Around The Clock

This wacky romp from New Yorker cartoonist Roz Chast includes entertaining antics for every hour, on the hour. Counting time has never been so fun! From 12 to 1, Lynn eats baloney With her imaginary friend, Tony. From 1 to 2, in his fanciest pants, Don is digging a hole to France. Do you ever wonder what your friends, enemies, brothers, sisters, and children are doing in the hours when you’re not there? This kooky twenty-four-hour tour of a day in the life of twenty-three different children will reveal answers from the absurd…to the hilarious…to the absurdly hilarious! Beloved New Yorker cartoonist Roz Chast is at her finest in this picture book brimming with her trademark stamp of zany humor.

During the 1970s, left-wing youth militancy in Greece intensified, especially after the collapse of the military dictatorship in 1974. This is the first study of the impact of that political activism on the leisure pursuits and sexual behavior of Greek youth, analyzing the cultural politics of left-wing organizations alongside the actual practices of their members. Through an examination of Maoists, Socialists, Euro-Communists, and pro-Soviet groups, it demonstrates that left-wing youth in Greece collaborated closely with comrades from both Western and Eastern European countries in developing their political stances. Moreover, young left-wingers in Greece appropriated American cultural products while simultaneously modeling some of their leisure and sexual practices on Soviet society. Still, despite being heavily influenced by cultures outside Greece, left-wing youth played a major role in the reinvention of a Greek “popular tradition.” This book critically interrogates the notion of “sexual revolution” by shedding light on the contradictory sexual transformations in Greece to which young left-wingers contributed.

Gives the reader practice in telling time as a young cat goes through a busy day marked off by the hours.

Examining one of the earliest films made specifically for young audiences in US cinema, Rock around the Clock (1956), this book explores the exploitation production company that made the film and the ways it represented young people, especially in terms of their association with rock ’n’ roll music and culture. Providing new avenues of approaching the film, the book looks at how Rock around the Clock has attracted significant scholarly attention, despite its origins as a low-budget production made by master exploitation filmmaker Sam Katzman. It challenges accounts that see the film’s young people as juvenile delinquents, using instead the label ‘cultural rebels’ as a signifier of youth’s ability to resurrect a moribund music industry and rejuvenate a stale youth culture. This book also questions the nature of the label ‘exploitation’ as applied to the film by examining Columbia Pictures’ role as a resource provider for Katzman’s film, comparing Rock around the Clock to contemporaneous films with a youth focus that were produced in different industrial contexts and investigating its relationship to adaptation by asking whether the film is an example of a ‘postliterary’ adaptation. Rich on archival research and industrial and textual analysis, Rock around the Clock will interest both film studies and youth cultures scholars.

The first non-stop rock video channel was launched in the US in 1981. As a unique popular culture form, MTV warrants attention, and in this, the first study of the medium, originally published in 1987, Ann Kaplan examines the cultural context of MTV and its relationship to the history of rock music. The first part of the book focuses on MTV as a commercial institution, on the contexts of production and exhibition of videos, on their similarity to ads, and on the different perspectives of directors and viewers. Does the adoption of adolescent styles and iconography signal an open-minded acceptance of youth’s subversive stances; or does it rather suggest a cynicism by which profit has become the only value? In the second part of the book, Kaplan turns to the rock videos themselves, and from the mass of material that flows through MTV she identifies five distinct types of video: the ‘romantic’, the ‘socially conscious’, the ‘nihilistic’, the ‘classical’, and the ‘postmodern’. There are detailed analyses of certain videos; and Kaplan focuses particularly on gender issues in videos by both male and female stars. The final chapter explores the wider implications of MTV. What does the channel tell us about the state of youth culture at the time?