The young, independent, and beautiful Gibson Girl came to define the spirit of the late 19th and early 20th centuries. Carefully selected from vintage editions, this collection features more than 100 of Gibson's finest illustrations.

The young, independent, and beautiful Gibson Girl came to define the spirit of the late 19th and early 20th centuries. Carefully selected from vintage editions, this collection features more than 100 of Gibson's finest illustrations.

Challenging monolithic images of the New Woman as white, well-educated, and politically progressive, this study focuses on important regional, ethnic, and sociopolitical differences in the use of the New Woman trope at the turn of the twentieth century. Using Charles Dana Gibson's "Gibson Girls" as a point of departure, Martha H. Patterson explores how writers such as Pauline Hopkins, Margaret Murray Washington, Sui Sin Far, Mary Johnston, Edith Wharton, Ellen Glasgow, and Willa Cather challenged and redeployed the New Woman image in light of other “new” conceptions: the "New Negro Woman," the "New Ethics," the "New South," and the "New China." As she appears in these writers' works, the New Woman both promises and threatens to effect sociopolitical change as a consumer, an instigator of evolutionary and economic development, and (for writers of color) an icon of successful assimilation into dominant Anglo-American culture. Examining a diverse array of cultural products, Patterson shows how the seemingly celebratory term of the New Woman becomes a trope not only of progressive reform, consumer power, transgressive femininity, modern energy, and modern cure, but also of racial and ethnic taxonomies, social Darwinist struggle, imperialist ambition, assimilationist pressures, and modern decay.

Fads by nature and by definition are hard to capture, yet Hoffmann and Bailey have captured over one hundred of the passing fashion fancies and merchandising miracles during America’s short history in their latest collection of fads, Fashion & Merchandising Fads. Life devoid of fads is impossible to imagine, and the fads that do enter our lives become vehicles for amusement upon retrospection. How long any fad stays in vogue is anybody’s guess, but Hoffmann and Bailey have again found those fads that somehow took root and flourished, if only for a short period of time, in America. Concise entries describe each fad from its beginning to its demise and its devout followers. Readers are sure to recognize many of the trends and fads collected in Fashion & Merchandising Fads. A browse through the contents will have readers smiling as they remember Alex, Stroh’s Beer-Drinking Dog and “Baby On Board” Stickers Barbie Dolls and Celebrity Perfumes Convertibles, Digital Watches, and Drive-In Banking Garfield, G. I. Joe, and Handbags for Men Knickers and Matchbox Cars The Model T and the Mustang Paper Dolls and Rubik’s Cube Silly Putty, the Slinky, and Synthetics in Clothes Top Hats, the Trilby, and Twiggy VCRs, Yuppies, and Zubaz Each fad featured in Fashion & Merchandising Fads is examined thoroughly and concisely by the authors. They look at the historical setting, how the trend became popular, and the people most fascinated and involved with the trend. References follow each entry to make further reading on each fad a relatively easy task for those intrigued by fads. As fads enter and encompass society for a period of time, this collection of fads, arranged alphabetically, is sure to captivate readers from beginning to end, or, in a world of fads, from the A-2 Flight Jacket to the Zipper.

America’s Changing Icons is a discursive examination of the female patriotic icon in the United States. This creative and entertaining work examines her use and decline, particularly in the 20th century, with a particular focus on popular culture icons like Lady Columbia, Rosie the Riveter, and Wonder Woman. These fictional creations, used with advertisements; letters; and literature of the eras work together to craft a multi-layered and dynamic portrait of cultural politics, tides, and perceptions about American women, life, and place.

Inez Milholland was the most glamorous suffragist of the 1910s and a fearless crusader for women's rights. Moving in radical circles, she agitated for social change in the prewar years, and she epitomized the independent New Woman of the time. Her death at age 30 while stumping for suffrage in California in 1916 made her the sole martyr of the American suffrage movement. Her death helped inspire two years of militant protests by the National Woman's Party, including the picketing of the White House, which led in 1920 to ratification of the 19th Amendment granting women the right to vote. Lumsden's study of this colorful and influential figure restores to history an important link between the homebound women of the 19th century and the iconoclastic feminists of the 1970s.

This popular volume on the culture of hair through human history and around the globe has been updated and revised to include even more entries and current information. How we style our hair has the ability to shape the way others perceive us. For example, in 2017, the singer Macklemore denounced his hipster undercut hairstyle, a style that is associated with Hitler Youth and alt-right men, and in 2015, actress Rose McGowan shaved her head in order to take a stance against the traditional Hollywood sex symbol stereotype. This volume examines how hair-or lack thereof-can be an important symbol of gender, class, and culture around the world and through history. Hairstyles have come to represent cultural heritage and memory, and even political leanings, social beliefs, and identity. This second edition builds upon the original volume, updating all entries that have evolved over the last decade, such as by discussing hipster culture in the entries on beards and mustaches and recent medical breakthroughs in hair loss. New entries have been added that look at specific world regions, hair coverings, political symbolism behind certain styles, and other topics.

An advertisement in the sheet music of the song “Goodbye Broadway, Hello France” (1917) announces: “Music will help win the war!” This ad hits upon an American sentiment expressed not just in advertising, but heard from other sectors of society during the American engagement in the First World War. It was an idea both imagined and practiced, from military culture to sheet music writers, about the power of music to help create a strong military and national community in the face of the conflict; it appears straightforward. Nevertheless, the published sheet music, in addition to discourse about gender, soldiering and music, evince a more complex picture of society. This book presents a study of sheet music and military singing practices in America during the First World War that critically situates them in the social discourses, including issues of segregation and suffrage, and the historical context of the war. The transfer of musical styles between the civilian and military realm was fluid because so many men were enlisted from homes with the sheet music while they were also singing songs in their military training. Close musical analysis brings the meaningful musical and lyrical expressions of this time period to the forefront of our understanding of soldier and civilian music making at this time.