The Feminine Mystique (1963) is a powerful critique of women's roles in contemporary American society. Drawing on new scholarship in the social sciences, Betty Friedan attacked a wide range of institutions-among them women's magazines, women's colleges, and advertisers-for promoting a one-dimensional image of women as happy housewives. This image, Friedan suggested, created a "feminine mystique," a belief that "fulfillment as a woman had only one definition for American women after 1949-the housewife-mother." The book soon became a national best seller, with over a million copies sold. This Norton Critical Edition of Friedan's phenomenal book traces its cultural and historical significance over its first fifty years. The text of The Feminine Mystique is accompanied by an introduction and is fully annotated. Friedan's book is the product of her early life as an activist, a student, and an intellectual while also drawing on her own experiences as a wife and mother. "Origins and Influences" includes writings that helped shape the author's ideas about women and society. These works are topically organized: "Childhood World," "Intellectual Influences," "Domesticity and 'Momism' during the Cold War," "Popular-Front Feminism," "The Power of the Feminine Mystique on Betty Friedan?," and finally, "Female Labor Force Participation Trends in the Twentieth Century." Among the authors included are Robert S. and Helen Merrell Lynd, Friedrich Engels, Margaret Mead, Amram Scheinfeld, and Simone de Beauvoir. The 1960s was a time of great upheaval in America with sweeping changes throughout society including women's rights, civil rights, peace movements, environmental movements, student activism, and the sexual revolution. It was also a time when a number of American Jewish intellectuals, including Friedan, made comparisons between American life and Nazi destruction. "The Turn of the Sixties: Political, Intellectual, and Cultural Ferment" provides readers with an understanding of The Feminine Mystique's contemporary context through relevant U.S. government documents and through the voices of, among others, Eleanor Roosevelt, Reverend Martin Luther King Jr., Helen Gurley Brown, and Bruno Bettelheim. More impressive than even The Feminine Mystique's best-seller status and the debate it sparked in the national press is its broader cultural significance. Hundreds of women wrote to Friedan about how the book affected them personally. "Impact" includes a selection of these letters from the Betty Friedan Papers, along with feminist writings from the second (Pauli Murray, Robin Morgan, Bella Abzug) and third (Rebecca Walker, Naomi Wolf, Jennifer Baumgardner and Amy Richards) waves of feminism, and the backlash against the movement and The Feminine Mystique (Phyllis Schlafly). The book also includes a section on the scholarship on The Feminine Mystique, with excerpts from scholars such as Daniel Horowitz, Joanne Meyerowitz, Ruth Rosen, and Stephanie Coontz. Analyses of Betty Friedan as a historian, the evolution of her ideas, and the legacy of The Feminine Mystique on its fiftieth anniversary are included. A Chronology of Betty Friedan's life and work and a Selected Bibliography are also included.

Cazzu es una de las traperas más importantes de Latinoamérica. No es casual que la llamen La Jefa. No es casual que su perreo moleste a muchos, interpele a tantas, y no deje indiferente a nadie. Durante años, Cazzu se enfrentó a una pregunta: “¿Cómo se siente tener éxito en un género musical tan machista?”. Y como le ocurre a casi cualquier mujer virtuosa y con notoriedad, le pidieron que diera explicaciones. Pero ¿por qué se lo preguntaban más a ella que a los hombres? Y, sobre todo, ¿es realmente machista el reggaetón? Este libro nació como respuesta y como exploración a esa dualidad que anida en el género: letras que sexualizan a las mujeres, pero también mujeres que expresan su deseo, saben lo que quieren, cómo y cuándo. Las reggaetoneras, dice Cazzu, son lamentablemente una utopía: ejercen su derecho al sexo sin correr peligro y sin preocuparse por la condena social. En Perreo, una revolución, repasa su recorrido, una trayectoria marcada por la superación de innumerables desafíos y traiciones. Armada de un gran talento y una fuerza de trabajo incansable, desde muy joven construyó una carrera notable y atrevida que la catapultó a los grandes escenarios del mundo, consolidándose como una de las traperas más importantes de Latinoamérica. La definen la delicadeza y la potencia, la ternura y la rebeldía. No es casual que la llamen La Jefa. La voz de Cazzu es única, sí, pero es el grito contenido de muchas que no tienen voz. «El reggaetón incomoda, despierta la cólera en los más conservadores, porque propone otra mujer, una perra desinhibida que controla su cuerpo, sus decisiones y su sexualidad, y que con su actitud ridiculiza cualquier opinión ofensiva». ENGLISH DESCRIPTION Cazzu is one of the most important trappers in Latin America. It is no coincidence