After a decent but obvious chapter on Marilyn Monroe’s overt sexuality in the 50’s and a slightly more interesting chapter on Paul Robeson’s different relationships to black and white audiences (more interesting if only because he’s a performer who’s stayed less in the public consciousness), this book culminates with an incredibly fascinating chapter determining why Judy Garland is so darn appealing to gay men. This may have drawn me in so much because it’s something I think about, admittedly, a fair amount. According to the writer, who also seems to have given this a lot of thought, it comes down to her normalcy (being cast as a regular gal next door who happens to have an amazing power inside her), androgyny (come to think of it, she was dressed as a man a lot), and camp value (underlining and commenting on jokes in the story, even at her own expense). It all checks out. If so inclined, I strongly recommend that final chapter.