2
50
121
-
https://rozsixties.unl.edu/files/original/d3e06772d95909bf3a3c5c2067b51cf2.jpg
270882afb15452817c71441a224e4b06
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Stop the Klan in Vermont
Subject
The topic of the resource
Anti-Racism
Description
An account of the resource
This poster promotes an anti-Ku Klux Klan "speak-out" in Wilmington, Vermont, on May 15, 1982. According to a UPI article dated May 28, 1982, “In the first public appearance of Klansmen in Vermont since the 1920s, a 17-member delegation of the white supremacists donned their hooded robes on a ballfield and stood behind a human barrier of troopers as about 150 counter-demonstrators shouted violent anti-Klan slogans.” Two weeks later, the Klan rallied again in nearby Brattlesboro, Vermont. According to a New York Times article, dated May 31, 1982:
Two dozen white-robed members of the Ku Klux Klan paraded onto the town common in a steady drizzle Saturday for a recruitment drive, defying the anti-Klan feelings vented against them in a noisy protest two weeks ago.
About 150 spectators, some of them shouting ''Go home!'' stood behind a police line ringing the bandstand where the Klan members made speeches. State troopers trained in riot control and local law enforcement officers were also present.
On May 15, more than 150 anti-Klan protesters heckled 15 Klan members at a recruitment effort in Wilmington, 10 miles from here.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1982
Format
The file format, physical medium, or dimensions of the resource
poster
anti-racism
Brattlesboro
Ku Klux Klan
Vermont
white supremacy
Wilmington
-
https://rozsixties.unl.edu/files/original/f5f154fb23591ffb953bee15ae6406b4.jpg
dd2240f5ab8b21df08964fb70921a3f5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nguyễn Thị Bình
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
Nguyễn Thị Bình is a Vietnamese communist leader and politician who helped negotiate and signed the Paris Peace Treaty of 1973, ending the War in Vietnam. Bình was born in 1927 and joined the Communist Party in Vietnam in 1948. Her anti-colonial activism led to her imprisonment by the French from 1951-1953. During the War in Vietnam, Bình received increasing international attention, serving on the Vietcong’s Central Committee, head of the South Vietnamese Women’s Liberation Association and as the foreign minister of the Provisional Revolutionary Government of the Republic of South Vietnam, an underground government opposed to the regime of Nguyễn Văn Thiệu. Bình was seen as an international symbol of Third World women’s liberation. After the war, Bình served in a variety of roles in the Socialist Republic of Vietnam, including two terms as Vice-President from 1992-2002. This poster is signed and inscribed, “Best wishes for American Women’s Liberation.”
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
anti-colonialism
Anti-War
Communist Party
feminism
French colonialism
Nguyễn Thị Bình
Nguyễn Văn Thiệu
Paris Peace Treaty
peace
Provisional Revolutionary Government of the Republic of South Vietnam
South Vietnamese Women’s Liberation Association
Third World women’s liberation
Vietcong Central Committee
Vietnam War
Women's Liberation
-
https://rozsixties.unl.edu/files/original/fdf74b90211bd7e70da83c49f56f902c.jpg
a183da9af356347124e8cb1a2c4deb13
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mountain-Moving Day
Subject
The topic of the resource
Women's Liberation
Description
An account of the resource
This silkscreen was made in 1972 by the Chicago Women’s Graphics Collective and features a poem by Yosano Akiko, which was the pen name of a Japanese poet, author, and activist who lived from 1878-1942. The portion of the poem excerpted and translated here was first published in 1911 in the first edition of Seito, a feminist literary magazine that announced the start of the Seitosha movement, an important early women’s liberation movement in Japan. The same year that this poster appeared, the Chicago Women’s Liberation Rock Band also set the poem to song, titled, “Mountain Moving Day.” The poster was reprinted from Liberation Graphics of Madison, Wisconsin by the Womens Graphics Collective, 852 W. Belmont, Chicago, Illinois 6065. According to Estelle Carol, the founder of the Chicago Women’s Graphics Collective:
“The Chicago Women's Graphics Collective was first organized in 1970 to provide high quality feminist posters for the growing women's liberation movement. The Collective originally used silkscreen to create their large brilliantly colored prints because it was inexpensive and in the early days, posters could actually be produced in members' apartments.
