Marines in World War 2 Commemorative Series. Discusses how women Marines served in noncombat billets during World War 2. The title "Free a Marine to Fight" means that women Marines served in noncombat jobs so that male Marines could fight in battles. The Marines first began to recruit women after the Guadalcanal campaign in 1942. States that 17,672 women were serving in the Marine Corps Women's Reserve in June 1945. Illustrated with many black and white photographs.

The history of the first women to serve in the Marine Corps is a fascinating record of the dedication and drive of American women during World War I. The purpose of this monograph is to tell the story of the small band of women who answered the Corps' call for volunteers in 1918 with patriotism and enthusiasm. A former Director of Women Marines, Colonel Jeanette I. Sustad, USHC (Ret.) originated the project of compiling data for a history of women Marines who served in World War I. In 1971, she asked various members of the Women Marines Association to interview surviving veterans throughout the country. A questionnaire designed to guide the interviewers as well as background information on the service of women Marines in the 1918-1919 period was developed by Lieutenant Colonel Pat Meid, USMCR. Lieutenant Colonel Meid, who authored the official history, Marine Corps Women's Reserve in World War II, originally published in 1964, accumulated considerable material on the earlier group of women Marines during her research. This was all made available to the author of this monograph. The interviews conducted during 1971-1972, 29 in number, form a valuable archive of personal experiences of these pioneer women Marines. They have been used to supplement the official records which are sparse and elusive. Muster rolls of the time were checked exhaustively in compiling a roster of women who served, but it proved impossible to discover all the names making up the 305 women who were enlisted as Marine .Corps Reserve (F). Much information was gleaned from contemporary magazine and newspaper articles, particularly from Leatherneck, Marine Corps Gazette, The Marine Magazine, Recruiter's Bulletin, and the New York and Washington daily newspapers. A small but useful collection of Women Marine memorabilia, including photographs, letters, and clippings, was donated by various individuals as a result of publicity about the project.

This is the story of that small band of women who wore U.S. Marine uniforms during the Korean War. These women are a lost generation of women Marines who stepped into the breach between two wars and preserved the opportunity to be a Marine for those who were as yet unborn. They were, in fact, a thin green line--and they stood fast, just like Marines are taught to do.

Interweaving personal stories with historical photos and background, this lively account documents the history of the more than 40,000 women who served in relief and military duty during World War I. Through personal interviews and excerpts from diaries, letters, and memoirs, Lettie Gavin relates poignant stories of women's wartime experiences and provides a unique perspective on their progress in military service. American Women in World War I captures the spirit of these determined patriots and their times for every reader and will be of special interest to military, women's, and social historians.

On Saturday, November 14, 1944, radio listeners heard an enthusiastic broadcast announcer describe something they had never heard before: Women singing the "Marines' Hymn" instead of the traditional all-male United States Marine Band. The singers were actually members of its sister organization, The Marine Corps Women's Reserve Band of Camp Lejeune, North Carolina. Today, few remember these all-female military bands because only a small number of their performances were broadcast or pressed to vinyl. But, as Jill Sullivan argues in Bands of Sisters: U.S. Women's Military Bands during World War II, these gaps in the historical record can hardly be treated as the measure of their success. The novelty of these bands—initially employed by the U.S. military to support bond drives—drew enough spectators for the bands to be placed on tour, raising money for the war and boosting morale. The women, once discharged at the war's end, refused to fade into post-war domesticity. Instead, the strong bond fostered by youthful enthusiasm and the rare opportunity to serve in the military while making professional caliber music would come to last some 60 years. Based on interviews with over 70 surviving band members, Bands of Sisters tells the tale of this remarkable period in the history of American women. Sullivan covers the history of these ensembles, tracing accounts such as the female music teachers who would leave their positions to become professional musicians—no easy matter for female instrumentalists of the pre-war era. Sullivan further traces how some band members would later be among the first post-war music therapists based on their experience working with medical personnel in hospitals to treat injured soldiers. The opportunities presented by military service inevitably promoted new perspectives on what women could accomplish outside of the home, resulting in a lifetime of lasting relationships that would inspire future generations of musicians.

 From silents of the early American motion picture era through 21st century films, this book offers a decade-by-decade examination of portrayals of women in the military. The full range of genres is explored, along with films created by today's military women about their experiences. Laws regarding women in the service are analyzed, along with discussion of the challenges they have faced in the push for full participation and of the changing societal attitudes through the years.

This study for the U.S. Marine Corps reviews the history of the integration of women into the U.S. military and explores the role of cohesion, the gender integration of foreign militaries and domestic police and fire departments, and potential costs.