Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today.

    However, the iconic women of the 1990s—such as Hillary Clinton, Courtney Love, Roseanne Barr, Marcia Clark, and Anita Hill—earned their places in history not as trailblazers, but as whipping girls of the media. During this decade, American society grew increasingly hostile to women who dared to speak up, challenge power, or defy rigid expectations for female behavior.Deeply researched yet thoroughly engaging, 90s Bitch untangles the complex history of women in the 1990s, exploring how they were maligned by the media, vilified by popular culture, and objectified in the marketplace. In an age where even a presidential nominee can be derided as a “nasty woman,” it’s clear that the epidemic of casting women as bitches persists. To understand why we must take a long, hard look back at the 1990s—a decade in which female empowerment was twisted into bitchification and exploitation.Yarrow’s thoughtful, clear-eyed, and timely examination is a must-read for anyone seeking to understand gender politics and how we might end the “bitch epidemic” for the next generation.

    Centuries after our nation was founded on genocide, settler colonialism, and slavery, many Americans are kinda-sorta-maybe waking up to the reality that our racial politics are (still) garbage. But in the midst of this reckoning, widespread denial and misunderstandings about race persist, even as white supremacy and racial injustice are more visible than ever before.Combining no-holds-barred social critique, humorous personal anecdotes, and analysis of the latest interdisciplinary scholarship on systemic racism, sociologist Crystal M. Fleming provides a fresh, accessible, and irreverent take on everything that's wrong with our "national conversation about race." Drawing upon critical race theory, as well as her own experiences as a queer black millennial college professor and researcher, Fleming unveils how systemic racism exposes us all to racial ignorance--and provides a road map for transforming our knowledge into concrete social change. Searing, sobering, and urgently needed, How to Be Less Stupid About Race is a truth bomb and call to action for everyone who wants to challenge white supremacy and intersectional oppression. If you like Issa Rae, Justin Simien, Angela Davis, and Morgan Jerkins, then this deeply relevant, bold, and incisive book is for you.

    This study concentrates on incorporated practices and provides an account of how these things are transmitted in and as traditions. The author argues that images and recollected knowledge of the past are conveyed and sustained by ritual performances, and that performative memory is bodily. This is an essential aspect of social memory that until now has been badly neglected.

    The era was not so primitive and crude as depictions in film and literature would suggest. Even during the worst years of the centuries immediately following the fall of Rome, the legacy of that civilization survived. This book covers diet, cooking, housing, building, clothing, hygiene, games and other pastimes, fighting and healing in medieval times. The reader will find numerous misperceptions corrected. The book also includes a comprehensive bibliography and a listing of collections of medieval art and artifacts and related sites across the United States and Canada so that readers in North America can see for themselves some of the matters discussed in the book. Instructors considering this book for use in a course may request an examination copy here.

    She described how women remained marginalized by the patriarchal culture of Black Power and the ways in which a genuine female subjectivity was blocked by the traditional myths of black womanhood. In 1990 the author added a new introduction examining the debate the book had sparked between intellectuals and political leaders; an extensive bibliography of contemporary black feminist studies was also added. Black Macho raised issues and arguments that framed the terms of current feminist and black theory and continues to be relevant today.

    As Farrow drew closer to the truth, shadowy operatives, from high-priced lawyers to elite war-hardened spies, mounted a secret campaign of intimidation, threatening his career, following his every move and weaponizing an account of abuse in his own family.All the while, Farrow and his producer faced a degree of resistance that could not be explained - until now. And a trail of clues revealed corruption and cover-ups from Hollywood, to Washington, and beyond.This is the untold story of the exotic tactics of surveillance and intimidation deployed by wealthy and connected men to threaten journalists, evade accountability and silence victims of abuse - and it's the story of the women who risked everything to expose the truth and spark a global movement.Both a spy thriller and a meticulous work of investigative journalism, Catch and Kill breaks devastating new stories about the rampant abuse of power - and sheds far-reaching light on investigations that shook the culture.In a dramatic account of violence and espionage, Pulitzer Prize-winning investigative reporter Ronan Farrow exposes serial abusers and a cabal of powerful interests hell-bent on covering up the truth, at any cost.

