Can a diva dripping with sex appeal, devious ambition, and serious Swag gain the trust of a top crime boss? Undercover officer Jazmine Coleman believes it is all she needs to infiltrate one of the city's most notorious hustlers, Love. With traps set in place, Jazmine pulls Love's right hand man, Thump, into the mix, causing a deadly, yet twisted love triangle. Even with the cops on his trail, Love has his fingerprints on everything in the city, including the mayor that he helps get elected. All is still going according to plan until a New Jack named Swag steps on the scene with the same determination as Jazmine to knock Love from the top spot. Which of the two will be successful? In the world of treachery, lust and corruption, the one with the power has the most Swag!

During the first half of the twentieth century, out-of-wedlock pregnancy came to be seen as one of the most urgent and compelling problems of the day. The effort to define its meaning fueled a struggle among three groups of women: evangelical reformers who regarded unmarried mothers as fallen sisters to be saved, a new generation of social workers who viewed them as problem girls to be treated, and unmarried mothers themselves. Drawing on previously unexamined case records from maternity homes, Regina Kunzel explores how women negotiated the crisis of single pregnancy and analyzes the different ways they understood and represented unmarried motherhood. Fallen Women, Problem Girls is a social and cultural history of out-of-wedlock pregnancy in the United States from 1890 to 1945. Kunzel analyzes how evangelical women drew on a long tradition of female benevolence to create maternity homes that would redeem and reclaim unmarried mothers. She shows how, by the 1910s, social workers struggling to achieve professional legitimacy tried to dissociate their own work from that earlier tradition, replacing the reform rhetoric of sisterhood with the scientific language of professionalism. By analyzing the important and unexplored transition from the conventions of nineteenth-century reform to the professional imperatives of twentieth-century social welfare, Kunzel offers a new interpretation of gender and professionalization. Kunzel places shifting constructions of out-of-wedlock pregnancy within a broad history of gender, sexuality, class, and race, and argues that the contests among evangelical women, social workers, and unmarried mothers distilled larger generational and cross-class conflicts among women in the first half of the twentieth century.

The book "Are You Wife Material?" prepares every woman to be the Proverbs 31 wife to a husband who has submitted to Jesus Christ. The book covers Spirituality, Power & Responsibility,The Feminist vs. the Proverbs 31 Woman, Formation of a Godly Marriage, Money & possessions, Media Influence on the family,Divorce, Breaking Sex Soul Ties, the place of Ex-lovers in marriage,Past Hurts & Abuses, Abortion, Bareness and other deeply analyzed marital issues.

Caring in Times of Precarity draws together two key cultural observations: the increase in those living a single life, and the growing attraction of creative careers. Straddling this historical juncture, the book focuses on one particular group of ‘precariat’: single women in Shanghai in various forms of creative (self-)employment. While negotiating their share of the uncanny creative work ethos, these women also find themselves interpellated as shengnü (‘left-over women’) in a society configured by a mix of Confucian values, heterosexual ideals, and global images of womanhood. Following these women’s professional, social and intimate lives, the book refuses to see their singlehood and creative labour as problematic, and them as victims. It departs from dominant thinking on precarity, which foregrounds and critiques the contemporary need to be flexible, mobile, and spontaneous to the extent of (self-)exploitation, accepting insecurity. The book seeks to understand– empirically and specifically–women’s everyday struggles and pleasures. It highlights the up-close, everyday embodied, affective, and subjective experience in a particular Chinese city, with broader, global resonances well beyond China. Exploring the limits of the politics of precarity, the book proposes an ethics of care.

The product of decades of work and multiple self-published editions, Going Underground, written by 1980s scene veteran George Hurchalla, is the most comprehensive look yet at America’s nationwide underground punk scene. Despite the mainstream press declarations that “punk died with Sid Vicious” or that “punk was reborn with Nirvana,” author Hurchalla followed the DIY spirit of punk underground, where it not only survived but thrived nationally as a self-sustaining grassroots movement rooted in seedy clubs, rented fire halls, Xeroxed zines, and indie record shops. Rather than dwell solely on well-documented scenes from Los Angeles, New York, and Washington, DC, Hurchalla delves deep into the counterculture, rooting out stories from Chicago, Philadelphia, Austin, Cincinnati, Miami, and elsewhere. The author seamlessly mixes his personal experiences with the oral history of dozens of band members, promoters, artists, zinesters, and scenesters. Some of the countless bands covered include Articles of Faith, Big Boys, Necros, Hüsker Dü, Bad Brains, Government Issue, and Minutemen, as well as many of the essential zines of the time such as Big Takeover, Maximum RocknRoll, Flipside, and Forced Exposure. Going Underground features over a hundred unique photos from Marie Kanger-Born of Chicago, Dixon Coulbourn of Austin, Brian Trudell of LA, Malcolm Riviera of DC, Justina Davies of New York, Ed Arnaud of Arizona, and many others, along with flyers from across the nation.

