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The remaining three subsections present new topics and data. ‘Male Prostitution’ considers simultaneously adult and child male prostitution. There is the usual arrest data used for analysis and the labeling and categorizing of the different types of male prostitutes, reasons for it and so on that has been established thoroughly throughout the book.
The last two subsections are on ‘Laws and Prostitution’ and ‘Decriminalization and Legalization of Prostitution’ where current (i.e. up to 1998, when the book was published) debates for and against prostitution are examined. The subsections read like an introduction on these topics with an oversimplified view, as can only be achieved under 20 pages. In my opinion, no single camp can ever be completely ‘right’, there are merits on both sides for and against prostitution. However, if people would remove their personal objections and spare the moral babel, the reality is that prostitution will always exist. It would be best to construct laws that take this into account and how best to prevent further criminal behavior, disease and drug abuse. And of course, how to best protect children from prostitution. Fascinatingly enough, Flowers offers little opinion here, but cites research from both the ‘for’ and ‘against’ camps. While this was refreshing, it did leave me wondering why he didn’t implement this objective approach throughout the book.
Part 5: Female Prostitution in Other Countries comes across like a part added as an afterthought for the sake of completeness. It is short and very brief. In one subsection, different countries are highlighted with several paragraphs introducing government policy in that country (e.g. prostitution is legal in Germany, even state sponsored in Thailand, while illegal in Cuba), and elaborates on interesting features, for example, in Russia, many well-educated women (doctors, lawyers, teachers), sometimes even married with children, have turned to prostitution for survival due to the high percentage of unemployment.
In another subsection on HIV/AIDS, the highlights are even briefer, often representing a shocking statistic of that country:
With its estimated 10 million prostitutes … an estimated 5 million people in India are HIV infected, with predictions that as many as 20 million Indians will be HIV -positive by the year 2000(*).
Yet a quick google search reveals that he World Bank currently estimates that 2.4 million Indians are infected, which is no where near the cited figures. This is somewhat disconcerting and gives me the impression that Flowers is selective of his examples to justify his own views. This is, of course, not sufficient evidence from my part, and I am not out to prove his book wrong, only that due to my skepticism early on with this text, I find it useful to cross-check any information here if I were to make use of it, and I would certainly recommend this to anyone who ever uses this book for research.
There is also a brief subsection on child sexploitation focusing on HIV/AIDS.
The final subsection ‘Responding to the Worldwide Tragedy of Female Prostitution’ sparingly discusses (one or two paragraphs) institutions like ‘End Child Prostitution in Asian Tourism’ or ‘Project Child’. This is quite an unfocused section especially since all the institutions discussed are about child protection from the sex industry as opposed to the more general female prostitution, which is the heading.
The book seems to be organized based on structure more than anything else, with the theme of HIV/AIDS being the binding thread throughout the text. There is little else that connects these different Parts and subsections with some exceptions. Some parts are more elaborate and detailed, while others are all too brief, yet the lack of focus makes for a confusing and, ironically, unstructured reading experience.
The shifts between quantitative and qualitative subsections (in the earlier part) are awkward, and in the later parts, the two are merged in each subsection to make for a more sensible reading. However, regardless of the data accuracy, it comes across more as a shock indoctrination text rather than a focused, argument-driven text with a clear objective. Most frustratingly, I leave this book and still feel that Flowers had his own personal agenda to promote, yet fails to prevent a scientific basis for it. I would recommend researchers approach this text judiciously, and I would recommend the general reader interested in the sex industry to read the more up to date and well-written essays in Sex for Sale, edited by Ronald Weitzer.
Samir Rawas Sarayji.
(*) Friedman, R. I. (cited in Flowers, R. B.) “India’s Shame: Sexual Slavery and Political Corruption Are Leading to an AIDS Catastrophe,” The Nation 262 (1996), p. 12.
The Bible Means (What It Says Vs. What It Means)
Commentary on people, places and things in relation to the Faith, GOD and the Holy Bible.
Thursday, January 3, 2008.
Where In the Bible Is Mary Magdalene a Prostitute?

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Tao of Badass is a guide writhed by Joshua Pellicer, a living coach on the planet of romance. He attracted his inspiration from the living of encountering regular failures with women and having number strategy concerning how to correct it but, after these continuous failure to entice women, he discovered, wasn't because he did not know those proper things to do; the issue he discovered was that he had number idea what not to do.
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Hot girl on Tinder might be a hooker.
Escort reveals she uses the dating app to find prospective clients.
LIKE millions of single women, Lilly Chatte flicks through the Tinder dating.
app on her phone hoping to find men in her area.
