The musical was always the entertainment choice of your parents. In the forties and fifties, before the youth market proliferated, you took what you could from the fogey-fixated fare-a song or two from Guys and Dolls, or South Pacific, or The King and I. But the tunes were never truly yours; they remained a product of parental proclivity. By the sixties, as the clout of youth culture consolidated, the musical was irrevocably altered by new interests and audiences: rowdier scores appeared, along with pop storylines and an attitude that reflected current culture. With Bye Bye Birdie, West Side Story, Hair, Absolute Beginners, and others, the musical became a medium of contemporary kid-culled values. The Kids Are Alright charts the not-so-hostile takeover of the genre with ten musicals made since the early sixties. Meanwhile, there is another idea in play: the films are arranged not by year of origin, but by era depicted. In this way, a submerged history of youth's ascension surfaces, proceeding from the anarchic Gold Rush of Paint Your Wagon and the “trouble in River City” of The Music Man, to the widening generation gap of Bye Bye Birdie, Hair, and Pennies from Heaven, and finally to the emergence of the “rock opera” with Pink Floyd The Wall and its conceptual cohorts True Stories and Fruit Fly. Not necessarily the musicals your parents adored, these youth-yoked films get louder, ruder, and ready to roll.