Recommendations based on "Sex and Rage"

'A roadmap for a new generation' VOGUE 'Radical, funny and fearless' VANITY FAIR 'Gripping' NYLON An electric, searing memoir by the original Riot Grrrl and legendary frontwoman of Bikini Kill and Le Tigre Kathleen Hanna's rallying cry to feminists echoed far and wide through the punk scene of the 1980s, '90s, and beyond. Her band, Bikini Kill, embodies this iconic time, and today their gutsy, radical lyrics of anthems like 'Rebel Girl' and 'Double Dare Ya' are more powerful than ever. But where did this transformative voice come from? In Rebel Girl, Hanna's raw and insightful new memoir, she takes us from her tumultuous childhood home, to her formative college years in Olympia, Washington, and on to her first years on tour, fighting hard for gigs and for her band. As Hanna makes blindingly clear, being in a 'girl band', especially a punk girl band, in those years was not a simple or a safe prospect. Male violence and antagonism threatened at every turn, and surviving as a band took limitless amounts of grit and bravery. But the relationships she developed during those years buoyed her - including with her bandmates Tobi Vail, Kathi Wilcox, and Billy Karren; her friendship with Kurt Cobain; and her introduction to Joan Jett - and they were a testament to how the true punk world nurtured and cared for its own. Hanna opens up about falling in love with Ad-Rock of the Beastie Boys and her debilitating battle with Lyme disease, and she brings us behind the scenes of her later bands, Le Tigre and The Julie Ruin. She also writes candidly about the Riot Grrrl movement and its decline, documenting with love its grassroots origins but critiquing its later exclusivity. In an uncut voice all her own, Hanna reveals the darkest, hardest times along with the most joyful - and how it all fuelled her revolutionary art, from the 1980s to today.

Thirteen-year-old Byron needs to get away, and doesn't care how. Sick of being beaten up by lads for "talkin' like a poof" after school. Sick of dad - the weightlifting, womanising Gaz - and Mam, who pissed off to Turkey like Shirley Valentine. Sick of all the people in Hucknall who shuffle about like the living dead, going on about kitchens they're too skint to do up and marriages they're too scared to leave.It's a new millennium, Madonna's 'Music' is top of the charts and there's a whole world to explore - and Byron's happy to beg, steal and skank onto a rollercoaster ride of hedonism. Life explodes like a rush of ecstasy when Byron escapes into Nottingham's kinetic underworld and discovers the East Midlands' premier podium-dancer-cum-hellraiser, the mesmerising Lady Die. But when the comedown finally kicks in, Byron arrives at a shocking encounter that will change life forever.Bold, poignant and riotously funny, What It Feels Like For a Girl is the unique, hotly-anticipated and addictively-readable debut from one of Britain's most exciting young writers.

From one of the UK’s most followed journalists comes a mythbusting call-to-arms that exposes sex misinformation and champions inclusive and equitable sex.Clueless about everything from her own anatomy to relationships, Sophia Smith Galer’s sex education classes left her with more questions than answers. But what she didn’t know was that this lack of knowledge was about to turn her life upside down – as it does to countless people in the UK every year.Thanks to inadequate sex education, many of us are finishing school knowing more about STDs and condoms than the bigger sexual picture – our own physicality, pleasure and consent. And the effects can last a lifetime.In Losing It, Smith Galer shares the eye-opening stories of ordinary people affected by sex misinformation and finds that many of us are unable to access the world of sexual freedom that we’ve been promised. She draws on her own experiences – and the expertise of a new generation of sex educators – to uncover a world that subscribes to a wide catalogue of sex myths. This book Virginity Does having sex for the first time alter us biologically?The Sexlessness Who is abstaining and why?The Virility Why do men feel so much pressure to have sex?The Consent Is there more to it than just saying no?Losing It challenges the status quo and empowers people from all backgrounds and any age to rewrite the story of their sex lives.

