The author of the international bestseller How to Be a Woman returns with another “hilarious neo-feminist manifesto” (NPR) in which she reflects on parenting, middle-age, marriage, existential crises—and, of course, feminism. A decade ago, Caitlin Moran burst onto the scene with her instant bestseller, How to Be a Woman, a hilarious and resonant take on feminism, the patriarchy, and all things womanhood. Moran’s seminal book followed her from her terrible 13th birthday through adolescence, the workplace, strip-clubs, love, and beyond—and is considered the inaugural work of the irreverent confessional feminist memoir genre that continues to occupy a major place in the cultural landscape. Since that publication, it’s been a glorious ten years for young women: Barack Obama loves Fleabag, and Dior make “FEMINIST” t-shirts. However, middle-aged women still have some nagging, unanswered questions: Can feminists have Botox? Why isn’t there such a thing as “Mum Bod”? Why do hangovers suddenly hurt so much? Is the camel-toe the new erogenous zone? Why do all your clothes suddenly hate you? Has feminism gone too far? Will your To Do List ever end? And WHO’S LOOKING AFTER THE CHILDREN? As timely as it is hysterically funny, this memoir/manifesto will have readers laughing out loud, blinking back tears, and redefining their views on feminism and the patriarchy. More Than a Woman is a brutally honest, scathingly funny, and absolutely necessary take on the life of the modern woman—and one that only Caitlin Moran can provide.

Inspiration of this book came to me while I was serving on Recruiting Duty in Shreveport, Louisiana. I discovered that there were not only myths about what male marines encounter in basic training but more myths about the women marines training. Most of what I heard was negative. Some of what I heard was that all women marines were masculine. None of them were heterosexual. I listened as some said that before meeting me that they believed that most of the women that joined the marines were unattractive. Also, incapable of landing a husband. I also heard that only women that did not want to accomplish much in life joined the marines. Most of those that I spoke with were thinking as I did before I joined. That women could not join the Marine Corps. That this branch of the armed services was dominated and designed only for men. My goal in writing this book is to share the fact that not only can women become marines but that it can also be a very rewarding experience. To also know that I understand, just like any occupation, everyone will not become a marine. If they could, we would not be such a recognized branch. For those that want a rewarding adventure, I feel that they should be a marine. The Marine Corps recruiting motto, The Few, the Proud, the Marines, shows that the important thing is the quality of the person, which is what is looked for and developed. Thats why many women that have celebrated successful careers in the Marine Corps can say proudly that they are more than women; they are women marines.

1913 - Suffragette throws herself under the King's horse. 1969 - Feminists storm Miss World. NOW - Caitlin Moran rewrites The Female Eunuch from a bar stool and demands to know why pants are getting smaller. There's never been a better time to be a woman: we have the vote and the Pill, and we haven't been burnt as witches since 1727. However, a few nagging questions do remain... Why are we supposed to get Brazilians? Should you get Botox? Do men secretly hate us? What should you call your vagina? Why does your bra hurt? And why does everyone ask you when you're going to have a baby? Part memoir, part rant, Caitlin Moran answers these questions and more in How To Be A Woman - following her from her terrible 13th birthday ('I am 13 stone, have no friends, and boys throw gravel at me when they see me') through adolescence, the workplace, strip-clubs, love, fat, abortion, TopShop, motherhood and beyond.

Women write about their experiences of loving music that doesn’t love them back – a feminist 'guilty pleasures'.e - a kind of feminist guilty pleasures. In the majority of mainstream writing and discussions on music, women appear purely in relation to men as muses, groupies or fangirls, with our own experiences, ideas and arguments dismissed or ignored. But this hasn’t stopped generations of women from loving, being moved by and critically appreciating music, even – and sometimes especially – when we feel we shouldn’t. Under My Thumb: Songs that Hate Women and the Women Who Love Them is a study of misogyny in music through the eyes of women. It brings together stories from journalists, critics, musicians and fans about artists or songs we love (or used to love) despite their questionable or troubling gender politics, and looks at how these issues interact with race, class and sexuality. As much celebration as critique, this collection explores the joys, tensions, contradictions and complexities of women loving music – however that music may feel about them. Featuring: murder ballads, country, metal, hip hop, emo, indie, Phil Spector, David Bowie, Guns N’ Roses, 2Pac, the Rolling Stones, Bob Dylan, AC/DC, Elvis Costello, Jarvis Cocker, Kanye West, Swans, Eminem, Jay-Z, Taylor Swift, Combichrist and many more.

Book Prize Winner of the International Alliance for Women in Music of the 2022 Pauline Alderman Awards for Outstanding Scholarship on Women in Music The Heart of a Woman offers the first-ever biography of Florence B. Price, a composer whose career spanned both the Harlem and Chicago Renaissances, and the first African American woman to gain national recognition for her works. Price's twenty-five years in Chicago formed the core of a working life that saw her create three hundred works in diverse genres, including symphonies and orchestral suites, art songs, vocal and choral music, and arrangements of spirituals. Through interviews and a wealth of material from public and private archives, Rae Linda Brown illuminates Price's major works while exploring the considerable depth of her achievement. Brown also traces the life of the extremely private individual from her childhood in Little Rock through her time at the New England Conservatory, her extensive teaching, and her struggles with racism, poverty, and professional jealousies. In addition, Brown provides musicians and scholars with dozens of musical examples.