Vanity Fair S Women On Women

Looking back at the last thirty-five years of Vanity Fair stories on women, by women, with an introduction by the magazine’s editor in chief, Radhika Jones Gail Sheehy on Hillary Clinton. Ingrid Sischy on Nicole Kidman. Jacqueline Woodson on Lena Waithe. Leslie Bennetts on Michelle Obama. And two Maureens (Orth and Dowd) on two Tinas (Turner and Fey). Vanity Fair’s Women on Women features a selection of the best profiles, essays, and columns on female subjects written by female contributors to the magazine over the past thirty-five years. From the viewpoint of the female gaze come penetrating profiles on everyone from Gloria Steinem to Princess Diana to Whoopi Goldberg to essays on workplace sexual harassment (by Bethany McLean) to a post–#MeToo reassessment of the Clinton scandal (by Monica Lewinsky). Many of these pieces constitute the first draft of a larger cultural narrative. They tell a singular story about female icons and identity over the last four decades—and about the magazine as it has evolved under the editorial direction of Tina Brown, Graydon Carter, and now Radhika Jones, who has written a compelling introduction. When Vanity Fair’s inaugural editor, Frank Crowninshield, took the helm of the magazine in 1914, his mission statement declared, “We hereby announce ourselves as determined and bigoted feminists.” Under Jones’s leadership, Vanity Fair continues the publication’s proud tradition of highlighting women’s voices—and all the many ways they define our culture.

Previously uncollected nonfiction pieces by Hollywood's ultimate It Girl about everything from fashion to tango to Jim Morrison and Nicholas Cage. With Eve’s Hollywood Eve Babitz lit up the scene in 1974. The books that followed, among them Slow Days, Fast Company and Sex and Rage, have seduced generations of readers with their unfailing wit and impossible glamour. What is less well known is that Babitz was a working journalist for the better part of three decades, writing for the likes of Rolling Stone, Vogue, and Esquire, as well as for off-the-beaten-path periodicals like Wet: The Magazine of Gourmet Bathing and Francis Ford Coppola’s short-lived City. Whether profiling Hollywood darlings, getting to the bottom of health crazes like yoga and acupuncture, remembering friends and lovers from her days hobnobbing with rock stars at the Troubadour and art stars at the Ferus Gallery, or writing about her beloved, misunderstood hometown, Los Angeles, Babitz approaches every assignment with an energy and verve that is all her own. I Used to Be Charming gathers nearly fifty pieces written between 1975 and 1997, including the full text of Babitz’s wry book-length investigation into the pioneering lifestyle brand Fiorucci. The title essay, published here for the first time, recounts the accident that came close to killing her in 1996; it reveals an uncharacteristically vulnerable yet never less than utterly charming Babitz.

“Page after page of stunningly rendered images. . . . go to the party that is Vanity Fair. This time, we’re all invited.” —The New York Times In words, photography, and illustrations, this book spans a century of personality and power, art and commerce, current events, crises, and culture both highbrow and low, as chronicled in the magazine Vanity Fair. From its inception in 1913, through the Jazz Age and the Depression, to its reincarnation in the boom-boom Reagan years, to the image-saturated Information Age, Vanity Fair has presented the modern era as it unfolded, using wit, imagination, peerless literary narrative, and bold, groundbreaking imagery from the greatest photographers, artists, and illustrators of the day. This sumptuous book takes a decade-by-decade look at the world as seen by the magazine, with stops to describe the incomparable editor Frank Crowninshield and the birth of the Jazz Age Vanity Fair, the magazine’s controversial rebirth in 1983, and the history of the glamorous Vanity Fair Oscar Party.

