Toward the end of Oliver Stone's The Doors, Jim Morrison-- that militantly self-destructive rock-and-roll god and sixties emblem of desire--now reduced by drugs, booze, and fame to impotence and death games, finds the only way he can sing in the tune during a recording session is if his girlfriend, on her knees, gives him head in the recording booth during his solos.

"Her fear of seeming like someone who wants to fuck a baseball player is matched only be her fearful desire to do exactly that." (about Vanalyn Green's character in A Spy in the House that Ruth Built)

Female Transgressions by L. Kipnis