Taschenbuch - 144 - Gazelle Book Services - 2012 - Englisch This true account of the rise of country music is told by a 1940s band musician, Don Davis, who became a music business executive and worked with all the Grand Ole Opry stars. Johnny Cash, the Carter family, Waylon Jennings, Minnie Pearl, Roy Acuff, and many others were his friends and appear throughout the book. They played from Mobile to Nashville and back again to his beloved Alabama. This masterful storyteller recalls colorful songwriters, record personalities, and fans with real incidents —over his sixty-year career, that will move readers from laughter to tears. View 100 photographs showing real people, places, and instruments that have become country music legends. The stories will inform the fans and inspire current musicians to keep to their roots and enjoy the music.
Why can fear be pleasurable? Why do we sometimes enjoy an emotion we otherwise desperately wish to avoid? And why are the movies the predominant place for this paradoxical experience? These are the central questions of Julian Hanich´s path-breaking book, in which he takes a detailed look at the various aesthetic strategies of fear as well as the viewer´s frightened experience. By drawing on prototypical scenes from horror films and thrillers like Rosemary´s Baby, The Silence of the Lambs, Seven and The Blair Witch Project, Hanich identifies five types of fear at the movies and thus provides a much more nuanced classification than previously at hand in film studies. His descriptions of how the five types of fear differ according to their bodily, temporal and social experience inside the auditorium entail a forceful plea for relying more strongly on phenomenology in the study of cinematic emotions. In so doing, this book opens up new ways of dealing with these emotions. Hanich´s study does not stop at the level of fear in the movie theater, however, but puts the strong cinematic emotion against the backdrop of some of the most crucial developments of our modern world: disembodiment, acceleration and the loosening of social bonds. Hanich argues that the strong affective, temporal, and social experiences of frightening movies can be particularly pleasurable precisely because they help to counterbalance these ambivalent changes of modernity.