The woman behind the icon known as Elvira, Mistress of the Dark, the undisputed Queen of Halloween, reveals her full story filled with intimate bombshells—told by the bombshell herself.On Good Friday in 1953, at only 18 months old, 25 miles from the nearest hospital in Manhattan, Kansas, Cassandra Peterson reached for a pot on the stove and doused herself in boiling water. Third-degree burns covered 35% of her body, and the prognosis wasn't good. But she survived. Burned and scarred, the impact stayed with her and became an obstacle she was determined to overcome. Feeling like a misfit led to her love of horror. While her sisters played with Barbie dolls, Cassandra built model kits of Frankenstein and Dracula, and idolized Vincent Price.Due to a complicated relationship with her mother, Cassandra left home at 14, and by age 17 she was performing at the famed Dunes Hotel in Las Vegas. Run-ins with the likes of Frank Sinatra, Sammy Davis Jr., and Tom Jones helped her grow up fast. Then a chance encounter with her idol Elvis Presley, changed the course of her life forever, and led her to Europe where she worked in film and traveled Italy as lead singer of an Italian pop band. She eventually made her way to Los Angeles, where she joined the famed comedy improv group, The Groundlings, and worked alongside Phil Hartman and Paul "Pee-wee" Reubens, honing her comedic skills.Nearing age 30, a struggling actress considered past her prime, she auditioned at local LA channel KHJ as hostess for the late night vintage horror movies. Cassandra improvised, made the role her own, and got the job on the spot. Yours Cruelly, Elvira is an unforgettably wild memoir. Cassandra doesn't shy away from revealing exactly who she is and how she overcame seemingly insurmountable odds. Always original and sometimes outrageous, her story is loaded with twists, travails, revelry, and downright shocking experiences. It is the candid, often funny, and sometimes heart-breaking tale of a Midwest farm girl's long strange trip to become the world's sexiest, sassiest Halloween icon.Instant New York Times Bestseller, Los Angeles Times Bestseller, USA Today Bestseller, Publishers Weekly BestsellerA New York Times Best Books to Give This Season selection

As Lillian Faderman writes, there are "no constants with regard to lesbianism," except that lesbians prefer women. In this groundbreaking book, she reclaims the history of lesbian life in twentieth-century America, tracing the evolution of lesbian identity and subcultures from early networks to more recent diverse lifestyles. She draws from journals, unpublished manuscripts, songs, media accounts, novels, medical literature, pop culture artifacts, and oral histories by lesbians of all ages and backgrounds, uncovering a narrative of uncommon depth and originality.

"Powerfully raw, deeply moving, and utterly authentic. Rachel Lloyd has turned a personal atrocity into triumph and is nothing less than a true hero.... Never again will you look at young girls on the street as one of 'those' women—you will only see little girls that are girls just like us." —Demi Moore, actress and activist  With the power and verity of First They Killed My Father and A Long Way Gone, Rachel Lloyd’s riveting survivor story is the true tale of her hard-won escape from the commercial sex industry and her bold founding of GEMS, New York City’s Girls Education and Mentoring Service, to help countless other young girls escape "the life." Lloyd’s unflinchingly honest memoir is a powerful and unforgettable story of inhuman abuse, enduring hope, and the promise of redemption.

Where did the word love come from? Has there ever been a gay pope? How did Valentine's Day originate? From the lascivious to the romantic, from the hard-core to the scientific and the scholarly, this engaging and eye-opening compendium of little known facts about sex is both informative and endlessly entertaining.

Roof's ambitious, wide-ranging book links narrative theory, theories of sexuality, and gay and lesbian theory to explore the place of homosexuality, and specifically the lesbian, in the tradition of western narrative. According to Freud, perversions are the necessary obstacles in a heroic plot of normal heterosexual development; and homosexuality is the nineteenth century's classic case of perversion. Roof builds on Freud to illustrate that a structural understanding of narrative enforces a heterosexual paradigm, a sense of meaning that provides psychological stability for the reader. Looking at film, television, and lesbian novels, Roof explores how ideas of narrative and sexuality inform, determine, and reproduce one another. She identifies the paradigmatic lesbian story, its unvarying repetition, and how it might be recast. Understanding identification as a narrative practice, and narrative as typically heterosexual and reproductive, Roof shows how sexuality and narrative must be disentangled to alter oppressive social practices.Come As You Are marks a significant contribution to lesbian and gay studies, psychoanalytic theory, and feminism.

