Rorotoko’s readers may find Helen Gurley Brown’s attempts to “queer up” her publications interesting. As time went on, Brown learned that equating sex with heterosexuality sold magazines and paid her salary, but her own inclination around treating sexual issues was far more progressive. In both Sex and the Single Girl and its sequel, Sex and the Office, Brown attempted to include information about homosexuality, which she considered a key element of office life. Her desire to address how women really lived and not “merely the ways arbiters of society would have them live” mandated, in her mind, attention to gay and lesbian life.In her nearly-final draft of Sex and the Office, for example, Brown included a lesbian seduction tale which, after a great deal of back and forth, her editor/publisher excised. Brown repeatedly expressed her frustration with his decision, feeling that what she portrayed was, simply, grown-up sexual behavior. Later, in her attempt to take over the then-ailing Cosmopolitan, Brown returned to lesbian life. In her mock-up of what the magazine would look like under her direction, she included a proposed article titled “I Love Girls Like You Love Men” and another she hoped to commission from Albert Ellis about how a woman could tell if she were dating a gay man—and what to do about it.Over the years at Cosmo, Brown had run-ins with Hearst executives who worried that her pieces, whether they covered heterosexual life or, occasionally, lesbian life, were too “gamey.” Brown operated in the world of mass media, responding most often brilliantly to its demands and restrictions. Nevertheless, had she had free reign, we might well have had a different magazine, one that truly celebrated women’s multiple sexualities.My attempt is to open up discussions of feminist history, to broaden our analysis of the second wave of feminism. Bad Girls Go Everywhere makes a case that the girly girls, or in this case “Gurley girls,” of this era form a little-studied but significant group of feminists. More radical feminists may have winced at the “please your man” elements of Brown’s message, but her fans found inspiration in her brand of liberation. Bad Girls includes the voices of many of those fans, who saw Brown as the loyal sister and friend who cheered them regardless of the ways in which their lives met anyone else’s standards. Ultimately, then, the book helps us understand and appreciate what we might call the feminist mainstream.The book also makes the case that Helen Gurley Brown provides one of the most important links between the second and the third waves of feminism. Many in the third wave, “lipstick,” Sex and the City feminist movement see themselves reacting to second wave positions on sexuality, power, and culture. Some in the third wave focus on prioritizing sexual pleasure over sexual danger. Others enjoy the varied performances of gender, including femininity and masculinity, available to them in contemporary culture. Still others reclaim “girl” as they attempt to make feminism more fun if not more youthful. Many write about and even celebrate the enormous contradictions they experience in their attempts to live a feminist life. More than second wave feminists, they argue, they accept living in mainstream worlds, acknowledge and understand the diversity of women’s lives, tolerate and even enjoy heterosexuality, refuse to be considered victims, celebrate individualism, and revel in popular culture. Not all third wave feminists identify with each of these ideals, but one thing is certain: for each of these positions, Helen Gurley Brown is one of the most, if not the most, striking of the third wave’s second wave antecedents.