Resorts have become important to American society and its economy; one in eight Americans is now employed by the tourism industry. Yet despite the ubiquity of hotels, little has been written about those who labor there. Drawing on eight years of participant observation and in-depth interviews, the renowned ethnographers Patricia A. Adler and Peter Adler reveal the occupational culture and lifestyles of workers at five luxury Hawaiian resorts. These resorts employ a workforce that is diverse in gender, class, ethnicity, and nationality. Hawaiian resort workers, like those in nearly all resorts, consist of four groups. New immigrants hold difficult and dirty low-status jobs for little pay. Locals provide an authentic Polynesian flavor for guests, a ready pool of youthful high-turnover employees, and a population trapped in a place that offers few occupational alternatives. Managers tend to be middle-class, college-educated young and middle-aged men from the mainland whose lifestyles are occupationally transient. Seekers, mostly young, white, and from the mainland as well, escape to paradise seeking adventure, warmth, extreme sports, or some alternate life experiences. The Adlers describe the work, lives, and careers of these four groups that labor in organizations that never close, with shifts scheduled around the clock and around the year. Paradise Laborers adds to the growing interest in the global flow of labor, as these immigrant workers display different trends in gendered opportunities and mobility than those exhibited by other groups. The authors propose a political economy of tourist labor in which they compare the different expectations and rewards of organizations, employees, and local labor markets.
Women have been involved with jazz since its inception, but all too often their achievements were not as well known as those of their male counterparts. Some Liked It Hot looks at all-girl bands and jazz women from the 1920s through the 1950s and how they fit into the nascent mass culture, particularly film and television, to uncover some of the historical motivations for excluding women from the now firmly established jazz canon. This well-illustrated book chronicles who appeared where and when in over 80 performances, captured in both popular Hollywood productions and in relatively unknown films and television shows. As McGee shows, these performances reflected complex racial attitudes emerging in American culture during the first half of the twentieth century. Her analysis illuminates the heavily mediated representational strategies that jazz women adopted, highlighting the role that race played in constituting public performances of various styles of jazz from “swing” to “hot” and “sweet.” The International Sweethearts of Rhythm, Hazel Scott, the Ingenues, Peggy Lee, and Paul Whiteman are just a few of the performers covered in the book, which also includes a detailed filmography.
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