The forgotten history of the “all-girl” big bands of the World War II era takes center stage in Sherrie Tucker’s Swing Shift. American demand for swing skyrocketed with the onslaught of war as millions—isolated from loved ones—sought diversion, comfort, and social contact through music and dance. Although all-female jazz and dance bands had existed since the 1920s, now hundreds of such groups, both African American and white, barnstormed ballrooms, theaters, dance halls, military installations, and makeshift USO stages on the home front and abroad. Filled with firsthand accounts of more than a hundred women who performed during this era and complemented by thorough—and eye-opening—archival research, Swing Shift not only offers a history of this significant aspect of American society and culture but also examines how and why whole bands of dedicated and talented women musicians were dropped from—or never inducted into—our national memory. Tucker’s nuanced presentation reveals who these remarkable women were, where and when they began to play music, and how they navigated a sometimes wild and bumpy road—including their experiences with gas and rubber rationing, travel restrictions designed to prioritize transportation for military needs, and Jim Crow laws and other prejudices. She explains how the expanded opportunities brought by the war, along with sudden increased publicity, created the illusion that all female musicians—no matter how experienced or talented—were “Swing Shift Maisies,” 1940s slang for the substitutes for the “real” workers (or musicians) who were away in combat. Comparing the working conditions and public representations of women musicians with figures such as Rosie the Riveter, WACs, USO hostesses, pin-ups, and movie stars, Tucker chronicles the careers of such bands as the International Sweethearts of Rhythm, Phil Spitalny’s Hours of Charm, The Darlings of Rhythm, and the Sharon Rogers All-Girl Band.
Open from 1942 until 1945, the Hollywood Canteen was the most famous of the patriotic home front nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations. Since the opening night, when the crowds were so thick that Bette Davis had to enter through the bathroom window to give her welcome speech, the storied dance floor where movie stars danced with soldiers has been the subject of much U.S. nostalgia about the "Greatest Generation." Drawing from oral histories with civilian volunteers and military guests who danced at the wartime nightclub, Sherrie Tucker explores how jitterbugging swing culture has come to represent the war in U.S. national memory. Yet her interviewees' varied experiences and recollections belie the possibility of any singular historical narrative. Some recall racism, sexism, and inequality on the nightclub's dance floor and in Los Angeles neighborhoods, dynamics at odds with the U.S. democratic, egalitarian ideals associated with the Hollywood Canteen and the "Good War" in popular culture narratives. For Tucker, swing dancing's torque—bodies sharing weight, velocity, and turning power without guaranteed outcomes—is an apt metaphor for the jostling narratives, different perspectives, unsteady memories, and quotidian acts that comprise social history.
For this in-depth examination of artist Sherrie Levine, Howard Singerman surveys a broad range of sources to assess an artist whose work was understood from the outset to oppose the values of the art world in the 1980s but who, by the end of the decade, was exhibiting in some of the most successful commercial galleries in New York.
American history is teeming with unconventional, trailblazing Lone Star women with big, unprecedented achievements--outstanding, outrageous, outré women who know all about being "Texas Big" and being first. Texas's own Bessie Coleman was the first black person in the world to earn a pilot's license. Students and typists the world over breathed a sigh of relief when San Antonio-born Bette Nesmith Graham released Mistake Out, now known as Liquid Paper®. Way ahead of the curve, University of Texas graduate Aida Nydia Barrera saw the need for bilingual educational programming and in 1970 started Carrascolendas, the first television show of its kind in the country. In 1981, El Paso's Sandra Day O'Connor became the first female justice of the United States Supreme Court. Join author Sherrie McLeRoy for an introduction to the exceptional women of Lone Star history.
As an adoptee, do you have mixed feelings about your adoption? If you do, you are not alone - adoptees often experience complex feelings of grief, anger, and questions about their identity. Sherrie Eldridge is an adoptee and adoption expert, and in this book she draws on her personal experiences and feelings relating to adoption as well as interviews with over 70 adoptees. Sherrie reveals how you can discover your own unique life purpose and worth, and sets out 20 life-transforming choices which you have the power to make. The choices will help you discover answers about issues such as: Why do I feel guilty when I think about my birth parents? Why can't I talk about the painful aspects of adoption? Where can I gain an unshakable sense of self-esteem? Sherrie also addresses the problem of depression among adoptees and common dilemmas such as if, when and how to contact a birth mother or father. This fully updated second edition includes new material on finding support online, contacting family through social media, and features three new chapters, including Sherrie's story of reuniting with her birth brother, Jon, in adulthood.
The story, based on extensive individual interviews, of the women’s swing bands that toured extensively during World War II and after -- a kind of “League of their Own” for jazz.
Open from 1942 until 1945, the Hollywood Canteen was the most famous of the patriotic home front nightclubs where civilian hostesses jitterbugged with enlisted men of the Allied Nations. Since the opening night, when the crowds were so thick that Bette Davis had to enter through the bathroom window to give her welcome speech, the storied dance floor where movie stars danced with soldiers has been the subject of much U.S. nostalgia about the "Greatest Generation." Drawing from oral histories with civilian volunteers and military guests who danced at the wartime nightclub, Sherrie Tucker explores how jitterbugging swing culture has come to represent the war in U.S. national memory. Yet her interviewees' varied experiences and recollections belie the possibility of any singular historical narrative. Some recall racism, sexism, and inequality on the nightclub's dance floor and in Los Angeles neighborhoods, dynamics at odds with the U.S. democratic, egalitarian ideals associated with the Hollywood Canteen and the "Good War" in popular culture narratives. For Tucker, swing dancing's torque—bodies sharing weight, velocity, and turning power without guaranteed outcomes—is an apt metaphor for the jostling narratives, different perspectives, unsteady memories, and quotidian acts that comprise social history.
Hoping to avoid shaming her father, pregnant Sonja steals away from the wagon train headed for the Oregon Territory and joins up with another destined for Santa Fe, the one with the kind, brown-eyed man. And so begins her romantic, inspiring adventure into an unknown land -- and an unexpected love. On the road to Santa Fe, Thaddeus, the compassionate man, reluctantly becomes the guardian of Sonja and her unborn child, despite the fact that past experiences have caused him to distrust all women. While Sonja trusts her Lord to bring all circumstances to good, Thaddeus believes otherwise -- that God is cruel and unmerciful. Travel their journey as together they find truth, trust, and healing. An honest, wholesome alternative to many of today's romance novels, this engrossing book will captivate readers of all ages and backgrounds.
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