James M. Carter – författare

This book considers the Vietnam war in light of U.S. foreign policy in Vietnam, concluding that the war was a direct result of failed state-building efforts. This U.S. nation building project began in the mid-1950s with the ambitious goal of creating a new independent, democratic, modern state below the 17th parallel. No one involved imagined this effort would lead to a major and devastating war in less than a decade. Carter analyzes how the United States ended up fighting a large-scale war that wrecked the countryside, generated a flood of refugees, and brought about catastrophic economic distortions, results which actually further undermined the larger U.S. goal of building a viable state. Carter argues that, well before the Tet Offensive shocked the viewing public in late January, 1968, the campaign in southern Vietnam had completely failed and furthermore, the program contained the seeds of its own failure from the outset.

This book considers the Vietnam war in light of U.S. foreign policy in Vietnam, concluding that the war was a direct result of failed state-building efforts. This U.S. nation building project began in the mid-1950s with the ambitious goal of creating a new independent, democratic, modern state below the 17th parallel. No one involved imagined this effort would lead to a major and devastating war in less than a decade. Carter analyzes how the United States ended up fighting a large-scale war that wrecked the countryside, generated a flood of refugees, and brought about catastrophic economic distortions, results which actually further undermined the larger U.S. goal of building a viable state. Carter argues that, well before the Tet Offensive shocked the viewing public in late January, 1968, the campaign in southern Vietnam had completely failed and furthermore, the program contained the seeds of its own failure from the outset.

Histories of American rock music and the 1960s counterculture typically focus on the same few places: Woodstock, Monterey, Altamont. Yet there was also a very active college circuit that brought edgy acts like the Jefferson Airplane and the Velvet Underground to different metropolitan regions and smaller towns all over the country. These campus concerts were often programmed, promoted, and reviewed by students themselves, and their diverse tastes challenged narrow definitions of rock music.   Rockin' in the Ivory Tower takes a close look at two smaller universities, Drew in New Jersey and Stony Brook on Long Island, to see how the culture of rock music played an integral role in student life in the late 1960s. Analyzing campus archives and college newspapers, historian James Carter traces connections between rock fandom and the civil rights protests, free speech activism, radical ideas, lifestyle transformations, and anti-war movements that revolutionized universities in the 1960s. Furthermore, he finds that these progressive students refused to segregate genres like folk, R&B, hard rock, and pop. Rockin' in the Ivory Tower gives readers a front-row seat to a dynamic time for the music industry, countercultural politics, and youth culture.