'Indiscreet, brilliantly observed, frequently hilarious' Evening Standard 'Hang on - it's a wild ride' Meryl Streep It's 1983. A young Englishwoman arrives in Manhattan on a mission. Summoned in the hope that she can save Condé Nast's troubled new flagship Vanity Fair, Tina Brown is plunged into the maelstrom of competitive New York media. She survives the politics and the intrigue by a simple stratagem: succeeding. Here are the inside stories of the scoops and covers that sold millions: the Reagan kiss, the meltdown of Princess Diana's marriage to Prince Charles, the sensational Annie Leibovitz cover of a gloriously pregnant, naked Demi Moore. Written with dash and verve, the diary is also a sharply observed account of New York and London society. In its cinematic pages the drama, comedy and struggle of raising a family and running an 'it' magazine come to life.

An intimate look into the inner lives of our most prominent cultural figures— pulled from the celebrated Proust Questionnaire page in Vanity Fair magazine. The probing set of questions originated as a 19th-century parlor game popularized by contemporaries of Marcel Proust, the French essayist and novelist, who believed that an individual's answers reveal his true nature. Illustrated by Risko, Vanity Fair's Proust Questionnaire Edited by Graydon Carter and Illustrated by Risko, brings together the responses of 101 of the most vibrant personalities of our time, from Bette Midler and Lauren Bacall to Salman Rushdie and Norman Mailer, from Martin Scorsese and Shirley MacLaine to Aretha Franklin and Eric Clapton. Candid, hilarious, and endlessly fascinating,

This book offers readers a comprehensive introduction to the economy of attention from the perspective of the basic motive of the pursuit of attention: self-esteem. As a jumping-off point, it states the stark equation at the heart of this economy— that the self-esteem one can afford depends on one’s income of appreciative attention. The information markets in which participants compete to play a role in the consciousness of others are described as ‘vanity fairs’. Since the pursuit of self-esteem is highly effective when it comes to mobilizing human energies, vanity fairs are not just playgrounds of individual passions, but have been utilized by society since time immemorial as markets for particularly challenging demands. Starting with an analysis of the interface that connects the social economy of attention with the intra-psychic economy of self-esteem, the book then examines two main cases in point: modern science and the post-modern media culture. On the one hand we have scientists working for a ‘wage of fame’, who invest their own attention into getting the attention of others. On the other, today’s dominant media have left the sale of information behind to focus solely on the attraction of attention, which is sold as a service to the advertising industry. In each case the use of attention as a means of payment is key to its phenomenal success. But success comes at a price: the dark side of this monetization of attention is a kind of ’climate change’ in the collective mental sphere which threatens the very existence of our social fabric.

NATIONAL BESTSELLER WINNER OF THE BOOKER PRIZE “A must-read about modern Britain and womanhood . . . An impressive, fierce novel about the lives of black British families, their struggles, pains, laughter, longings and loves . . . Her style is passionate, razor-sharp, brimming with energy and humor. There is never a single moment of dullness in this book and the pace does not allow you to turn away from its momentum.” —Booker Prize Judges Bernardine Evaristo is the winner of the 2019 Booker Prize and the first black woman to receive this highest literary honor in the English language. Girl, Woman, Other is a magnificent portrayal of the intersections of identity and a moving and hopeful story of an interconnected group of Black British women that paints a vivid portrait of the state of contemporary Britain and looks back to the legacy of Britain’s colonial history in Africa and the Caribbean. The twelve central characters of this multi-voiced novel lead vastly different lives: Amma is a newly acclaimed playwright whose work often explores her Black lesbian identity; her old friend Shirley is a teacher, jaded after decades of work in London’s funding-deprived schools; Carole, one of Shirley’s former students, is a successful investment banker; Carole’s mother Bummi works as a cleaner and worries about her daughter’s lack of rootedness despite her obvious achievements. From a nonbinary social media influencer to a 93-year-old woman living on a farm in Northern England, these unforgettable characters also intersect in shared aspects of their identities, from age to race to sexuality to class. Sparklingly witty and filled with emotion, centering voices we often see othered, and written in an innovative fast-moving form that borrows technique from poetry, Girl, Woman, Other is a polyphonic and richly textured social novel that shows a side of Britain we rarely see, one that reminds us of all that connects us to our neighbors, even in times when we are encouraged to be split apart.