This is the first biography of Dell Burke, whose estate sale drew national attention when she died in 1981 at age 93. Painstakingly researched for over five years, June Willson Read’s landmark history tells the story of a broken young woman who saw opportunities in the Alaskan gold rush, the copper mines in Montana and the oil fields in Wyoming. But it wasn’t mining that made Burke’s fortune – she focused on the entertainment needs of the lonely men who poured into the uncharted west to strike it rich. In 1919, the genteel and gracious Burke opened the Yellow Hotel brothel in Lusk, Wyoming, where she reigned for six decades, until 1978. Although condemned for her profession, she was beloved for her generosity and her devotion to the community. For example, during the Depression, Burke financed Lusk’s water-power system and single-handedly saved the town from going bankrupt. Read interviewed locals, historians, and Burke descendents to present a fascinating story of a little-known entrepreneurial powerhouse.

Mildred Clark Cusey was a whore, a madam, an entrepreneur, and above all, a survivor. The story of Silver City Millie, as she referred to herself, is the story of one woman's personal tragedies and triumphs as an orphan, a Harvey Girl waitress on the Santa Fe railroad, a prostitute with innumerable paramours, and a highly successful bordello businesswoman. Millie broke the mold in so many ways, and yet her life's story of survival was not unlike that of thousands of women who went West only to find that their most valuable assets were their physical beauty and their personality. Petite at five feet tall with piercing blue eyes, Millie captured men's attention by her very essence and her unmistakable joie de vivre. Born to Italian immigrant parents near Kansas City, she and her sister were orphaned early and separated from each other. Millie learned hard lessons on the streets, but she never gave up and she vowed to protect and support her ailing older sister. Caught in a domestic squabble in her foster home, Millie wound up in juvenile court with Harry Truman as her judge. This would be only the first of many brushes in her life with prominent politicians. When physicians diagnosed her sister with tuberculosis and recommended she move West to a Catholic home in Deming, New Mexico, Millie moved with her. Expenses ran high and after a brief stint waiting tables as a Harvey Girl, Millie found that her meager tips could easily be augmented by turning tricks. Thus, out of financial need and devotion to her sister, Mildred Cusey turned to a life of prostitution and a career at which she soon excelled and became both rich and famous.

Examines Madam Walker who was America's first black female millionaire.

From the time of the gold rush to the election of the first woman to the U.S. Congress, Wanton West brings to life the women of the West's wildest region: Montana, famous for its lawlessness, boomtowns, and America's largest red-light districts. Prostitutes and entrepreneurs--like Chicago Joe, Madame Mustache, and Highkicker—flocked to Montana to make their own money, gamble, drink, and raise hell just like men. Moralists wrote them off as “soiled doves,” yet a surprising number prospered, flaunting their freedom and banking ten times more than their “respectable” sisters. A lively read providing new insights into women's struggle for equality, Wanton West is a refreshingly objective exploration of a freewheeling society and a re-creation of an unforgettable era in history.

Reading Westworld is the first volume to explore the cultural, textual and theoretical significance of the hugely successful HBO TV series Westworld. The essays engage in a series of original enquiries into the central themes of the series including conceptions of the human and posthuman, American history, gaming, memory, surveillance, AI, feminism, imperialism, free will and contemporary capitalism. In its varied critical engagements with the genre, narratives and contexts of Westworld, this volume explores the show’s wider and deeper meanings and the questions it poses, as well considering how Westworld reflects on the ethical implications of artificial life and technological innovation for our own futurity. With critical essays that draw on the interdisciplinary strengths and productive intersections of media, cultural and literary studies, Reading Westworld seeks to respond to the show’s fundamental question; “Have you ever questioned the nature of your reality?” It will be of interest to students, academics and general readers seeking to engage with Westworld and the far-reaching questions it poses about our current engagements with technology.

The personal and professional struggles of McMurtry’s lively protagonist Jill Peel, a director in 1970s Hollywood, takes on new resonance in the twenty-first century. Forty years ago, Larry McMurtry journeyed from the sprawling ranches of his early work to the provocative Sunset Strip, creating a Hollywood fable that is both immediate and relevant in today’s dynamic cultural climate. One would never guess that Jill Peel is still on the verge of stardom. Jill won an Oscar shortly after her fresh-faced arrival in 1950s Hollywood, then for the next twenty years batted away every Tinseltown producer who tried to hire her and get her into bed. Now middle-aged, she’s determined to create more movie magic by directing a cast of raunchy eccentrics, including Joe Percy, an aging womanizing screenwriter, and ex-football player Owen Oarson, eager to sleep his way to leading-man stardom. Teeming with biting humor and intriguing characters that mirror the scandals of modern-day Hollywood, Somebody’s Darling is a timeless story about a fiercely capable woman who dares to challenge the realities of a deceptively seductive Babel.

John Conteh-Morgan explores the multiple ways in which African and Caribbean theatres have combined aesthetic, ceremonial, experimental, and avant-garde practices in order to achieve sharp critiques of the nationalist and postnationalist state and to elucidate the concerns of the francophone world. More recent changes have introduced a transnational dimension, replacing concerns with national and ethnic solidarity in favor of irony and self-reflexivity. New Francophone African and Caribbean Theatres places these theatres at the heart of contemporary debates on global cultural and political practices and offers a more finely tuned understanding of performance in diverse diasporic networks.