But she is not looking for a new boyfriend, she’s on the hunt for customers —
single men willing to pay her for sex.
The university student, 22, is one of a growing number of prostitutes to use.
Tinder to find clients and claims to have made ?10,000 through the app in.
the five months she’s been on the game.
Lilly — not her real name — says: “Men will always pay for sex. All the men I.
have met on Tinder solely want to meet for sex, they don’t want to date.
“I charge ?60 for 15 minutes, ?80 for 30 minutes and ?100 for an hour. I am.
making so much money now I work out of a hotel.
“On a busy day I entertain up to ten men within 24 hours, but usually just.
Tinder has changed the face of online dating in the past few years and now.
boasts more than 450million profiles worldwide.
The app offers users the chance to meet fellow singletons living nearby and.
analyses their Facebook profiles to find potential matches.
Those using the app are then presented with candidates and swipe right on.
their smartphone screen to approve and left to reject.
If both parties approve of one another, they are then able to chat and arrange.
But Lilly says many of the men she meets are not looking for a meal out or a.
trip to the cinema — with 50 per cent of her matches becoming paying clients.
She adds: “I signed up to an adult website and then heard about Tinder through.
another escort. I didn’t realise it attracted guys who were willing to pay.
“Studying isn’t cheap so I decided to take up escorting part-time as a quick.
and easy way to subsidise my course.
“I make it clear that I am an escort very quickly when communicating with men.
on Tinder and very few have been shocked enough to stop contact.
“Many say that they have never paid for sex before, but when I tell them my.
prices they are often still interested.”
Lilly’s Tinder profile strapline describes her as a “nice friendly girl who is.
looking for some fun”. It adds: “If you want to spend hot time together, you.
found the right person.”
She says: “I figured somewhere within my description of myself guys would.
realise I was willing to provide services, as opposed to dating for free.
“Sure enough, within just a few minutes of setting up my profile, I had guys.
asking whether I’d be willing to meet up.
“I didn’t mess around, I just told them straight that I didn’t date for free.
and the next day I had my first paying client.
“If the guy wants something kinky, I charge more. I get over ?1,000 for.
overnight bookings and up to ?3,000 for weekends away.
“If someone wants me to go to their house or hotel, it’s ?130.”
One bonus of using Tinder, Lilly says, is that because it grabs information.
from Facebook, the app will tell her if she shares any mutual friends with a.
potential client – helping to avoid awkward situations.
She explains: “Most guys just want some no strings adult fun and book me for.
“Tinder is really handy for this because it sources singles who live near you,
so guys don’t have to travel far to come and meet me for a short period of.
time. When I book in clients through the adult site they’re normally married.
and I feel really bad for their wives.
“That’s not nice, so I try to stick to Tinder.”
But Lilly, from Gatwick, West Sussex, admits that using the app to find.
punters has brought some odd people into her bed.
She adds: “One guy arrived with a knife and a bin bag and asked if he could.
cut me up and put my body parts in the bag.
“Thankfully he left quietly when I insisted he made a swift exit.
“Some guys arrive with drugs on them, in which case I politely ask them to.
“Another client complained he hadn’t had his full hour’s worth and threatened.
to phone his mum. I just had to laugh.” Despite those encounters, Lilly says.
she has met some “really great guys” using Tinder, but she insists that she.
is not yet ready to find herself a steady relationship.
She says: “If I were to settle down and meet a proper boyfriend on a dating.
site I’d get bored within a few weeks and I’d want to start playing the.
field and experimenting again.
“The guys that come to see me know exactly what they’re getting and leave.
satisfied, that’s more than most men can say after a Tinder date.”
Tinder did not respond to our requests for a comment.

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The Princess, hearing of her mother’s statue, which is in the keeping of Paulina, a piece many years in doing, and now newly performed by that rare Italian master Giulio Romano, who, had he himself eternity and could put breath into his work, would beguile nature of her custom, so perfectly he is her ape. He so near to Hermione hath done Hermione that they say one would speak to her and stand in hope of answer. (5.2.93-101)
26 On this, see Jensen 194-233 (chap. “Singing Psalms to Hornpipes: Festivity, Iconoclasm and Catholi (. )
34 For him, the statue carved by the Italian artist is endowed with magic powers, and Romano’s unusual skills vie with God’s competence and achievement. As Paulina insists on the sculptor’s excellence (5.3.16-17), she introduces the statue as a skilful mockery of life. She warns the king and his subjects accordingly: “Prepare to see the life as lively mocked as ever / Still sleep mocked death” (5.3.18-20). This indeed amounts to a mockery of God’s creation and even though the colours of the statue are not specified, Paulina indicates that “[t]he statue is but newly fixed; the colour’s / Not dry” (5.3.47-48). Yet, the only colour mentioned is that of her coloured red lips, which capture Leontes’s attention and awaken his desire. From a religious point of view, the hint at Roman Catholic statues, here, is undeniable. The statue of Hermione with its red lips is so lifelike that it becomes a dangerous temptation for the idolatrous king who, significantly, wants to kneel and implore its blessing. As a result, religious superstition and ‘popery’ may be seen as an underlying current running through the whole scene. 26.