    In this powerful book, Beryl Satter identifies the true causes of the city's black slums and the ruin of urban neighborhoods throughout the country: not, as some have argued, black pathology, the culture of poverty, or white flight, but a widespread and institutionalized system of legal and financial exploitation. In Satter's riveting account of a city in crisis, unscrupulous lawyers, slumlords, and speculators are pitched against religious reformers, community organizers, and an impassioned attorney who launched a crusade against the profiteers—the author's father, Mark J. Satter. At the heart of the struggle stand the black migrants who, having left the South with its legacy of sharecropping, suddenly find themselves caught in a new kind of debt peonage. Satter shows the interlocking forces at work in their oppression: the discriminatory practices of the banking industry; the federal policies that created the country's shameful "dual housing market"; the economic anxieties that fueled white violence; and the tempting profits to be made by preying on the city's most vulnerable population. A monumental work of history, this tale of racism and real estate, politics and finance, will forever change our understanding of the forces that transformed urban America.

    From the moment powerful men started falling to the #MeToo movement, the lamentations began: this is feminism gone too far, this is injustice, this is a witch hunt. In The Witches Are Coming, firebrand author of the New York Times bestselling memoir and now critically acclaimed Hulu TV series Shrill, Lindy West, turns that refrain on its head. You think this is a witch hunt? Fine. You’ve got one.In a laugh-out-loud, incisive cultural critique, West extolls the world-changing magic of truth, urging readers to reckon with dark lies in the heart of the American mythos, and unpacking the complicated, and sometimes tragic, politics of not being a white man in the twenty-first century. She tracks the misogyny and propaganda hidden (or not so hidden) in the media she and her peers devoured growing up, a buffet of distortions, delusions, prejudice, and outright bullsh*t that has allowed white male mediocrity to maintain a death grip on American culture and politics-and that delivered us to this precarious, disorienting moment in history.West writes, “We were just a hair’s breadth from electing America’s first female president to succeed America’s first black president. We weren’t done, but we were doing it. And then, true to form—like the Balrog’s whip catching Gandalf by his little gray bootie, like the husband in a Lifetime movie hissing, ‘If I can’t have you, no one can’—white American voters shoved an incompetent, racist con man into the White House.”We cannot understand how we got here-how the land of the free became Trump’s America—without examining the chasm between who we are and who we think we are, without fact—checking the stories we tell ourselves about ourselves and each other. The truth can transform us; there is witchcraft in it. Lindy West turns on the light.

    While vinyl records have enjoyed a renaissance in recent years, good 78s are exponentially harder to come by and play. A recent eBay auction for the only known copy of a particular record topped out at $37,100. Do Not Sell at Any Price explores the rarified world of the 78rpm record—from the format’s heyday to its near extinction—and how collectors and archivists are working frantically to preserve the music before it’s lost forever.Through fascinating historical research and beguiling visits with the most prominent 78 preservers, Amanda Petrusich offers both a singular glimpse of the world of 78 collecting and the lost backwoods blues artists whose 78s from the 1920s and 1930s have yet to be found or heard by modern ears. We follow the author’s descent into the oddball fraternity of collectors—including adventures with Joe Bussard, Chris King, John Tefteller, Pete Whelan, and more—who create and follow their own rules, vocabulary, and economics and explore the elemental genres of blues, folk, jazz, and gospel that gave seed to the rock, pop, country, and hip-hop we hear today. From Thomas Edison to Jack White, Do Not Sell at Any Price is an untold, intriguing story of preservation, loss, obsession, art, and the evolution of the recording formats that have changed the ways we listen to (and create) music.