During the Progressive Era, over 150 African American women's clubs flourished in Chicago. Through these clubs, women created a vibrant social world of their own, seeking to achieve social and political uplift by educating themselves and the members of their communities. In politics, they battled legal discrimination, advocated anti-lynching laws, and fought for suffrage. In the tradition of other mothering, in which the the community shares in the care and raising of all its children, the club women established kindergartens, youth clubs, and homes for the elderly. In Toward a Tenderer Humanity and a Nobler Womanhood, Anne Meis Knupfer documents how the club women created multiple allegiances through social and club networks and sheds light on the life experiences of African American women in urban centers throughout the country. Drawing upon the primary documents of African American newspapers, journals, and speeches of the time, this book chronicles and analyzes the complexity and richness of the African American club women's lives as they lifted while others climbed.

Through her engaged and articulate essays in the Village Voice, C. Carr has emerged as the cultural historian of the New York underground and the foremost critic of performance art. On Edge brings together her writings to offer a detailed and insightful history of this vibrant brand of theatre from the late 70s to today. It represents both Carr’s analysis as a critic and her testament as a witness to performances which, by their very nature, can never be repeated. Carr has organized this collection both chronologically and thematically, ranging from the emphasis on bodily manipulation/endurance in the 70s to the underground club scene in New York to an insider’s analysis of the Tompkins Square Riot as a manifestation of the cultural and social conflicts that underlie much of performance art. She examines the transgressive and taboo-shattering work of Ethyl Eichelberger, Karen Finley, and Holly Hughes; documents specific performances by Annie Sprinkle and Lydia Lunch; and maps the development of such artists as Robbie McCauley, Blue Man Group, and John Jesurun. She also describes the “cross-over” phenomenon of the mid-80s and considers the far-right backlash against this mainstreaming as cultural reactionaries sought to curb the influence of these new artists. CONTRIBUTORS: Linda Montano, Chris Burden, G.G Allin, Jean Baudrillard, Patty Hearts, Dan Quayle, Anne Magnouson, John Jesurun, John Kelly, Shu Lea Changvv, Diamanda Galas, Salley May, Rafael Mantanez Ortiz, Sherman Fleming, Kristine Stiles, Laurie Carlos, Jessica Hafedorn, Robbie McCormick, Karen Finley, Poopo Shiraishi, Donna Henes, Holey Hughe, Ela Troyano, Michael Smith, Harry Koipper, John Sex, Nina Jagen, Ethyl Eichelberge, Marina Abramovic, Ulay. Ebook Edition Note: All illustrations have been redacted from the ebook edition.

Two sisters unite to survive a traumatic upbringing—from absentee parents to a wilderness camp for troubled teens—in this “relentless and spooky” (Joy Williams) debut novel from an essential new voice. “A story that’s so weird, it has to be true. . . . Keeps our attention in a chokehold.”—The New York Times ONE OF THE BEST BOOKS OF THE YEAR: Good Housekeeping “When the Juvenile Transportation Services come for you in the night in a preordained kidnapping, complete with an unmarked van and husky guardsmen you can’t outmatch, you have been sold for a promise.” A young woman thinks she has escaped her past only to discover that she’s been hovering on its edges all along: She and her younger sister bide their time in a dilapidated warehouse in a desolate town north of New York City; their parents settled there with dreams of starting an art commune. But after the girls’ father vanishes, all traces of stability disappear for the family, and the girls retreat into strange worlds of their own mythmaking and isolation. As the sisters both try to survive their increasingly dark and dangerous adolescences, they break apart and reunite repeatedly, orbiting each other like planets. Both endure stints at the Veld Center, a wilderness camp where troubled teenage girls are sent as a last resort, and both emerge more deeply warped by the harsh outdoor survival experiences they must endure and the attempts by staff to break them down psychologically. With a mesmerizing voice and uncanny storytelling style, this is a remarkable debut about two women who must struggle to understand the bonds that link them and how their traumatic history will shape who they choose to become as adults.

A strong support network and meaningful connections are crucial to your long-term success and peace of mind. Although successful women excel in every way, many resist the idea of seeking help due to fear of being viewed as weak or incompetent. Instead, they struggle alone and sacrifice their happiness and peace along the way. If you feel this way, you’re in the right place! In Get Over “I Got It,” author and podcast host Elayne Fluker shows you that this isolated mindset is the reason you are overwhelmed, depressed, and even unfulfilled. With Elayne’s help, you will learn: How to step outside your comfort zone to ask for and accept support. The importance of ditching the “do-it-alone” philosophy. How to build your network and make useful connections. Ways for you to embrace the proven benefits of a stronger-together approach. Get Over "I Got It" will help you overcome the hurdles you face that prevent you from asking for help, giving you a surefire strategy—and the confidence—to seek support. You’ll be positioned to establish a solid network of support and enroll others in your vision to achieve success.

With the success of Fight Club, his novel-turned-movie, Chuck Palahniuk has become noticed for accurately capturing the exploitation of power in America in the 21st century. With cynicism and skepticism, he satirizes the manipulative aspects of ideologies and beliefs pushing society's understanding of the norm. In this work, Palahniuk's characters are analyzed as people who rebel against the systems in control. Mikhail Bakhtin's theory is applied to explain Palahniuk's application of the comic grotesque; theories from Louis Althusser and Slavoj Žižek help reveal aspects of ideology in Palahniuk's writing.