27 Besides, the friar plays God by forging a dead Juliet and by reanimating her. He recreates the mir (. )
35 In Romeo and Juliet , the belief in evil colours, based on the fear of the unknown and the faith in (black) magic, is introduced quite differently. Whereas Juliet is thought by all to have passed away, Balthasar queerly mentions that “[h]er body sleeps in Capel’s monument” (5.1.18), which suggests that she is to wake up soon. Despite her lively colours, Juliet looks dead while she is alive, and she takes on all the disquieting features of the ‘living dead’. In the play, the mix of graphic and pre-gothic images suggesting a recumbent statue looking alive both highlights and superimposes the various themes of colour, death, life, beauty and illusion, which probably reminded a possibly nostalgic audience of the beautiful polychrome statues of the past (Lindley 97-122). The vision of the statufied Juliet is all the more confusing in the tragedy as the recumbent statue scenes are presented twice; first when Juliet drinks the elixir and falls asleep, and a second time when she actually kills herself. This repeated performance of death generates the image of a somewhat fiendish statue able to rise from the dead, thereby transgressing the laws of God. 27.
36 In the graveyard, Shakespeare’s apparent inconsistency in his use of colours is even more conspicuous. When Friar Laurence worries about Juliet being locked in the monument, he exclaims: “Poor living corpse, closed in a dead man’s tomb!” (5.2.29). He highlights the senselessness of a living being locked in a monument like a corpse. Furthermore, so as to add to the general bewilderment when entering the tomb, Romeo carries on his eulogy on his beloved’s beautiful colours, stressing the elements making the lying Juliet look alive. Even more than a shrine, she appears as a polychromed statue to him. He further wonders about Juliet’s healthy hues as if the crimson on her face and her fair complexion finally struck him as “unnatural” for a corpse, since she does not look like a sculpture anymore, but just like a sleeping Juliet. When she finally wakes up, it is to discover her Romeo dead. The roles have been reversed: he is now the coloured recumbent statue. Howbeit, while kissing Romeo’s lips she notices that his “lips are warm” (5.3.167). Is Romeo really dead, or turned into a gisant of sorts, or only sleeping?
37 Along the same lines, the watchmen are also baffled by Juliet’s death. They can only declare: “And Juliet, bleeding, warm, and newly dead” (5.3.174). Theirs is a muddled explanation: “Sovereign, here lies the County Paris slain, / And Romeo dead; and Juliet, dead before, / Warm and new killed” (5.3.194-6). The jumble of “newly”, “dead”, “new”, “kill” illustrates rather well the characters’ total bewilderment, as they find themselves in a situation where the conventions regarding hues and shades are constantly turned upside down.
Conclusion: aesthetic hues of death-in-life and life-in-death.
28 Romeo and Juliet is based on the Italian tale entitled The Tragical History of Romeus and Juliet b (. ) 29 See the monument of Christopher Roper, 2 nd Baron Teynham (1561-1622), carved by Epiphanius Evesham (. )
38 The colours of life and death initially encoded in Romeo and Juliet and The Winter’s Tale are, at the end, interwoven to such a degree that they can no longer be distinguished from one another. The hues in the statues of the young lovers and of the aged Hermione bring out an unusual coloured vision of death and life. They point out to surprisingly stark visual analogies between religious statues and what would today be considered as more artistic sculptures. Interestingly, Shakespeare uses lightly coloured pseudo-sculptures in order to examine and subvert the aesthetic and dramatic conventions of his time, revealing tremendous changes in the attitudes of society toward sculpture and colours. In fact, it might be in response to a burgeoning craze for coloured statues that Shakespeare added the final golden statues of Romeo and Juliet, which are absent from the original plots he borrowed from. 28 With the erection of the golden sculpture, hinting at a highly successful alchemical transmutation (McAdam 159), Capulet and Montaigu join hands so as to seal their reconciliation in the same manner as Leontes, taking Hermione’s hands, resuming his repentance. Despite the time gap between the two plays, the two coloured sculptures could be deciphered as rather similar attempts to reintroduce stand-up sculptures in the English theatrical landscape. Here, Shakespeare certainly acts as a precursor, but it must be said that, by the end of the 16 th century, the aesthetic dimension of sculptures and statues in England, began to be detached from their sacred function. The very fact that Shakespeare first selected a slightly coloured image of Juliet, and that, a few years later, he tested the onstage appearence of a wrinkled and coloured pseudo-sculpture, suggests an impending revolution in art, as well as slight but important changes in the religious vision of art. Polychrome sculptures were gradually reassessed and, during the first decades of the 17 th century, were even beginning to be appreciated in their own right. 29.

