If you've ever felt like the cost of being a woman was somehow higher than that of being a man, guess what? You were literally correct! Via Psychology Today:
The January 2010 Consumer Reports has an article that's sure to provoke some outrage. "Roam any drugstore and you'll see products that seem to be twins, except for one thing: One is for women, the other for men. We discovered that products directed at women-through packaging, description, or name-might cost up to 50 percent more than similar products for men."
We here at Bitch are longtime fans of the Chicago-based feminist sex shop Early to Bed. Imagine our delight, then (and yours too potentially) when we learned of Early to Bed's new brother venture, Early to Rise! (How cute are those two names, by the way? Sex has never been so adorable!)
While Early to Bed caters mainly to the ladies (which is awesome), Early to Rise bills itself as the place to go for "sex toys for smart guys" (which is also awesome). Sex toys they have, to be sure, but they also have so much more!
Whether I'm checking out music blogs, browsing upcoming concerts in my local alt weekly, or trying to download songs illegally, I can't help but notice some of the names that indie rock acts (read: hipster bands) are coming up with these days, bands named Women, or Girls, which turn out to be more like dudes and bros. It's like having a lady-indicative word in your band name is the new having an animal-indicative word in your band name! Well, almost. I've compiled a short list of current, contemporary bands that err on the side of both misleading and not-so-misleading gendered band names to help you navigate the tides of new and upcoming music. (FYI, Queen = all dudes too)
From the machismo of Arnold Schwarzenegger and Sylvester Stallone to Woody Allen's nebbishes and the teenage fantasies of the Porky's and American Pie franchises, manhood in all its flavors is a staple of the silver screen. Writer-director Wes Anderson is clearly fascinated by the subject too, yet over the course of his four films he has turned his lens on one specific aspect of masculinity: the balance between boyish and manly behavior necessary for the health of not only the individual male but also the culture he embodies.
A few reviewers have acknowledged this by mentioning, if only in passing, Anderson's penchant for father-son or mentor-protégé relationships, and Anderson himself has confirmed it. In a 2001 Los Angeles Times interview, he credited director James L. Brooks—who helped him find the funding to turn a short film into his 1996 debut feature, Bottle Rocket—with inspiring his filmic exploration of mentors. Each of Anderson's four features involves a relationship between a young man and either his father or a man who is old enough to be his father: wannabe thief Dignan and crime boss Mr. Henry in Bottle Rocket; 10th-grader Max Fischer and his industrialist friend/rival Mr. Blume in 1998's Rushmore; favored child Richie Tenenbaum and his irresponsible father Royal in 2001's The Royal Tenenbaums; and airline pilot Ned Plimpton and the titular marine-life documentarian he suspects is his father in 2004's The Life Aquatic with Steve Zissou. Those simplified labels, however, are inadequate to describe the mutual give-and-take of the pairs.