble providing documentation of their work. For instance, if I'm trying to apply for government relief as an independent contractor, I have to have a copy of my contract, and most clubs will not give you a copy of your contract. So then, when I am calling this club to try to confirm my contract with them for Pandemic Unemployment Assistance (PUA), [since] I've been working on the strike, now they're saying that I never worked there.

It's an issue that strippers have faced for a long time: we signed this contract, we don't get a copy. It turns out the contract was only for three months, and then two years later after working breakneck shifts every single day, there's a raid. They find a condom in your purse. And the club says, actually, she doesn't have a contract. You're like, what? I signed a contract. And that was three years ago, and they're like, yeah, that contract fell out.

Also, for instance, when I was renting a house in Minneapolis, I would say that I was a waitress. Otherwise, they wouldn't rent to me. It is actually illegal to discriminate in housing because of your job—my job was completely legal, but that's what I had to say. So, you know, at a certain point there just comes a problem of anonymity.

AMS: And all of this is part of what the Haymarket Collective is working to change, yes?

CH: Yeah, and one of the demands that we're encouraging other economist collectives to include is that we would like clubs to start doing their due diligence as far as documentation [is concerned]. If you're going to terminate these contracts, then you should give them a reason in writing. Because for some reason, all of the Black dancers get fired for their attitude… And so the question becomes how do you seek retaliation for discrimination when there's no documentation?

Regulation is a slippery slope. We figure if it's coming either way, we would like to be part of defining what those regulations look like, because right now they're not serving us, they're serving these club owners who make millions of dollars a year off of our stage fees. And the thing is, these clubs don't run without us. At a certain point we do need to seize the means of pro-butt-tion, as I like to call it, and to say that without our butts, you make no money. And then there are no drink sales, and there are no stage fees.

Even though we don't necessarily have the right to retaliate like a lot of employees do, we do have the right to contract where we please. If a club does not have proactive language in their discrimination policy, those issues are going to trickle up to white dancers, to cis dancers. Ending these discriminations is super important to protecting us as a class.

AMS: I wanted to hear just a little more about efforts mobilizing nationally. You said you met with a group of different dancers from around the country. There's a national Stripper Strike. How do you see this movement growing and building into the future?

CH: I've been calling it a biogenesis, which is a scientific term for simultaneous beginnings to life. Currently, in our scientific display, we say there was a one-celled organism and it split into two, and then it developed into a plant, then a fish, and then it crawled up onto the land. And what science has shown is that a lot of times when the conditions for life are right, it will begin in many different places at once. I truly feel that the conditions for change are right. There are so many collectives that either started on their own completely separate and we're now just finding each other, or there are collectives that are seeing the actions being taken by their co-butt-workers, and seeing their power, and reclaiming their power.

It's just been absolutely beautiful to see those groups collaborate. We may not have the same laws or the same practices at our clubs, but a lot of the problems are the same. So, we can talk about which techniques are working, which aren't, and what we're asking for. We have a list of demands from four or five different states. There is now a Haymarket chapter in Chicago that started from our national meetings that happen on Sundays.

It cheers me up all the time when I look at the rage and empowerment and demand for better that is happening. We've been asking for this for so long. Dancers have been asked for a long time to fix their clubs, and the real thing is we don't have to fix our clubs. We just don't have to contract at clubs that are shitty. I think the solidarity has been really effective.

AMS: Yes, and like you were saying, it seems to be a moment right now of evolutions happening all over the place spontaneously, together.

CH: Yeah. Because the conditions are right, but it's not a coincidence or an accident. It is the sound of the wrench in the gears. We've all been thrown in, and now we're saying, well, actually fuck this machine. Let's rage against it. This isn't what we want… I think it really is a biogenesis. The conditions are right, and the other thing is they're not unique. The things happening [here in Portland] are things that have been happening all over the country.

April M. Short is an editor, journalist and documentary editor and producer. She is a writing fellow at Local Peace Economy, a project of the Independent Media Institute. Previously, she served as a managing editor at AlterNet as well as an award-winning senior staff writer for Santa Cruz, California's weekly newspaper. Her work has been published with the San Francisco Chronicle, In These Times, Salon and many others.

This article was produced by Local Peace Economy, a project of the Independent Media Institute.

Community fridges are popping up across America for mutual aid amid the pandemic

On one side of a refrigerator that stands on a sidewalk in New Orleans, two alligators encircle a woman with dark mocha skin wearing a tattered white slip. Her hair is a single braid that reaches the ground. She stands with her right foot on top of an orange snake. Above her, white birds seem to be flying toward a celestial body. Below her, two white Bengal tigers prowl between two halves of a papaya. This is just one of several paintings created by artist Sydney Calderon in support of New Orleans Community Fridges (NOCF), which is a mutual-aid effort setting up refrigerators around the city that offer free food to community members, many of whom currently struggle with hunger.

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What can safety without police look like?

This is a moment of contention and restructuring in America. Mass public outcry is exposing the long-buried, problematic foundations of a nation built on human trafficking, commodification and enslavement of people from Africa, and on the genocide and attempted erasure of Indigenous societies. Protesters across the country are tumbling the statues of profiteers and benefactors of those atrocities, and pushing the nation to dismantle its many false narratives and systems of power. This uprising asks for an acknowledgment that the police force, in particular, is a direct extension of a problematic history, which has vilified and punished Black and Brown Americans disproportionately from the beginning. And they are revisualizing the ways in which true safety and equity can emerge.

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Americans with jobs are sharing their stimulus checks with people out of work

The responses of governments around the world to the pandemic and its resulting economic impacts are revealing and varied. As officials enact measures to keep economies afloat and keep people from financial ruin, unprecedented relief efforts are underway. Canada’s government has promised monthly payments worth about $1,450 to anyone affected; Australia plans to give about $1,000 every two weeks to each employee of any struggling business. Many nations, big and small, have guaranteed recurring payments to all citizens until it is safe to go back to work. Italy froze all rent and mortgage payments in early March, and cities and countries around the world have considered ways to follow suit—including the U.S., which ordered reduced mortgage payments for some eligible homeowners for up to a year. In late May, the European Commission proposed an $820 billion coronavirus stimulus package, focused on investments in Europe’s “Green Deal” industries like renewable energy. Around the globe, nations are working to relieve their citizens from the sudden financial burdens as a result of COVID-19.

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Here are 3 plans protesters are pushing that could rein in racist policing

Protesters against police brutality and racism have gathered to demand systemic change since the end of May, holding events in all 50 U.S. states and around the world. Impelled by the police murder of George Floyd on May 25, the protests amplify a long-standing call by social justice organizations, Black civil rights leaders like Angela Davis and many others for decades: dismantle, defund and/or abolish America’s racist and heavily militarized policing systems—and replace them with community-led safety programs and public health initiatives. The movement’s leadership has made it clear that the protests, many of which have been non-violent due to community participation, are calling for more than updates to existing police training programs or reforms within existing police departments. Rather, they are calling for America to rethink the response to crime and safety overall. They are calling for cities to reallocate funding away from police and begin the steps to gradually dismantle the policing system altogether, as Eric Levitz writes in a recent New York Magazine article.

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How a city known for high crime and racial tensions kept its protests non-violent

Protests against systemic racism and police brutality in America continue to call for justice after the police murder of George Floyd on May 25. Floyd’s death catalyzed an uprising of voices that are pushing forward the national narratives around policing and public safety. There is a widespread, growing call to defund and dismantle America’s long-militarized police departments, restructure their use of force policies and redistribute their bloated budgets into public services like housing for homeless people, social services, employment services and community-led safety programs.

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