Why did young women musicians leave their small towns and families to join the Marine Corps during World War II? What was life like for these women at the rapidly-expanding Camp Lejeune Marine Corps base in North Carolina during the war? How did they end up forming the only all-female Marine Corps concert and marching band in the history of the Corps? And how did the male Marines regard the women musicians and all the other female Marines on the base? What happened to these women musicians after the war was over and the band was dissolved? The story of this unusual military band of women musicians reads like a personal memoir. Musical Women Marines is carefully documented from in-person interviews, documents from the historical branch of the United States Marine Corps, letters and tapes from 42 of the 67 band members, news clippings, and reference information from the United States Marine Band, "The President's Own." The book includes 26 photos, both personal and professional. The principal writer, Rita Ellen Stone, met the band historian, Bonnie Smallwood Medin, by accident in 1979. Bonnie's joyous memories, many included in a personal diary, were the inspiration for Musical Women Marines - The Marine Corps Women's Reserve Band in World War II.

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.

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.

A Marine Corps combat veteran with twenty years of service describes her professional battle against gender bias in the Marines and the lessons it holds for other arenas. Marine Corps Lieutenant Colonel Kate Germano arrived at Parris Island convinced that if she expected more of the female recruits just coming into Corps, she could raise historically low standards for female performance and make women better Marines. One year after she took command of the Fourth Recruit Training Battalion, shooting qualifications of the women under her command equaled those of men, injuries had decreased, and unit morale had noticeably improved. Then the Marines fired her. This is the story of Germano's struggle to achieve equality of performance and opportunity for female Marines against an entrenched male-dominated status quo. Germano charges that the men above her in the chain of command were too invested in perpetuating the subordinate role of women in the Corps to allow her to prove that the female Marine can be equal to her male counterpart. She notes that the Marine Corps continues to be the only service where men and women train separately in boot camp or basic training. Meanwhile, in the U.S. Army, women have already become Army Rangers and applied to be infantry officers. Germano addresses the Marine Corps' $35-million gender-integration study, which shows that all-male squads perform at a higher level than mixed male-female squads. This study flies in the face of the results she demonstrated with the all-female Fourth Battalion and raises questions about the Marine Corps' willingness to let women succeed. At a time when women are fighting sexism in many sectors of society, Germano's story has wide-ranging implications and lessons not just for the military but for corporate America, the labor force, education, and government.

Just out of high school in 1977, her personal life already a mess, Tracy Crow thought the Marines might straighten her out. And sure enough, in the Corps she became a respected public affairs officer and military journalist—one day covering tank maneuvers or beach assaults, the next interviewing the secretary of the navy. But success didn’t come without a price. When Crow pledged herself to God, Corps, and Country, women Marines were still a rarity, and gender inequality and harassment were rampant. Determined to prove she belonged, Crow always put her career first—even when, after two miscarriages and a stillborn child, her marriage to another Marine officer began to deteriorate. And when her affair with a prominent general was exposed—and both were threatened with court-martial—Crow was forced to re-evaluate her loyalty to the Marines, her career, and her family. Eyes Right is Crow’s story. A clear-eyed self-portrait of a troubled teen bootstrapping her way out of a world of alcoholism and domestic violence, it is also a rare inside look at the Marines from a woman’s perspective. Her memoir, which includes two Pushcart Prize–nominated essays, evokes the challenges of being a woman and a Marine with immediacy and clarity, and in the process reveals how much Crow’s generation did for today’s military women, and at what cost.

Contents: early planning; the first Women's Reserve (WR); early training: Holyoke and Hunter; training: Camp Lejeune; Reserve Officer's Class; specialist schools; uniforms; style; officer Winter and Summer dress; Summer service; Summer dress; handbags, shoes, and hose; utilities and exercise suits; grooming, handkerchiefs, and undergarments; aviation; matching skills to need; WR employment; administration of women; assistants for the WR; authority; assignment and housing; punishment; overseas; WR Band; epilogue: war's end. Maps and photos.

"Includes only sheet music which references women in the military (WIM). Songs deal not only [with] the WAACs, but also the Navy's Women Accepted for Volunteer Service (WAVES), Women Marines, and the Coast Guard's SPARS. Add to that songs about military nurses and quasi-military groups and the munber of WIM songs is about 300"--Foreword.