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Sitcoms of the 1950s and 1960s are widely considered conformist in their depictions of gender roles and sexual attitudes. In Camp TV Quinlan Miller offers a new account of the history of American television that explains what campy meant in practical sitcom terms in shows as iconic as The Dick Van Dyke Show as well as in more obscure fare, such as The Ugliest Girl in Town. Situating his analysis within the era's shifts in the television industry and the coalescence of straightness and whiteness that came with the decline of vaudevillian camp, Miller shows how the sitcoms of this era overflowed with important queer representation and gender nonconformity. Whether through regular supporting performances (Ann B. Davis's Schultzy in The Bob Cummings Show), guest appearances by Paul Lynde and Charles Nelson Reilly, or scripted dialogue and situations, industry processes of casting and production routinely esteemed a camp aesthetic that renders all gender expression queer. By charting this unexpected history, Miller offers new ways of exploring how supposedly repressive popular media incubated queer, genderqueer, and transgender representations.
Camp TV of the 1960s offers a comprehensive understanding of all of the many forms camp TV took during that critical decade. In reevaluating the history of camp on television, the authors reconsider the infantilized conceptualization of sixties television, which has generally been characterized as the creative and cultural ebb between the 1950s Golden Age of television and the networks' shift to "relevance" in the early 1970s. Encompassing contributions from a broad range of media and television scholars that (re)consider programs like Batman, The Monkees, The Addams Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan & Martin's Laugh-In, chapters closely examine beloved 1960s American prime-time programs that drew significantly on aspects of camp, many of which were widely syndicated and left continuing imprints on popular culture. Other chapters consider key TV precursors from the early sixties; British camp television programs such as The Avengers; the use of musical codes to convey camp humor (even on black-and-white sets); the role that the viewing strategies of queer communities played - and continued to play even decades later; and how camp's multivalence allowed for more conservative readings, especially among older audiences, which were critical for the move to "mass camp" throughout American culture by the early seventies. Camp TV of the 1960s is essential reading for students and scholars in television studies and others interested in the history and theory of camp, the 1960s, or popular culture, as well as fans of these well-known but generally understudied television programs.
Sitcoms of the 1950s and 1960s are widely considered conformist in their depictions of gender roles and sexual attitudes. In Camp TV Quinlan Miller offers a new account of the history of American television that explains what campy meant in practical sitcom terms in shows as iconic as The Dick Van Dyke Show as well as in more obscure fare, such as The Ugliest Girl in Town. Situating his analysis within the era's shifts in the television industry and the coalescence of straightness and whiteness that came with the decline of vaudevillian camp, Miller shows how the sitcoms of this era overflowed with important queer representation and gender nonconformity. Whether through regular supporting performances (Ann B. Davis's Schultzy in The Bob Cummings Show), guest appearances by Paul Lynde and Charles Nelson Reilly, or scripted dialogue and situations, industry processes of casting and production routinely esteemed a camp aesthetic that renders all gender expression queer. By charting this unexpected history, Miller offers new ways of exploring how supposedly repressive popular media incubated queer, genderqueer, and transgender representations.
An ever-expanding and panicked Wonder Woman lurches through a city skyline begging Steve to stop her. A twisted queen of sorority row crashes her convertible trying to escape her queer shame. A suave butch emcee introduces the sequined and feathered stars of the era’s most celebrated drag revue. For an unsettled and retrenching postwar America, these startling figures betrayed the failure of promised consensus and appeasing conformity. They could also be cruel, painful, and disciplinary jokes. It turns out that an obsession with managing gender and female sexuality after the war would hardly contain them. On the contrary, it spread their campy manifestations throughout mainstream culture. Offering the first major consideration of lesbian camp in American popular culture, Suffering Sappho! traces a larger-than-life lesbian menace across midcentury media forms to propose five prototypical queer icons—the sicko, the monster, the spinster, the Amazon, and the rebel. On the pages of comics and sensational pulp fiction and the dramas of television and drive-in movies, Barbara Jane Brickman discovers evidence not just of campy sexual deviants but of troubling female performers, whose failures could be epic but whose subversive potential could inspire. Supplemental images of interest related to this title: George and Lomas; Connie Minerva; Cat On Hot Tin; and Beulah and Oriole.
Who doesn’t want to be a rockstar? After years of producing rock tours throughout the world and working with icons like Roger Daltrey, Ringo Starr, Joe Walsh, and so many more, David Fishof wanted to capture the rock ‘n’ roll experience for everyone. He was inspired to create the one-of-a-kind Rock and Roll Fantasy Camp, where over the past twenty-five years 6,000 campers and counselors have lived, played, and become family with rockstars. Campers get to meet and jam with their musical idols—including Joe Perry, Vince Neil, Jack Bruce, and Jeff Beck—in such legendary venues like Abbey Road Studios in London, Whisky a Go Go in Hollywood, and Atlantis Resort in the Bahamas. Rock Camp: An Oral History shares the history of the camp through interviews from the people who got to live out their dreams. Fishof gives a behind-the-scenes look at the origins, early struggles, and challenges he faced to meet the level of excellence he envisioned for the campers and rockers. With original photos and illustrations, the camp experience comes to life and celebrates the heart of its mission: ordinary fans right in the middle of it all! A portion of the proceeds from the book directly benefit the Rock and Roll Fantasy Camp Foundation.
The Camp 100 is the supreme collection of everything CAMP, a flamboyant manifesto that defines this mysterious, glittering quality in the modern cultural era.
Jake and his friends are due to spend their first summer at Camp Terra; a self-proclaimed haven for teenagers that encourages eager campers to surrender their grip on technology, in the hope that they can ‘reconnect with nature’. However, it doesn’t take long before what was meant to be a summer of bonding soon turns into a chilling mystery, as members of the group start disappearing under strange circumstances. Despite the camp’s technology-free ethos, dozens of security cameras watch their every move as Jake and the others desperately try to uncover the dark secrets of Camp Terra. Will they be able to outsmart the suspicious counsellors and menacing security guards, or are they in way over their heads?
Intercollegiate sports is an enterprise that annually grosses over $1 billion in income. Some schools may receive more than $20 million from athletic programs, perhaps as much as $10 million simply from the sale of football tickets. Drawing on nontechnical economic data, the authors present a persuasive case that the premier sports organization of colleges and universities in the United States--the NCAA--is a cartel, its members engaged in classically defined restrictive practices for the sole purpose of jointly maximizing their profits. This fresh perspective on the NCAA offers explanations of why illicit payments to athletes persist, why non-NCAA organizations have not flourished, and why members have readily agreed on certain suspect rules. Tracing the historical development of this institutional behavior, the authors argue that the major football powers in the early 1950s were able to gain control of the internal processes of NCAA enforcement. Over time--as other schools' teams improved and began to win on the playing field--the more powerful institutions applied pressure to bring the newcomers under NCAA investigation and, ultimately, to place them on probation. By carefully managing NCAA enforcement regulations, major schools blunted the threat to their continued growth presented by other teams. Offering a valuable case study for sports analysts and students of economics and cartel behavior, this book is a revealing glimpse inside the embattled NCAA.