Over 15,000 sold! Relive some of the most hilarious moments in television with the SCTV troupe.

    Internalizing society’s devaluation of the feminine, some women are killing their own natural impulses to pursue a feminist ideal that bears no relation to God’s good design. Other women struggle to conform to a fundamentalist, feminine caricature, which requires denying their full humanity and gifting.Defying both feminists and fundamentalists, Julie Roys reveals God’s true, affirming, and compelling vision for women, showing them how to reclaim what is uniquely feminine, and become healthy, balanced women of God.

    Beginning with its first publication as a cautionary tale on the perils of seduction, written in reaction to the licentiousness of the court of Louis XIV, Orenstein traces the many lives the tale has lived since then, from its appearance in modern advertisements for cosmetics and automobiles, the inspiration it brought to poets such as Anne Sexton, and its starring role in pornographic films. In Little Red Riding Hood Uncloaked, Red appears as seductress, hapless victim, riot grrrrl, femme fatale, and even she-wolf, as Orenstein shows how through centuries of different guises, the story has served as a barometer of social and sexual mores pertaining to women. Full of fascinating history, generous wit, and intelligent analysis, Little Red Riding Hood Uncloaked proves that the story of one young girl's trip through the woods continues to be one of our most compelling modern myths.

    I felt that this new music and vibe was really me. I remember going to bed and having dreams that I was performing this music and visualizing myself on stage, way before it actually happened… What always appealed to me about rock music is the feeling of freedom, that I could finally be who I wanted to be and sing the music that I felt in my heart. Some black people that I met in the music industry felt that we could be stronger and better empowered if we all stayed within in the same box, but I had always relished the fact that I never belonged to any cliques, or any scenes…”—Skin, Skunk Anansie“I wanted to find other black women like me: metal, hardcore, and punk fans and musicians that were rabid about the music and culture and adamant about asserting their rightful place as black women within those scenes. I wanted to find other women who put aside the cultural baggage that dictates that we must listen to certain musical styles, and simply enjoy the music that influenced us, not just as black women, but as individuals who grew up in an era when, thanks to technology, a large variety of music is accessible and available to everyone. I found many black women and have shared their stories, but I also realize there is still a lot of work to be done.”—Laina DawesCONTENTS:“Who Put That Shaven-Headed Black Woman on the Stage?” Foreword by SkinIntroduction, by Laina DawesI. Canadian SteelII. Metal Can Save Your Life (or at Least Your Sanity)III. I’m Here Because We Started It!IV. So You Think You’re White?V. “The Only One” SyndromeVI. Too Black, Too Metal, and All WomanVII. The Lingering Stench of Racism in MetalVIII. Remove the Barricades and Stagedive!EpilogueAppendix: “What Are You Doing Here?”—The Survey

    It took, in fact, only a few months for the dire predictions to come true. Leno's show, panned by critics, dragged down the ratings-and the profits-of NBC's affiliates, while ratings for Conan's new Tonight show plummeted to the lowest levels in history. Conan's collapse, meanwhile, opened an unexpected door of opportunity for rival David Letterman. What followed was a boisterous, angry, frequently hilarious public battle that had millions of astonished viewers glued to their sets. In The War for Late Night, New York Times reporter Bill Carter offers a detailed behind-the-scenes account of the events of the unforgettable 2009/2010 late-night season as all of its players- performers, producers, agents, and network executives-maneuvered to find footing amid the shifting tectonic plates of television culture.

    In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.

    Thus, she coined Trap Feminism, a contemporary framework that interrogates where feminism and hip-hop intersect.Notes from a Trap Feminist offers a new, inclusive feminism for the modern world. Weaving together searing personal essay and cultural commentary, Bowen interrogates sexism, fatphobia, and capitalism all within the context of race and hip-hop. In the process, she continues a Black feminist legacy of unmatched sheer determination and creative resilience.Bad bitches: this one’s for you.

    Its proponents cite ancient Greek and Latin texts to support their claims--arguing that they articulate a model of masculinity that sustained generations but is now under siege.Donna Zuckerberg dives deep into the virtual communities of the far right, where men lament their loss of power and privilege, and strategize about how to reclaim them. She finds, mixed in with weightlifting tips and misogynistic vitriol, the words of the Stoics deployed to support an ideal vision of masculine life. On other sites, pickup artists quote Ovid's Ars Amatoria to justify ignoring women's boundaries. By appropriating the Classics, these men lend a veneer of intellectual authority and ancient wisdom to their project of patriarchal white supremacy. In defense or retaliation, feminists have also taken up the Classics online, to counter the sanctioning of violence against women.Not All Dead White Men reveals that some of the most controversial and consequential debates about the legacy of the ancients are raging not in universities but online.