Key artists' writings that have influenced and catalyzed contemporary queer artistic practice.Historically, "queer" was the slur used against those who were perceived to be or made to feel abnormal. Beginning in the 1980s, "queer" was reappropriated and embraced as a badge of honor. While queer draws its politics and affective force from the history of non-normative, gay, lesbian, and bisexual communities, it is not equivalent to these categories, nor is it an identity. Rather, it offers a strategic undercutting of the stability of identity and of the dispensation of power that shadows the assignment of categories and taxonomies. Artists who identify their practices as queer today call forth utopian and dystopian alternatives to the ordinary, adopt outlaw stances, embrace criminality and opacity, and forge unprecedented kinships, relationships, loves, and communities.Rather than a book of queer theory for artists, this is a book of artists' queer tactics and infectious concepts. By definition, there can be no singular "queer art." Here, in the first Documents of Contemporary Art anthology to be centered on artists' writings, numerous conversations about queer practice are brought together from diverse individual, social and cultural contexts. Together these texts describe and examine the ways in which artists have used the concept of queer as a site of political and institutional critique, as a framework to develop new families and histories, as a spur to action, and as a basis from which to declare inassimilable difference.Artists and writers includeNayland Blake, Gregg Bordowitz, Leigh Bowery, AA Bronson, A. K. Burns, Giuseppe Campuzano, Tee Corinne, Barbara DeGenevieve, Dyke Action Machine , Elmgreen & Dragset, Rotimi Fani-Kayode, Simon Fujiwara, Malik Gaines, Felix Gonzalez-Torres, Gran Fury, Sunil Gupta, Hahn Thi Pham, Harmony Hammond, Sharon Hayes, Hudson, Roberto Jacoby, Derek Jarman, Isaac Julien, Mahmoud Khaled, Zoe Leonard, Lesbian Avengers, Catherine Lord, Ma Liuming, LTTR, Allyson Mitchell, Zanele Muholi, Carlos Motta, Oca a, H lio Oiticica, Catherine Opie, Ridykeulous (Nicole Eisenman & A.L. Steiner), Marlon Riggs, Emily Roysdon, Prem Sahib, Assoto Saint, Tejal Shah, Amy Sillman, Jack Smith, Wolfgang Tillmans, Toxic Titties, Danh Vo, David Wojnarowicz, Wu Tsang, Yan Xing, Las Yeguas del Apocalipsis, Akram Zaatari, Sergio Zevallos

The men of Renaissance Florence were so renowned for sodomy that "Florenzer" in German meant "sodomite." Indeed, in the late fifteenth century, as many as one in two Florentine men had come to the attention of the authorities for sodomy by the time they were thirty. In the seventy years from 1432 to 1502, some 17,000 men--in a city of only 40,000--were investigated for sodomy; 3,000 were convicted and thousands more confessed to gain amnesty. Michael Rocke vividly depicts this vibrant sexual culture in a world where these same-sex acts were not the deviant transgressions of a small minority, but an integral part of a normal masculine identity. In 1432 The Office of the Night was created specifically to police sodomy in Florence. Seventy years of denunciations, interrogations, and sentencings left an extraordinarily detailed record, which Rocke uses to its fullest in this richly documented portrait. He describes a wide range of sexual experiences between males, ranging from boys such as fourteen-year-old Morello di Taddeo, who prostituted himself to fifty-seven men, to the notorious Jacopo di Andrea, a young bachelor implicated with forty adolescents over a seventeen-year period and convicted thirteen times; same-sex "marriages" like that of Michele di Bruno and Carlo di Berardo, who were involved for several years and swore a binding oath to each other over an altar; and Bernardo Lorini, a former Night Officer himself with a wife and seven children, accused of sodomy at the age of sixty-five. (Mortified, he sent his son Taddeo to confess for him and plead for a discreet resolution of his case.) Indeed, nearly all Florentine males probably had some kind of same-sex experience as a part of their "normal" sexual life. Rocke uncovers a culture in which sexual roles were strictly defined by age, with boys under eighteen the "passive" participants in sodomy, youths in their twenties and older men the "active" participants, and most men at the age of thirty marrying women, their days of sexual frivolity with boys largely over. Such same sex activities were a normal phase in the transition to adulthood, and only a few pursued them much further. Rather than precluding heterosexual experiences, they were considered an extension of youthful and masculine lust and desire. As Niccolo Machiavelli quipped about a handsome man, "When young he lured husbands away from their wives, and now he lures wives away from their husbands." Florentines generally accepted sodomy as a common misdemeanor, to be punished with a fine, rather than as a deadly sin and a transgression against nature. There was no word, in the otherwise rich Florentine sexual lexicon, for "homosexual," nor was there a distinctive and well-developed homosexual "subculture." Rather, sexual acts between men and boys were an integral feature of the dominant culture. Rocke roots this sexual activity in the broader context of Renaissance Florence, with its social networks of families, juvenile gangs, neighbors, patronage, workshops, and confraternities, and its busy political life from the early years of the Republic through the period of Lorenzo de' Medici, Savonarola, and the beginning of Medici princely rule. His richly detailed book paints a fascinating picture of a vibrant time and place and calls into question our modern conceptions of gender and sexual identity.