Rock 'N' Film

The fears of aging have been one long cascading domino effect through the years: twenty year-olds dread thirty; forty year-olds fear fifty; sixty fears seventy, and so it goes. And there is something to worry about, though it isn't what you'd expect: research shows that having a bad attitude toward aging when we're young is associated with poorer health when we're older. These worries tend to peak in midlife; but in Lighter as We Go, Mindy Greenstein and Jimmie Holland show us that, contrary to common wisdom, our sense of well-being actually increases with our age - often even in the presence of illness or disability. For the first time, Greenstein and Holland - on a joint venture between an 85 year-old and a fifty year-old - explore positive psychology concepts of character strengths and virtues to unveil how and why, through the course of alifetime, we learn who we are as we go. Drawing from the authors' own personal, intergenerational friendship, as well as a broad array of research from many different areas - including social psychology, anthropology, neuroscience, the humanities, psychiatry, and gerontology - Lighter as We Go introduces compassion,justice, community, and culture to help calm our cascading fears of aging.Human rights organizations have grown exponentially across the globe, particularly in the global South, and the term human rights is now common parlance among politicians and civil society activists. As international donors pour money into global human rights promotion, some governments, scholars, activists, and other critics fear a subtle, Western-led campaign for political, economic, and cultural domination. While debates about human rights are waged in elite circles, what do publics in the global South think about human rights ideas and the organizations that promote them? Drawing on large-scale public opinion surveys and interview with human rights practioners in India, Mexico, Morocco, and Nigeria, Taking Root finds that most people are in fact broadly supportive of human rights discourse, trust local human rights groups, and do not view human rights as a tool of foreign powers.Pro-human rights constituencies also tend to be highly skeptical of the U.S. government, multinational corporations, and their own governments. However, this general public support for human rights isn't grounded in strong commitments of public engagement, money, or local ties to the human rights sector. Publics inthe global South do donate to charitable causes and organizations, but rarely give to local rights groups. Rights organizations instead seek aid from foreign sources, an increasingly untenable strategy as foreign aid to civil society declines. The book also describes the complex relations between religiosity and support for human rights as faith communities, worldviews, and traditions strongly influence the public's views of human rights, but often in contradictory ways. As the most informative and comprehensive account available of public perceptions of human rights across several regions of the world, Taking Root will challenge a number of accepted truths held by human rights supporters and skeptics alike.For two decades after the mid-1950s, biracial popular music played a fundamental role in progressive social movements on both sides of the Atlantic. Balancing rock's capacity for utopian popular cultural empowerment with its usefulness for the capitalist media industries, Rock 'N' Film explores how the music's contradictory potentials were reproduced in various kinds of cinema, including major studio productions, minor studios' exploitation projects,independent documentaries, and the avant-garde.These include Rock Around the Clock and other 1950s jukebox musicals; the films Elvis made before being drafted, especially King Creole, as well as the formulaic comedies in which Hollywood abused his genius in the 1960s; early documentaries such as The T.A.M.I. Show that presented James Brown and the Rolling Stones as the core of a black-white, US-UK cultural commonality; A Hard Day's Night that marked the British Invasion; Dont Look Back, Monterey Pop,Woodstock, and other Direct Cinema documentaries about the music of the counterculture; and avant-garde films about the Rolling Stones by Jean-Luc Godard, Kenneth Anger, and Robert Frank. After the turn of the decade, notably Gimme Shelter, in which the Stones appeared to be complicit in the Hells Angels' murder of a young black man, 1960s' music-and films about it-reverted to separate black and white traditions based respectively on soul and country. These produced blaxploitation and Lady Sings the Blues on the one hand, and bigoted representations of Southern culture in Nashville on the other. Ending with the deaths of their stars, both films impliedthat rock 'n' roll had died or even, as David Bowie proclaimed, that it had committed suicide. But in his documentary about Bowie, Ziggy Stardust and the Spiders from Mars, D.A. Pennebaker triumphantly re-affirmed the community of musicians and fans in glam rock.In analyzing this history, David E. James adapts the methodology of histories of the classic film musical to show how the rock 'n' roll film both displaced and recreated it.