    . . A must-read' Gay TimesWe talk about achieving 'LGBTQ+ equality', but around the world, LGBTQ+ people are still suffering discrimination and extreme violence. How do we solve this urgent problem, allowing queer people everywhere the opportunity to thrive?In We Can Do Better Than This, 35 voices explore this question. Through deeply moving stories and provocative new arguments on safety and visibility, dating and gender, care and community, they present a powerful manifesto for how - together - we can start to create a better future.Edited by journalist and author Amelia Abraham, with writing from:Peppermint - Wolfgang Tillmans - Olly Alexander - Jonathan Anderson - Pabllo Vittar - Naoise Dolan - Amrou Al-Kadhi - Shura - Beth Ditto - Owen Jones - Riyadh Khalaf - Tom Rasmussen - Mykki Blanco - Phyll Opoku-Gyimah - Travis Alabanza - Yasmin Benoit - Mazharul Islam - Kate Bornstein - Adam Eli - Shon Faye - Fox Fisher - Hanne Gaby Odiele - Sasha Kazantseva - Andrew Gurza - Holland - Levi Hord - Juliet Jacques - Leticia Opio - madison moore - Matthew Riemer (@LGBT_History) - Vincent Desmond - Juno Roche - Bobbi Salvör Menuez - Carl Siciliano

    Since it premiered in 2002, the show's popularity and relevance has only grown--more than eight million viewers tuned in to see the conclusion of the most recent season of The Bachelor.The iconic reality television show's reach and influence into the cultural zeitgeist is undeniable. Bestselling writers and famous actors live tweet about it. Die-hard fans--dubbed "Bachelor Nation"--come together every week during each season to participate in fantasy leagues and viewing parties. Bachelor Nation is the first behind-the-scenes, unauthorized look into the reality television phenomenon. Los Angeles Times journalist Amy Kaufman is a proud member of Bachelor Nation and has a long history with the franchise--ABC even banned her from attending show events after her coverage of the program got a little too real for its liking. She has interviewed dozens of producers, contestants, and celebrity fans to give readers never-before-told details of the show's inner workings: what it's like to be trapped in the mansion "bubble"; dark, juicy tales of producer manipulation; and revelations about the alcohol-fueled debauchery that occurs long before the fantasy suite. Kaufman also explores what our fascination means, culturally: what the show says about the way we view so-called ideal suitors, our subconscious yearning for fairy-tale romance, and how this enduring television show has shaped society's feelings about love, marriage, and feminism by appealing to a marriage plot that's as old as Jane Austen.

    Meanwhile the U.S., competing with the Soviet Union for global power, extended its reach into Asia to an unprecedented degree. This book reveals that these trends—the proliferation of Orientalist culture and the expansion of U.S. power—were linked in complex and surprising ways. While most cultural historians of the Cold War have focused on the culture of containment, Christina Klein reads the postwar period as one of international economic and political integration—a distinct chapter in the process of U.S.-led globalization. Through her analysis of a wide range of texts and cultural phenomena—including Rodgers and Hammerstein's South Pacific and The King and I, James Michener's travel essays and novel Hawaii, and Eisenhower's People-to-People Program—Klein shows how U.S. policy makers, together with middlebrow artists, writers, and intellectuals, created a culture of global integration that represented the growth of U.S. power in Asia as the forging of emotionally satisfying bonds between Americans and Asians. Her book enlarges Edward Said's notion of Orientalism in order to bring to light a cultural narrative about both domestic and international integration that still resonates today.

    It has had an enormous impact on cultural studies and work across many disciplines on gender, sexuality, and the body. Bringing a new set of questions to this key work, Ann Laura Stoler examines volume one of History of Sexuality in an unexplored light. She asks why there has been such a muted engagement with this work among students of colonialism for whom issues of sexuality and power are so essential. Why is the colonial context absent from Foucault’s history of a European sexual discourse that for him defined the bourgeois self? In Race and the Education of Desire, Stoler challenges Foucault’s tunnel vision of the West and his marginalization of empire. She also argues that this first volume of History of Sexuality contains a suggestive if not studied treatment of race.Drawing on Foucault’s little-known 1976 College de France lectures, Stoler addresses his treatment of the relationship between biopower, bourgeois sexuality, and what he identified as “racisms of the state.” In this critical and historically grounded analysis based on cultural theory and her own extensive research in Dutch and French colonial archives, Stoler suggests how Foucault’s insights have in the past constrained—and in the future may help shape—the ways we trace the genealogies of race.Race and the Education of Desire will revise current notions of the connections between European and colonial historiography and between the European bourgeois order and the colonial treatment of sexuality. Arguing that a history of European nineteenth-century sexuality must also be a history of race, it will change the way we think about Foucault.

