I Don T Drop Names Like Marilyn Monroe Just To Sell Books

In the early 1950's, in Los Angeles, at 6 AM, John West, vice-president of the National Broadcasting Company in charge of west coast, gets a phone call from New York City on the NBC tie line. The caller is General David Sarnoff, chairman of the Board of RCA, the Radio Corporation of America, NBC's parent company. Awakened from sleep, Mr. West groggily says "Hello" "John, this is General Sarnoff." Mr. West swiftly clears the cobwebs. "Good morning, General, it's always good to hear from you." "John, you're acquainted with my nephew Richard Baer, aren't you?" "Yes, General, I am. He's a fine young man. I think very highly of him." "Last night I spoke with his mother, my sister. She's upset. The reason she's upset is that Richard has been out of work for four months and he has no prospects, so it looks like his life is going nowhere." "General, I'm surprised and sorry to hear that." "John, I want you to find Richard a job. And I want you to find him a job by nine o'clock this morning, your time. I'll be waiting for your call saying you took care of it. Goodbye."

As one of the founders of the field of women's history, Lois Banner reveals Marilyn Monroe in the way that only a top-notch historian and biographer could. Banner appreciates the complexities of Monroe's personal life in the context of her achievements as an actor, singer, dancer, comedian, model and courtesan.

Sitcoms of the 1950s and 1960s are widely considered conformist in their depictions of gender roles and sexual attitudes. In Camp TV Quinlan Miller offers a new account of the history of American television that explains what campy meant in practical sitcom terms in shows as iconic as The Dick Van Dyke Show as well as in more obscure fare, such as The Ugliest Girl in Town. Situating his analysis within the era's shifts in the television industry and the coalescence of straightness and whiteness that came with the decline of vaudevillian camp, Miller shows how the sitcoms of this era overflowed with important queer representation and gender nonconformity. Whether through regular supporting performances (Ann B. Davis's Schultzy in The Bob Cummings Show), guest appearances by Paul Lynde and Charles Nelson Reilly, or scripted dialogue and situations, industry processes of casting and production routinely esteemed a camp aesthetic that renders all gender expression queer. By charting this unexpected history, Miller offers new ways of exploring how supposedly repressive popular media incubated queer, genderqueer, and transgender representations.

Large expanses of the Southwest remain virtually untouched by tourists. The new edition of Hidden Southwest is the only book that uncovers them all. Encompassing all of Arizona and New Mexico plus southern Utah and Colorado, this is a must-read for visitors and arm-chair tourists. 41 line drawings and maps.

Hidden Southwest provides lively descriptions of key sights and attractions both on and off the beaten path. Incorporating extensive information on outdoor adventures, Hidden Southwest recommends places to enjoy mountain and desert vistas while soaring in a hot-air balloon, ski the vertical terrain of the southwestern Rockies, and camp along the cool, quiet North Rim of the Grand Canyon.