"She was one of the world's four best comediennes," said Milton Berle, "but she lived a life of personal disaster." Martha Raye sang, danced, and joked her way into the spotlight of the entertainment world with a career that spanned seven decades and encompassed everything from vaudeville to television commercials to entertaining U.S. troops. Take It from the Big Mouth, the first full-fledged biography of the multi-talented performer, explores Raye's life and career with candor and insight. Raye got her big break when she caught the attention of a film director as she kidded with audience members Joe E. Lewis and Jimmy Durante during an engagement at the Trocadero in Hollywood. In the late 1930s, Raye appeared in a number of films, and the press heralded her as a "stridently funny comedienne with a Mammoth Cave mouth." From there her career soared. She landed a role in Charlie Chaplain's film Monsieur Verdoux, and the New York Post commented that Raye was the only one who could hold her own with the comic master. By the 1950s she hosted her own highly rated television show, reaching millions with her clowning. Behind the huge smile and raucous laugh, though, there was a darker side to Martha Raye. She found solace from her insecurities and a frenzied schedule in the use of drugs and alcohol. Her seven rocky marriages, the last to a man 33 years her junior whom she had known less than two weeks, fueled headlines and gossip columns. Particularly painful was her turbulent relationship with her only daughter, Melodye. She was passionately committed to entertaining troops abroad during World War II, and she worked tirelessly as both entertainer and nurse in the remote jungles of Vietnam. Bob Hope commented that "she was Florence Nightingale, Dear Abby, and the only singer who could be heard over the artillery fire." The Green Berets designated her an honorary lieutenant colonel, and she later received the Presidential Medal of Freedom. After her death in 1994, "Colonel Maggie" became the only civilian laid to rest among the Green Berets at the Fort Bragg military cemetery.

On stage from her childhood, Martha Raye (1916-1994) proudly embraced the role of the clown, her gift for slapstick comedy enhanced by a fine singing voice. She became a star with her first feature film, Rhythm on the Range (1936), as the zany, loudmouthed girl looking for love--or chasing it as it ran away. She won popular and critical acclaim with The Martha Raye Show (1954-1956) before it was abruptly cancelled, partly because of her chaotic personal life. Drawing on new interviews with her colleagues, this retrospective covers the life and career of an enduringly funny lady who influenced a generation of women comedians. Her reign as a top NBC star of the 1950s is covered, along with her appearances on popular variety shows, her roles in fondly remembered series like The Bugaloos, McMillan and Alice, and her film career that teamed her with the likes of Jack Benny, Charlie Chaplin and Doris Day.

Regarded by his contemporaries as one of television’s premier comedy creators, Nat Hiken was the driving creative force behind the classic 1950s and 1960s series Sgt. Bilko and the hilarious Car 54, Where Are You? King of the Half Hour, the first biography of Hiken, draws extensively on exclusive first-hand interviews with some of the well-known TV personalities who worked with him, such as Carol Burnett, Fred Gwynne, Alan King, Al Lewis, and Herbert Ross. The book focuses on Hiken’s immense talent and remarkable career, from his early days in radio as Fred Allen’s head writer to his multiple Emmy-winning years as writer-producer-director on television. In addition to re-establishing Hiken's place in broadcast history, biographer, David Everitt places him in the larger story of early New York broadcasting. Hiken’s career paralleled the rise and fall of television’s Golden Age. He embodied the era’s best qualities—craftsmanship, a commitment to excellence and a distinctive, uproariously funny and quirky sense of humor. At the same time, his uncompromising independence prevented him from surviving the changes in the industry that brought the Golden Age to an end in the 1960s. His experiences bring a fresh and until now unknown perspective to the medium’s most extraordinary period.

Fans and scholars of film history, gender studies, and broadcast studies will appreciate Balcerzak's thorough exploration of the era's fascinating gender constructs.

Pre-World War II Hollywood musicals weren't only about Astaire and Rogers, Mickey and Judy, Busby Berkeley, Bing Crosby, or Shirley Temple. The early musical developed through tangents that reflected larger trends in film and American culture at large. Here is a survey of select titles with a variety of influences: outsized songwriter personalities, hubbub over "hillbilly" and cowboy stereotypes, the emergence of swing, and the brief parade of opera stars to celluloid. Featured movies range from the smash hit Alexander's Ragtime Band (1938), to obscurities such as Are You There? (1930) and Swing, Sister, Swing (1938), to the high-grossing but now forgotten Mountain Music (1937), and It's Great to Be Alive (1933), a zesty pre-Code musical/science-fiction/comedy mishmash. Also included are some of the not-so-memorable pictures made by some of the decade's greatest musical stars.

A sweeping review of the role of women within the American military from the colonial period to the present day. In America, the achievements, defeats, and glory of war are traditionally ascribed to men. Women, however, have been an integral part of our country's military history from the very beginning. This unprecedented encyclopedia explores the accomplishments and actions of the "fairer sex" in the various conflicts in which the United States has fought. An Encyclopedia of American Women at War: From the Home Front to the Battlefields contains entries on all of the major themes, organizations, wars, and biographies related to the history of women and the American military. The book traces the evolution of their roles—as leaders, spies, soldiers, and nurses—and illustrates women's participation in actions on the ground as well as in making the key decisions of developing conflicts. From the colonial conflicts with European powers to the current War on Terror, coverage is comprehensive, with material organized in an easy-to-use, A–Z, ready-reference format.

The compulsively readable and sometimes jaw-dropping story of the life of a notorious madam who played hostess to every gangster, politician, writer, sports star and Cafe Society swell worth knowing, and who as much as any single figure helped make the twenties roar—from the Pulitzer Prize-winning author of The Most Famous Man in America. "A fast-paced tale of … Polly’s many court battles, newspaper headlines, mobster dealings and society gossip…. A breathless tale told through extraordinary research.” —The New York Times Book Review Simply put: Everybody came to Polly's. Pearl "Polly" Adler (1900-1962) was a diminutive dynamo whose Manhattan brothels in the Roaring Twenties became places not just for men to have the company of women but were key gathering places where the culturati and celebrity elite mingled with high society and with violent figures of the underworld—and had a good time doing it. As a Jewish immigrant from eastern Europe, Polly Adler's life is a classic American story of success and assimilation that starts like a novel by Henry Roth and then turns into a glittering real-life tale straight out of F. Scott Fitzgerald. She declared her ambition to be "the best goddam madam in all America" and succeeded wildly. Debby Applegate uses Polly's story as the key to unpacking just what made the 1920s the appallingly corrupt yet glamorous and transformational era that it was and how the collision between high and low is the unique ingredient that fuels American culture.