    When the Egyptian journalist Mona Eltahawy published an article in Foreign Policy magazine in 2012 titled Why Do They Hate Us it provoked a firestorm of controversy. The response it generated, with more than four thousand posts on the website, broke all records for the magazine, prompted dozens of follow-up interviews on radio and television, and made it clear that misogyny in the Arab world is an explosive issue, one that engages and often enrages the public. In Headscarves and Hymens, Eltahawy takes her argument further. Drawing on her years as a campaigner and commentator on women's issues in the Middle East, she explains that since the Arab Spring began, women in the Arab world have had two revolutions to undertake one fought with men against oppressive regimes, and another fought against an entire political and economic system that treats women in countries from Yemen and Saudi Arabia to Egypt, Tunisia, and Libya as second-class citizens. Eltahawy has traveled across the Middle East and North Africa, meeting with women and listening to their stories. Her book is a plea for outrage and action on their behalf, confronting the toxic mix of culture and religion that few seem willing or able to disentangle lest they blaspheme or offend. A manifesto motivated by hope and fury in equal measure, Headscarves and Hymens is as illuminating as it is incendiary.

    But what is missing from the picture--sexual difference--can be as instructive as what is present. In this ambitious work, Roderick A. Ferguson reveals how the discourses of sexuality are used to articulate theories of racial difference in the field of sociology. He shows how canonical sociology--Gunnar Myrdal, Ernest Burgess, Robert Park, Daniel Patrick Moynihan, and William Julius Wilson--has measured African Americans' unsuitability for a liberal capitalist order in terms of their adherence to the norms of a heterosexual and patriarchal nuclear family model. In short, to the extent that African Americans' culture and behavior deviated from those norms, they would not achieve economic and racial equality. Aberrations in Black tells the story of canonical sociology's regulation of sexual difference as part of its general regulation of African American culture. Ferguson places this story within other stories--the narrative of capital's emergence and development, the histories of Marxism and revolutionary nationalism, and the novels that depict the gendered and sexual idiosyncrasies of African American culture--works by Richard Wright, Ralph Ellison, James Baldwin, Audre Lorde, and Toni Morrison. In turn, this book tries to present another story--one in which people who presumably manifest the dys-functions of capitalism are reconsidered as indictments of the norms of state, capital, and social science. Ferguson includes the first-ever discussion of a new archival discovery--a never-published chapter of Invisible Man that deals with a gay character in a way thatcomplicates and illuminates Ellison's project. Unique in the way it situates critiques of race, gender, and sexuality within analyses of cultural, economic, and epistemological formations, Ferguson's work introduces a new mode of discourse--which Ferguson calls queer of color analysis--that helps to lay bare the mutual distortions of racial, economic, and sexual portrayals within sociology. A hard-hitting look at the regulation of sexual difference and its role in circumscribing African American culture.

    Her mother warns her about envidia and men who seduce you with pastries, while one tía bemoans that her niece is turning out to be “una india” instead of an American. Another auntie instructs that when two people are close, they are bound to become like uña y mugre, fingernails and dirt, and that no, Daisy’s father is not godless. He’s simply praying to a candy dish that can be traced back to Africa.  These lessons—rooted in women’s experiences of migration, colonization, y cariño—define in evocative detail what it means to grow up female in an immigrant home. In one story, Daisy sets out to defy the dictates of race and class that preoccupy her mother and tías, but dating women and transmen, and coming to identify as bisexual, leads her to unexpected questions. In another piece, NAFTA shuts local factories in her hometown on the outskirts of New York City, and she begins translating unemployment forms for her parents, moving between English and Spanish, as well as private and collective fears. In prose that is both memoir and commentary, Daisy reflects on reporting for the New York Times as the paper is rocked by the biggest plagiarism scandal in its history and plunged into debates about the role of race in the newsroom. A heartfelt exploration of family, identity, and language, A Cup of Water Under My Bed is ultimately a daughter’s story of finding herself and her community, and of creating a new, queer life.