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Australia’s misplaced friendship with Turkey.
An opinion piece by military historian Professor Peter Stanley about the NSW resolution into the genocides by the Ottoman Empire.
Lone Pine Service, Gallipoli 2013. Photo:AAP.
The NSW Parliament recently passed a resolution condemning the genocide perpetrated by the Ottoman empire against its Assyrian, Pontic Greek and especially Armenian communities during the Great War.
The Turkish Consul-General in Sydney, the foreign ministry in Ankara and even the city council in Canakkale (Gallipoli) immediately responded. They deny that the genocide even occurred and have warned state parliamentarians that they will not be welcome in Turkey when the two nations commemorate the centenary of the Gallipoli campaign in 2015.
Australians unaware of the details might be surprised at the vehemence of the Turkish response. Aren’t Turkey and Australia friends? Don’t the Turks generously welcome Australian and New Zealand visitors to Gallipoli throughout the year but especially in April? What have we done to offend them?
The answer is that the parliamentarians have had the temerity to acknowledge the truth about one of the great crimes against humanity of the twentieth century. (Let’s for the moment put aside the question of whether a parliament’s view is even relevant. If the parliamentarians had resolved that the genocide had not happened it would still be a historical fact. But both Turks and Armenians regard legislative endorsement of their version of the past as scalps, and the Armenians are winning.)
Australians have been captivated by the Turkish narrative of Gallipoli. The Turkish nation has built around the campaign (in which they defeated a British (and Anzac) and French invasion of Turkish soil) a national epic of salvation. That Mustafa Kemal Ataturk, the father of the modern Turkish nation, commanded some of its defenders makes Gallipoli part of Turkey’s national founding myth. In this, the two nations have something in common.
The problem is that the day before the 1915 invasion, the Ottoman empire, suspicious of its Armenian minority, embarked upon the systematic elimination of the empire’s Armenian population. Impartial scholars accept that about a million-and-a-half of the empire’s two million Armenians were killed directly or died of starvation and sickness over the next few years. Neutral missionaries and diplomats, and even Turkey’s German allies, witnessed and reported the massacres and deportations – as did Anzac prisoners of war.
The world was outraged at the time, and the surviving Armenian community, including a substantial Armenian diaspora in the Middle East, Europe, North America and Australia, has never forgotten it. Turkey, on the other hand, denies that genocide occurred, disputing its definition in international law or arguing that while villagers may have been deported, they died of incidental causes.
The NSW resolution disrupts the astoundingly successful charm offensive Turkey has conducted in Australia for years, fostering a positive relationship with Australia through the shared ordeal of Gallipoli. The NSW resolution, instigated by Australia’s energetic Armenian National Council and promoted by the Christian Democrat MP Rev. Fred Nile (but also by the premier Barry O’Farrell), has upset Australia’s acquiescence with Turkey’s desire to emphasise the shared history of Gallipoli while eliminating any reference to the genocide.
You might argue that the Armenian genocide is remote from the Australian experience of the Great War. In fact, Australian troops (both prisoners of war and combatants) encountered the genocide and its effects, and Australian civilians contributed vast amounts of money and time to the international relief effort mounted from 1915 and for years afterwards. In effect, Australian troops in the Middle East were fighting to defeat a regime capable of state sponsored atrocity, just as Australia’s forces in the Second World War were fighting to defeat the regime responsible for the Holocaust. The Armenian genocide is part of the story of the Great War, something to which Australians should not be blind, and certainly not blinded by Turkish denial.
The controversy obliges Australians to take sides. I am an impartial historian, having been convinced of the facts by the historical evidence. That claim makes me immediately suspect in Turkish eyes. I suppose I’ll be banned as well. But having examined the evidence, I am co-writing a book on Australia and the Armenian genocide. As president of the recently-formed coalition Honest History, dedicated to standing up for honesty in our relationship to the past, I cannot connive with the falsification of history.
Australia and Turkey are friends. But friends tell each other the truth. They don’t react like children – ‘if you say that you can’t be my friend anymore!’. Turkey’s extraordinary response to the NSW parliamentarians will oblige Australians to choose between being a friend of Turkey or being a friend of the truth. I know which way I choose.

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