Desire, a spark, and a decision made too fast. A Las Vegas stripper is plunged into the depraved world of a psychopath. But is she the only target of his twisted desires? A regular Sunday night in a Las Vegas strip club is rocked when a local oddball dies mysteriously during a private dance. Amber falls immediately in lust with the hot paramedic who arrives, and follows him outside. But her casual encounter quickly descends into a terrifying, twisted nightmare from which she is unable to escape. Five days later, it’s Lana’s next shift at the club. She’s a fly-in-fly-out dancer paying her way through law school – and she’s Amber’s best friend. But where is Amber, and what about the dead client? Was it an accident, suicide, or murder? Finding neither the police nor the club are taking much interest, Lana conducts her own inquiries. Thrust into a web of lies and deceptions she is determined to unravel, she's desperate to uncover the truth about the death, but the person she most needs to speak to is Amber. An addictively dark, psychological thriller, Isobel Blackthorn's 'Twerk' exposes the working lives of strippers beyond the glamor - the challenges, the rewards, and the risks.

Poetry. African American Studies. Peformance Studies. TWERK unveils an identity shaped by popular media and history, code switching and cultural inclusivity. The poems, songs, and myths in this long-awaited first book are as rooted in lyric as in innovation, in Black music as in macaronic satire. TWERK evokes paradox, humor, and vulnerability, and it offers myriad avenues fueled by language, idiom, and vernacular. This book asks only that we imagine America as it has always existed, an Americana beyond the English language. "Here it is: a dope jam of dictions; a remixed, multicultural, polyphonic dance of vocabularies; a language of high stakes, hi-jinx, and hybridity. TWERK is subversive, vulnerable, and volatile. TwERK twists tongues. TwERK tweaks speech. Reading these amazing poems mostly makes me say, Wow Open your ears to take this music in, open your mouth to say it out loud. And: Wow " Terrance Hayes "Tweaking parallel languages, rebooting and putting them to (hard, hard) work, TWERK's non-stop shimmy-shimmy embarks on an anime-iigjag idio-lingual-lectical booty-roll and doesn't come down until the break of dawn. La Reina de Harlem responds to Lorca's Big-Apple-opolis heteroglossia with her own inimitable animations, incantations and ululations, twisting tongues so mellifluously that you don't even realize you've been dancing on Saturn with Sun Ra for hours and still could have begged for more. Welcome LaTasha Diggs: this is her many-splendored night out " Maria Damon "From this time forward, TWERK, can refer to a collection of cultural coordinates of a radically transformed Americas. TWERK is rare poetics, a vine enmeshed onyx slab of gypsum glyphs inscribed. Cut, swirly, and nervy, N. Diggs's fractal-linguistic urban chronicles deftly snip away at the lingering fears of a fugitive English's frisky explorations. In her first major work, N. Diggs doesn't so much 'find' culture as she conjures up the new emerging happy peoples herein. Five thousand updates download now " Rodrigo Toscano"

In this follow-up to the first volume of Everyday Analysis articles, Why are Animals Funny?, the EDA Collective tracks through an ABC of modern phenomena ordered by analytic theme, widely ranging from Advertising to Language, Sport to Education, Film and TV to Work and Play, and Politics to Comic Universes. Punctuating these phenomenal pieces are illustrations from a range of artists and cartoonists, including Martin Rowson of the London Guardian.

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This interdisciplinary volume explores the girl’s voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls’ online media culture. While girls’ voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old clichés of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl’s voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl’s voice throughout adolescence; girl’s participatory culture via youtube and rock camps, and representations of the girl’s voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, Beyoncé, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women’s and gender studies, media studies, and education to investigate the importance of girls’ voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.

'" Galko-chan always speaks her mind, which may not be the wisest decision in all cases, but it''s never short of entertaining! Meet the exuberant and unbelievably busty high schooler, Galko, as she traverses the ups and downs of adolescence with spirit and verve, alongside her best friends–the anti-social loner, Otako, and the unpredictably honest, Ojyo. "'