Jane's Addiction's 1988 breakthrough album, Nothing's Shocking, had a seismic impact. With a bracing combination of metal, punk, and psychedelia, coupled with lead singer Perry Farrell's banshee-ina- wind-tunnel vocals, Jane's Addiction helped put alternative music on the map. The band helped pave the way for the mainstream success of bands like Pearl Jam, Soundgarden, and Nirvana. Along the way, Jane's Addiction released another classic album, Ritual de lo Habitual (with the hit "Been Caught Stealing"), founded the Lollapalooza festival, and openly celebrated a bacchanalian lifestyle that blurred all lines of gender and sexuality. Drawn from original interviews with the band, their friends, and their musical colleagues, Whores takes readers through Farrell's early sonic experiments with Psi-Com and the formative days of Jane's Addiction to their drug-addled break-up and controversial reunion with 2003's Strays. Along the way it provides a candid, often disturbing glimpse into the dynamic alternative rock scene of Los Angeles in the '80s and '90s.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

A woman did that? The general reaction to women's political violence is still one of shock and incomprehension. Mothers, Monsters, Whores provides an empirical study of women's violence in global politics. The book looks at military women who engage in torture; the Chechen 'Black Widows'; Middle Eastern suicide bombers; and the women who directed and participated in genocides in Bosnia and Rwanda. Sjoberg & Gentry analyse the biological, psychological and sexualized stereotypes through which these women are conventionally depicted, arguing that these are rooted in assumptions about what is 'appropriate' female behaviour. What these stereotypes have in common is that they all perceive women as having no agency in any sphere of life, from everyday choices to global political events. This book is a major feminist re-evaluation of women's motivations and actions as perpetrators of political violence.

Roberts' vivid, challenging, and impressively researched defense of the unrepentant whore, whom she regards as the most maligned woman in history, tells the story of the prostitute with hundreds of anecdotes of bawdy-house and brothel life. Her arguments will engage male "experts" and feminist "sisters" alike. Illustrations.

A #1 New York Times bestseller: “An everyman’s guide to Washington” by the savagely funny political humorist and author of How the Hell Did This Happen? (The New York Times). P. J. O’Rourke’s Parliament of Whores has become a classic in understanding the workings of the American political system. Originally written at the end of the Reagan era, this new edition includes an extensive foreword by renowned journalist Andrew Ferguson—showing us that although the names may change, the game stays the same . . . or, occasionally, gets worse. Parliament of Whores is a “gonzo civics book” that takes us through the ethical foibles, pork-barrel flimflam, and Beltway bureaucracy, leaving no sacred cow unskewered and no politically correct sensitivities unscorched (Chicago Tribune). “Insulting, inflammatory, profane, and absolutely great reading.” —The Washington Post Book World

A flame-throwing epidemiologist talks about sex, drugs, and the mistakes (dismal), ideologies (vicious), and hopes (realistic) of international AIDS prevention. When people ask Elizabeth Pisani what she does for a living, she says, "sex and drugs." As an epidemiologist researching AIDS, she's been involved with international efforts to halt the disease for fourteen years. With swashbuckling wit and fierce honesty, she dishes on herself and her colleagues as they try to prod reluctant governments to fund HIV prevention for the people who need it most—drug injectors, gay men, sex workers, and johns.Pisani chats with flamboyant Indonesian transsexuals about their boob jobs and watches Chinese streetwalkers turn away clients because their SUVs aren't nice enough. With verve and clarity, she shows the general reader how her profession really works; how easy it is to draw wrong conclusions from "objective" data; and, shockingly, how much money is spent so very badly. "Exhibit A": the 45 billion taxpayer dollars the Bush administration is committing to international AIDS programs.

New Year's Eve, 1951. Hollywood, California. As Tinseltown rings in the twilight of its Golden Age, a young man arrives from Texas hell-bent on exploiting his brooding good-looks for his rightful place among the stars--only to become dangerously entangled in the lives of one of the most powerful couples in show business. As his dream devolves into a lurid nightmare, he must choose between fortune and fame or sanity and survival.

Whores and Other Feminists fleshes out feminist politics from the perspective of sex workers--strippers, prostitutes, porn writers, producers and performers, dominatrices--and their allies. Comprising a range of voices from both within and outside the academy, this collection draws from traditional feminisms, postmodern feminism, queer theory, and sex radicalism. It stretches the boundaries of contemporary feminism, holding accountable both traditional feminism for stigmatizing sex workers, and also the sex industry for its sexist practices.

Describes the political struggles of Judicial Watch, a non-profit organization created to battle against corruption and abuse of power in the United States government.

Feminist reading of women’s representation and activism in Israeli cinema. Warriors, Witches, Whores: Women in Israeli Cinema is a feminist study of Israel’s film industry and the changes that have occurred since the 1990s. Working in feminist film theory, the book adopts a cultural studies approach, considering the creation of a female-centered and thematically feminist film culture in light of structural and ideological shifts in Israeli society. Author Rachel S. Harris situates these changes in dialogue with the cinematic history that preceded them and the ongoing social inequalities that perpetuate women’s marginalization within Israeli society. While no one can deny Israel’s Western women’s advancements, feminist filmmakers frequently turn to Israel’s less impressive underbelly as sources for their inspiration. Their films have focused on sexism, the negative impact of militarism on women’s experience, rape culture, prostitution, and sexual abuse. These films also tend to include subjects from society’s geographical periphery and social margins, such as female foreign workers, women, and refugees. Warriors, Witches, Whoresis divided into three major sections and each considers a different form of feminist engagement. The first part explores films that situate women in traditionally male spheres of militarism, considering the impact of interjecting women within hegemonic spaces or reconceptualizing them in feminist ways. The second part recovers the narratives of women’s experience that were previously marginalized or silenced, thereby creating a distinct female space that offers new kinds of storytelling and cinematic aesthetics that reflect feminist expressions of identity. The third part offers examples of feminist activism that reach beyond the boundaries of the film to comment on social issues. This section demonstrates how feminists use film (and work within the film industry) in order to position women in society. While there are thematic overlaps between the chapters, each section marks structural differences in the modes of feminist response. Warriors, Witches, Whores considers the ways social and political power have affected the representation of women and looks to how feminist filmmakers have fought against these inequities behind the camera and in the stories they tell. Students and scholars of film, gender, or cultural studies will appreciate this approachable monograph.