Nowhere was the transition from church-based aid to federal welfare state brought about by the Great Depression more dramatic than in the South. For a moment, the southern Protestant establishment turned to face the suffering that plantation capitalism pushed behind its image of planter's hatsand hoopskirts. When starving white farmers marched into an Arkansas town to demand food for their dying children and when priests turned away hungry widows and orphans because they were no needier than anyone else, southern clergy of both races spoke with one voice to say that they had done allthey could. It was time for a higher power to intervene. They looked to God, and then they looked to Roosevelt.When Roosevelt promised a new deal for the "forgotten man," Americans cheered, and when he took office, churches and private agencies gratefully turned much of the responsibility for welfare and social reform over to the state. Yet, argues historian Allison Collis Greene, Roosevelt's New Dealthreatened plantation capitalism even while bending to it. Black southern churches worked to secure benefits for their own communities while white churches divided over loyalties to Roosevelt and Jim Crow. Frustrated by their failure and fractured by divisions over the New Deal, leaders in the majorwhite Protestant denominations surrendered their moral authority in the South. Although the Protestant establishment retained a central role in American life for decades after the Depression, its slip from power made room for upstart Pentecostals and independent evangelicals, who emphasized personalrather than social salvation.

Funny, insightful, and relentlessly honest, this book is the manual for living with depression that everyone should have been given.It's packed with bite-sized chapters covering big-picture concepts, 60+ research-backed tools, and a friendly, no-nonsense style. This guide will get you through visits from depression and into a value-filled life.

Fascinating patient stories and dynamic exercises help you connect to healing emotions, ease anxiety and depression, and discover your authentic self. Sara suffered a debilitating fear of asserting herself. Spencer experienced crippling social anxiety. Bonnie was shut down, disconnected from her feelings. These patients all came to psychotherapist Hilary Jacobs Hendel seeking treatment for depression, but in fact none of them were chemically depressed. Rather, Jacobs Hendel found that they’d all experienced traumas in their youth that caused them to put up emotional defenses that masqueraded as symptoms of depression. Jacobs Hendel led these patients and others toward lives newly capable of joy and fulfillment through an empathic and effective therapeutic approach that draws on the latest science about the healing power of our emotions. Whereas conventional therapy encourages patients to talk through past events that may trigger anxiety and depression, accelerated experiential dynamic psychotherapy (AEDP), the method practiced by Jacobs Hendel and pioneered by Diana Fosha, PhD, teaches us to identify the defenses and inhibitory emotions (shame, guilt, and anxiety) that block core emotions (anger, sadness, fear, disgust, joy, excitement, and sexual excitement). Fully experiencing core emotions allows us to enter an openhearted state where we are calm, curious, connected, compassionate, confident, courageous, and clear. In It’s Not Always Depression, Jacobs Hendel shares a unique and pragmatic tool called the Change Triangle—a guide to carry you from a place of disconnection back to your true self. In these pages, she teaches lay readers and helping professionals alike • why all emotions—even the most painful—have value. • how to identify emotions and the defenses we put up against them. • how to get to the root of anxiety—the most common mental illness of our time. • how to have compassion for the child you were and the adult you are. Jacobs Hendel provides navigational tools, body and thought exercises, candid personal anecdotes, and profound insights gleaned from her patients’ remarkable breakthroughs. She shows us how to work the Change Triangle in our everyday lives and chart a deeply personal, powerful, and hopeful course to psychological well-being and emotional engagement.

For most of its thirteen-year history as a beloved and decorated music magazine, No Depression sought to be an instrument of change: to draw attention to the deep well of American musical traditions; to shine a light on performers whose gifts far exceed the size of their audiences or their pocketbooks; and to provide a safe harbor for the best long-form writing about music on the newsstand. These traditions continue through No Depression's now semi-annual series of bookazines. The inaugural bookazine, numberedND #76so as to make explicit the continuity betweenNo Depression's original and new formats, focused on the next generation of emerging roots music performers.ND #78, due out the fall of 2009, will focus on prominent families in American roots music, kinfolk who have stretched their artistic influence across generations. This will include in-depth pieces about bedrock clans of country music—the Carters and the Cashes—and folk music—the Guthries and the Seegers; profiles of country mavericks Steve and Justin Townes Earle and of jazz great Charlie Haden and his musically adventurous children; plus a more "metaphorical family" piece on the artistic "sons" of bluesman Rev. Gary Davis. The magazine's cofounders and coeditors, Grant Alden and Peter Blackstock, continue to guide the bookazine. The magazine's senior writers and contributors remain on board to shape the tone and voice of the bookazine, and its distinctive graphic design imprint continues in the hands of ND art director Grant Alden.

To celebrate the tenth anniversary of alternative country music magazine "No Depression," this anthology contains 25 of the magazine's best and most representative feature articles on venerated artists and songwriters of genuine American roots music.

For most of its thirteen-year history as a beloved and decorated music magazine, No Depression sought to be an instrument of change: to draw attention to the deep well of American musical traditions; to shine a light on performers whose gifts far exceed the size of their audiences or their pocketbooks; and to provide a safe harbor for the best long-form writing about music on the newsstand. These traditions continue through No Depression's now semi-annual series of bookazines. The inaugural bookazine, numbered ND #76 so as to make explicit the continuity between No Depression's original and new formats, focused on the next generation of emerging roots music performers. ND #77, due out the spring of 2009, will center around the phrase "instruments of change," and the various ways in which those words may be interpreted. Early assignments include profiles of mandolinist Chris Thile by Seth Mnookin, Tejano accordion masters by Joe Nick Patoski, and A-Team bass player Bob Moore by Rich Kienzle, as well as essays on the strange journey of Dock Boggs' banjo and an activist's memory of Phil Ochs. No Depression first appeared during the fall of 1995 as a 32-page quarterly magazine. Ten years later it had become a 180-page glossy bimonthly. Along the way it became one of the most prominent publications to cover American roots music, starting from the intersection of country and rock 'n' roll and tracing the links to bluegrass, folk, blues, gospel, soul, jazz, indie rock, Cajun, conjunto, and beyond. No Depression grew to be acknowledged as one of the finest music magazines ever published, was compared often to the 1960s origins of Rolling Stone or the 1970s heyday of Creem, and received awards from the Utne Reader, ASCAP, and the International Country Music Conference. It was cited by the Chicago Tribune in 2004 as one of the nation's Top 20 magazines in any category. The magazine's cofounders and coeditors, Grant Alden and Peter Blackstock, continue to guide the bookazine. The magazine's senior writers and contributors remain on board to shape the tone and voice of the bookazine, and its distinctive graphic design imprint continues in the hands of ND art director Grant Alden.