she is called La Jefa. It is no coincidence her twerk bothers many, challenges many, and leaves no one indifferent. For years, Cazzu has faced one question: “How does it feel to succeed in such a misogynistic musical genre?” And as it happens to almost any famous virtuosa, she was asked to explain. But why was she asked more often than men? And above all, is reggaeton really misogynistic? This book was born as an answer to and an exploration of this duality that nests inside the genre: lyrics that sexualize women, but also women who express their desire, who know what they want, how and when. Female reggaeton artists, says Cazzu, are unfortunately utopian: they exercise their right to have sex free of danger and without worrying about social stigma. In Twerk. A Revolution, she goes over her journey, a career marked by surmounting several challenges and betrayals. Armed with great talent and a relentless strength for work, from a very young age she built a remarkable and bold career that helped catapult her to the greatest stages in the world, establishing herself as one of the most important trappers in Latin America. She is defined by gentleness and power, sweetness and rebellion. It is no coincidence she is called La Jefa. Cazzu’s voice is unique, yes, but she is the strangled cry of many women who have no voice. “Reggaeton makes people uncomfortable, it awakens the wrath of the most conservative because it puts forward a different kind of woman, a disinhibited bitch in control of her body, her choices, and her sexuality, someone who ridicules any offensive opinion with her attitude.”

Cazzu es una de las traperas más importantes de Latinoamérica. No es casual que la llamen La Jefa. No es casual que su perreo moleste a muchos, interpele a tantas, y no deje indiferente a nadie. Durante años, Cazzu se enfrentó a una pregunta: “¿Cómo se siente tener éxito en un género musical tan machista?”. Y como le ocurre a casi cualquier mujer virtuosa y con notoriedad, le pidieron que diera explicaciones. Pero ¿por qué se lo preguntaban más a ella que a los hombres? Y, sobre todo, ¿es realmente machista el reggaetón? Este libro nació como respuesta y como exploración a esa dualidad que anida en el género: letras que sexualizan a las mujeres, pero también mujeres que expresan su deseo, saben lo que quieren, cómo y cuándo. Las reggaetoneras, dice Cazzu, son lamentablemente una utopía: ejercen su derecho al sexo sin correr peligro y sin preocuparse por la condena social. En Perreo, una revolución, repasa su recorrido, una trayectoria marcada por la superación de innumerables desafíos y traiciones. Armada de un gran talento y una fuerza de trabajo incansable, desde muy joven construyó una carrera notable y atrevida que la catapultó a los grandes escenarios del mundo, consolidándose como una de las traperas más importantes de Latinoamérica. La definen la delicadeza y la potencia, la ternura y la rebeldía. No es casual que la llamen La Jefa. La voz de Cazzu es única, sí, pero es el grito contenido de muchas que no tienen voz. «El reggaetón incomoda, despierta la cólera en los más conservadores, porque propone otra mujer, una perra desinhibida que controla su cuerpo, sus decisiones y su sexualidad, y que con su actitud ridiculiza cualquier opinión ofensiva». ENGLISH DESCRIPTION Cazzu is one of the most important trappers in Latin America. It is no coincidence she is called La Jefa. It is no coincidence her twerk bothers many, challenges many, and leaves no one indifferent. For years, Cazzu has faced one question: “How does it feel to succeed in such a misogynistic musical genre?” And as it happens to almost any famous virtuosa, she was asked to explain. But why was she asked more often than men? And above all, is reggaeton really misogynistic? This book was born as an answer to and an exploration of this duality that nests inside the genre: lyrics that sexualize women, but also women who express their desire, who know what they want, how and when. Female reggaeton artists, says Cazzu, are unfortunately utopian: they exercise their right to have sex free of danger and without worrying about social stigma. In Twerk. A Revolution, she goes over her journey, a career marked by surmounting several challenges and betrayals. Armed with great talent and a relentless strength for work, from a very young age she built a remarkable and bold career that helped catapult her to the greatest stages in the world, establishing herself as one of the most important trappers in Latin America. She is defined by gentleness and power, sweetness and rebellion. It is no coincidence she is called La Jefa. Cazzu’s voice is unique, yes, but she is the strangled cry of many women who have no voice. “Reggaeton makes people uncomfortable, it awakens the wrath of the most conservative because it puts forward a different kind of woman, a disinhibited bitch in control of her body, her choices, and her sexuality, someone who ridicules any offensive opinion with her attitude.”