Finalist for the Los Angeles Press Club Book Award, muse to a Givenchy fashion collection, and recommended by the TheNew York Times, The Skimm, US Weekly,The Washington Post, The Boston Globe, Refinery 29, Book Riot, Bitch Media, and more. "Yarrow’s biting autopsy of the decade scrutinizes the way society reduced — or “bitchified” — women at work, women at home, women in court, even women on ice skates . . . Direct quotes from politicians, journalists and comedians about the women provide the most jarring, oh-my-god-that-really-happened portions of Yarrow’s decade excavation." — Pittsburg Post-Gazette The nostalgic, smart, and shocking account of how the 90s set back feminism, undermined girls and women, and shaped the millennial generation from award-winning journalist, Allison Yarrow. To understand how we got here, we have to rewind the VHS tape. 90s Bitch tells the real story of women and girls in the 1990s, exploring how they were maligned by the media, vilified by popular culture, and objectified in the marketplace. Trailblazing women like Hillary Clinton, Anita Hill, Madeleine Albright, Janet Reno, and Marcia Clark, and were undermined. Newsmakers like Britney Spears, Monica Lewinsky, Tonya Harding and Lorena Bobbitt were shamed and misunderstood. The advent of the 24-hour news cycle reinforced society's deeply entrenched misogyny. Meanwhile, marketers hijacked feminism, sold “Girl Power,” and poisoned a generation. Today echoes of 90s “bitchification” still exist everywhere we look. To understand why, we must revisit and interrogate the 1990s—a decade in which empowerment was twisted into objectification, exploitation, and subjugation. Yarrow’s thoughtful, juicy, and timely examination is a must-read for anyone trying to understand 21st century sexism and end it for the next generation.

• A New York Times Summer Reading List selection • A Publishers Weekly Best Summer Book of 2015 • A Business Insider Best Summer Read • An Esquire Father’s Day Book selection • A New York Observer Best Music Book of 2015 • A memoir charting thirty years of the American independent rock underground by a musician who knows it intimately Jon Fine spent nearly thirty years performing and recording with bands that played various forms of aggressive and challenging underground rock music, and, as he writes in this memoir, at no point were any of those bands “ever threatened, even distantly, by actual fame.” Yet when members of his first band, Bitch Magnet, reunited after twenty-one years to tour Europe, Asia, and America, diehard longtime fans traveled from far and wide to attend those shows, despite creeping middle-age obligations of parenthood and 9-to-5 jobs, testament to the remarkable staying power of the indie culture that the bands predating the likes of Bitch Magnet--among them Black Flag, Mission of Burma, and Sonic Youth --willed into existence through sheer determination and a shared disdain for the mediocrity of contemporary popular music. In indie rock’s pre-Internet glory days of the 1980s, such defiant bands attracted fans only through samizdat networks that encompassed word of mouth, college radio, tiny record stores and ‘zines. Eschewing the superficiality of performers who gained fame through MTV, indie bands instead found glory in all-night recording sessions, shoestring van tours and endless appearances in grimy clubs. Some bands with a foot in this scene, like REM and Nirvana, eventually attained mainstream success. Many others, like Bitch Magnet, were beloved only by the most obsessed fans of this time. Like Anthony Bourdain’s Kitchen Confidential, Your Band Sucks is an insider’s look at a fascinating and ferociously loved subculture. In it, Fine tracks how the indie-rock underground emerged and evolved, how it grappled with the mainstream and vice versa, and how it led many bands to an odd rebirth in the 21 st Century in which they reunited, briefly and bittersweetly, after being broken up for decades. Like Patti Smith’s Just Kids, Your Band Sucks is a unique evocation of a particular aesthetic moment. With backstage access to many key characters in the scene—and plenty of wit and sharply-worded opinion—Fine delivers a memoir that affectionately yet critically portrays an important, heady moment in music history.

Whether talking on the phone to LaToya Jackson about Michael, being upbraided by Cindy Crawford at a party, or sharing a joint with jack Nicholson, A.J.s unorthodox methods compelled celebs to call him with tips, and brought heat from his editors. Fame: Aint it a Bitch tells the stories behind the stories about the actors, rock stars, models, moguls, and society bad girls that comprimise Manhattans infamous night life. In nightclubs and in newsrooms, readers are shown the trading, deals, threats and cajoling that are involved in creating a hot gossip column. With the edge and energy that completely captures both the glitter and the gutter of show business, A.J. Benza has the real inside scoop yet again.