    Over the next five decades of reporting, he often returned to scenes of racial tension. Now, for the first time, the best of Trillin’s pieces on race in America have been collected in one volume.   In the title essay of Jackson, 1964, we experience Trillin’s riveting coverage of the pathbreaking voter registration drive known as the Mississippi Summer Project—coverage that includes an unforgettable airplane conversation between Martin Luther King, Jr., and a young white man sitting across the aisle. (“I’d like to be loved by everyone,” King tells him, “but we can’t always wait for love”).   In the years that follow, Trillin rides along with the National Guard units assigned to patrol black neighborhoods in Wilmington, Delaware, long after the riots there have ended; looks into a Boston disco whose doormen ask black patrons for more photo IDs than most people carry; reports on the case of a black homeowner accused of manslaughter in the death of a white teenager in an overwhelmingly white Long Island suburb; and chronicles the remarkable fortunes of the Zulu Social Aid & Pleasure Club, a black carnival krewe in New Orleans whose members parade on Mardi Gras in blackface.   He takes on issues that are as relevant today as they were when he wrote about them. Excessive sentencing is examined in a 1970 piece about a black militant in Houston sentenced to thirty years in prison for giving away one marijuana cigarette. The role of race in the use of deadly force by police is highlighted in a 1975 article about an African American shot by a white policeman in Seattle.   Uniting all these pieces is Trillin’s unflinching eye and graceful prose. Jackson, 1964 is an indispensable account of a half-century of race and racism in America, through the lens of a master journalist and writer who was there to bear witness.  Praise for Calvin Trillin  “[A writer] of painterly, impeccably crafted journalism.”—People   “There can never be enough of Calvin Trillin. He has become a literary treasure over the past four decades.”—The Washington Times   “Without false rhetoric . . . [Trillin] can suddenly bring into focus the whole confused story of Civil Rights by examining in detail one particularly significant episode.”—The Times Literary Supplement

    Bonilla-Silva documented how beneath the rhetorical maze of contemporary racial discourse lies a full-blown arsenal of arguments, phrases, and stories that whites use to account for and ultimately justify racial inequities.In the new edition Bonilla-Silva has added a chapter dealing with the future of racial stratification in America that goes beyond the white / black dichotomy. He argues that the U.S. is developing a more complex and apparently "plural" racial order that will mimic Latin American patterns of racial stratification. Another new chapter addresses a variety of questions from readers of the first edition. And he has updated the book throughout with new information, data, and references where appropriate. The book ends with a new Postscript, "What is to be Done (For Real?)". As in the highly acclaimed first edition, Bonilla-Silva continues to challenge color-blind thinking.

    A cultural history of Wonder Woman traces the character's creation and enduring popularity, drawing on interviews and archival research to reveal the pivotal role of feminism in shaping her seven-decade story.Examines the life of Wonder Woman creator William Moulton Marston and his polyamorous relationship with wife Elizabeth Holloway and mistress Olive Byrne, both of whom inspired and influenced the comic book character's creation and development.-Abstract from WorldCat

    Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    Wells (1862-1931) was one of the foremost crusaders against black oppression. This engaging memoir tells of her private life as mother of a growing family as well as her public activities as teacher, lecturer, and journalist in her fight against attitudes and laws oppressing blacks. "No student of black history should overlook Crusade for Justice."—William M. Tuttle, Jr., Journal of American History "Besides being the story of an incredibly courageous and outspoken black woman in the face of innumerable odds, the book is a valuable contribution to the social history of the United States and to the literature of the women's movement as well."—Elizabeth Kolmer, American Quarterly "[Wells was] a sophisticated fighter whose prose was as thorough as her intellect."—Walter Goodman, New York Times "An illuminating narrative of a zealous, race-conscious, civic- and church-minded black woman reformer, whose life story is a significant chapter in the history of Negro-White relations."—Thelma D. Perry, Negro History Bulletin