When Stryyp and Agency Zero answer an emergency call from deep beneath New York City, Britanny senses something REALLY dark, powerful and inhuman is awaiting them underground. She and Gina head out for the site, originally discovered by Gina's most annoying rival, Professor Craft, but discover they're not working together like they used to. Now they must settle their differences and still arrive in time to stop this evil that lies within the Earth from baking the Big Apple!

The stereotype of the "gold digger" has had a fascinating trajectory in twentieth-century America, from tales of greedy flapper-era chorus girls to tabloid coverage of Anna Nicole Smith and her octogenarian tycoon husband. The term entered American vernacular in the 1910s as women began to assert greater power over courtship, marriage, and finances, threatening men's control of legal and economic structures. Over the course of the century, the gold digger stereotype reappeared as women pressed for further control over love, sex, and money while laws failed to keep pace with such realignments. The gold digger can be seen in silent films, vaudeville jokes, hip hop lyrics, and reality television. Whether feared, admired, or desired, the figure of the gold digger appears almost everywhere gender, sexuality, class, and race collide. This fascinating interdisciplinary work reveals the assumptions and disputes around women's sexual agency in American life, shedding new light on the cultural and legal forces underpinning romantic, sexual, and marital relationships.

Anthem of Misogyny: The War on Women in North Africa and the Middle East argues that misogyny—which operates through an interconnected network of ideologies, institutions, beliefs, aesthetics, and cultural trends—is too complex and too deep rooted to eradicate with superficial changes. Like a national anthem, misogyny in North Africa and the Middle East has acquired a sacred status. It is accepted uncritically and woven effortlessly into daily practices, creating a community of men of different ages, educational levels, and socioeconomic backgrounds who are united in their sense of entitlement to evaluate, scrutinize, deter, question, and expose women. For women, it is as if they are in a state of perpetual war, forever on the verge of being accused of deviating from the norms and being punished. These norms, however, are neither clear nor predictable. This study of misogyny is written against a dominant orthodoxy in Western feminism. Critics are accused of gendered orientalism, savior complexes, and even Islamophobia if they dare to bring up misogyny and gender-based violence in North Africa and the Middle East in contexts other than calling it a Western-created issue. Rather than exaggerate Western agency, this book is invested in making Muslim agency visible. There are narratives of violence and injustice that produce discomfort, anger, and even despair. These stories deserve to be told, and those behind the injustices are entitled to an unfiltered portrayal because the non-West, too, is deserving of unapologetic feminist critique.

In this engaging book—the first to historicize our understanding of sexual harassment in the workplace—Julie Berebitsky explores how Americans’ attitudes toward sexuality and gender in the office have changed from the 1860s, when women first took jobs as clerks in the U.S. Treasury office, to the present. Berebitsky recounts the actual experiences of female and male office workers; draws on archival sources ranging from the records of investigators looking for waste in government offices during World War II to the personal papers of Cosmopolitan editor Helen Gurley Brown and Ms. magazine founder Gloria Steinem; and explores how popular sources—including cartoons, advertisements, advice guides, and a wide array of fictional accounts—have represented wanted and unwelcome romantic and sexual advances. By giving sex in the office a history, she provides valuable insights into the nature and meaning of sexual harassment today.

The first work of its kind, this encyclopedia provides 360 brief biographies of African American film and television acPER010000tresses from the silent era to 2009. It includes entries on well-known and nearly forgotten actresses, running the gamut from Academy Award and NAACP Image Award winners to B-film and blaxpoitation era stars. Each entry has a complete filmography of the actress's film, TV, music video or short film credits. The work also features more than 170 photographs, some of them rare images from the Schomburg Center for Research in Black Culture.