Naughty Bits, the longest-running solo comic by a female alternative cartoonist, came to an end in 2004 after a 14-year, 40-issue run. Beloved for the expressive scrawl of Gregory's line and her take-no-prisoners satirical approach, it was particularly notable for introducing the world to Bitchy Bitch―a woman who is eternally, magnificently, and for the most part, quite justifiably pissed off at the world around her! This volume collects the entire first half of the Bitchy Bitch saga, and it ranges widely in her eventful life. There are stories about Bitchy's travails as a little girl (when she was just "Bitsy Bitch"), including that greatest horror of all, the holidays; a long sequence about her hippie free-love days in the '70s (and the harrowing abortion that followed); tales of her miserable days as an office drone surrounded by dunces, lechers, and the occasional ultra-Christian maniac; and the hilarious full-length graphic novel "Bitchy Takes a Vacation," where a tropical getaway turns into a fiasco (romanic and otherwise) of epic proportions. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.9px Arial; color: #424242}

Press kit includes 2 pamphlets and 8 photographs.

FINALIST FOR THE 2020 NATIONAL BOOK CRITICS CIRCLE AWARD FOR POETRY FINALIST FOR THE 2021 NAACP IMAGE AWARD FOR POETRY Danez Smith is our president Homie is Danez Smith’s magnificent anthem about the saving grace of friendship. Rooted in the loss of one of Smith’s close friends, this book comes out of the search for joy and intimacy within a nation where both can seem scarce and getting scarcer. In poems of rare power and generosity, Smith acknowledges that in a country overrun by violence, xenophobia, and disparity, and in a body defined by race, queerness, and diagnosis, it can be hard to survive, even harder to remember reasons for living. But then the phone lights up, or a shout comes up to the window, and family—blood and chosen—arrives with just the right food and some redemption. Part friendship diary, part bright elegy, part war cry, Homie is the exuberant new book written for Danez and for Danez’s friends and for you and for yours.

Sixteen weeks into her second pregnancy, psychologist Jessica Zucker miscarried at home, alone. Suddenly, her career, spent specializing in reproductive and maternal mental health, was rendered corporeal, no longer just theoretical. She now had a changed perspective on her life’s work, her patients’ pain, and the crucial need for a zeitgeist shift. Navigating this nascent transition amid her own grief became a catalyst for Jessica to bring voice to this ubiquitous experience. She embarked on a mission to upend the strident trifecta of silence, shame, and stigma that surrounds reproductive loss—and the result is her striking memoir meets manifesto. Drawing from her psychological expertise and her work as the creator of the #IHadaMiscarriage campaign, I Had a Miscarriage is a heart-wrenching, thought-provoking, and validating book about navigating these liminal spaces and the vitality of truth telling—an urgent reminder of the power of speaking openly and unapologetically about the complexities of our lives. Jessica Zucker weaves her own experience and other women's stories into a compassionate and compelling exploration of grief as a necessary, nuanced personal and communal process. She inspires her readers to speak their truth and, in turn, to ignite transformative change within themselves and in our culture.

With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world. When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap. Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control. Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it. But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives. To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went. Searching for answers, Dominick turns to the whispers of the dead, to the pages of his grandfather's handwritten memoir, The History of Domenico Onofrio Tempesta, a Great Man from Humble Beginnings. Rendered with touches of magic realism, Domenico's fablelike tale--in which monkeys enchant and religious statues weep--becomes the old man's confession--an unwitting legacy of contrition that reveals the truth's of Domenico's life, Dominick learns that power, wrongly used, defeats the oppressor as well as the oppressed, and now, picking through the humble shards of his deconstructed life, he will search for the courage and love to forgive, to expiate his and his ancestors' transgressions, and finally to rebuild himself beyond the haunted shadow of his twin. Set against the vivid panoply of twentieth-century America and filled with richly drawn, memorable characters, this deeply moving and thoroughly satisfying novel brings to light humanity's deepest needs and fears, our aloneness, our desire for love and acceptance, our struggle to survive at all costs. Joyous, mystical, and exquisitely written, I Know This Much Is True is an extraordinary reading experience that will leave no reader untouched.

Holly is a frustrated florist who flees the houseshare from hell to move in with a motley crew of friends: there is Josh, a sexually confused merchant banker; Kate, a high-flying legal eagle with talons to match; and the gorgeous Addison, who spends his days communicating only with his computer. One glimpse of Addison, and Holly is smitten. Now the only problem is how to get him to swivel his chair away from the computer screen and his monstrously ugly -- not to mention fiercely possessive -- internet girlfriend Claudia, to see Holly's own adoring gaze. After a series of false starts -- involving new friend and mathematician Finn -- Holly coaxes Addison away from his virtual romance and out into the open. But "out in the open" spells unexpected disaster for Addison, and, curiously, Holly must help rescue him before her own future can begin to bloom.

Gender and Action Films 1980-2000 offers insights into the intertwined concepts of gender and action, and how their portrayal developed in the Action Movie genre during the final two decades of the twentieth century. A necessity for academics, students and lovers of film and media and those interested in gender studies.