As their distribution grew, the Collective moved to a series of studios and began using offset printing for their most popular posters. Graphics Collective posters reflected the broad diversity of the women's movement. The Collective produced posters on abortion, women's health, lesbianism, women's labor, sisterhood, women's sports, women's spirituality, rape and other clearly feminist issues, but also created posters on the United Farmworkers struggle, African liberation, anti-war themes and highly personal visions that defy easy categorization.
Graphics Collective posters appeared in peoples' homes, women's liberation offices, coffee shops, women's centers, women's health clinics, labor unions, and even on the set of a popular TV sitcom. All work was done in teams of 2-4 women led by an artist-designer. The Collective wanted a new feminist art that transcended the highly individualistic "Great Men of Art" syndrome. Members would propose a poster idea and then recruit a team to actually produce it. This method incorporated the vision of the individual artist into the collective art process.
Thousands of posters were distributed worldwide during the Collective's 13 year history from 1970-1983. Today some of their best efforts are considered classics of feminist poster art.”
Creator
An entity primarily responsible for making the resource
Chicago Women's Graphics Collective
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1972
Format
The file format, physical medium, or dimensions of the resource
poster
Chicago
Chicago Women’s Graphics Collective
Chicago Women’s Liberation Rock Band
Estelle Carol
feminism
Illinois
Liberation Graphics
Madison
Mountain Moving Day
Seito
Seitosha movement
Wisconsin
Women's Liberation
Yosano Akiko
-
https://rozsixties.unl.edu/files/original/1158440625bc4e79b5e4a5d4a88ca12d.jpg
cd869c0d50d2e0a20e8d7408ac361d92
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
On July 16, 1978, West German, Kristina Berster, and two American accomplices were picked up by U.S. Border Patrol officials in Vermont for illegally crossing into the United States from Canada. Initially, the FBI and other law enforcement claimed Berster was a terrorist on the lamb from Germany, where she was a member of the Baader-Meinhof gang, also known as the Red Army Faction.
Baader-Meinhof was a radical, left-wing organization established in 1970 that engaged in a series of bombings, assassinations, kidnappings, bank robberies and shoot-outs with police over the course of three decades, though their activity peaked in 1977. Stefan Aust, who wrote a book about the history of Red Army Faction, detailed the background and emergence of the group, “World War II was only twenty years earlier. Those in charge of the police, the schools, the government — they were the same people who'd been in charge under Nazism. The chancellor, Kurt Georg Kiesinger, had been a Nazi. People started discussing this only in the 60s. We were the first generation since the war, and we were asking our parents questions. Due to the Nazi past, everything bad was compared to the Third Reich. If you heard about police brutality, that was said to be just like the SS. The moment you see your own country as the continuation of a fascist state, you give yourself permission to do almost anything against it. You see your action as the resistance that your parents did not put up.” As Red Army Faction member, Gudrun Ennslin, is reported to have said after the death of one his comrades, “They'll kill us all. You know what kind of pigs we're up against. This is the Auschwitz generation. You can't argue with people who made Auschwitz. They have weapons and we haven't. We must arm ourselves!” Aust went on to explain the appeal of Baader-Meinhof to some West Germans, “The Baader-Meinhof Gang drew a measure of support that violent leftists in the United States, like the Weather Underground, never enjoyed. A poll at the time showed that a quarter of West Germans under forty felt sympathy for the gang and one-tenth said they would hide a gang member from the police. Prominent intellectuals spoke up for the gang's righteousness (as) Germany even into the 1970s was still a guilt-ridden society. When the gang started robbing banks, newscasts compared its members to Bonnie and Clyde. (Andreas) Baader, a charismatic action man indulged in the imagery, telling people that his favourite movies were Bonnie and Clyde, which had recently come out, and The Battle of Algiers. The pop poster of Che Guevara hung on his wall, (while) he paid a designer to make a Red Army Faction logo, a drawing of a machine gun against a red star.” Red Army Faction was organized into cells and practiced what Brazilian revolutionary Carlos Marighella called the “urban guerrilla.” According to Marghella, an urban guerrilla, was “A person who fights the military dictatorship with weapons, using unconventional methods... The urban guerrilla follows a political goal, and only attacks the government, big businesses, and foreign imperialists.” In response, West German authorities initiated a growing clamp-down on left-wing activists and lawyers, as well as critics of the government, generally.
At the same time in the U.S., legislators and law enforcement were growing increasingly concerned about “terrorism” and looking for legal and social bases to tighten strictures on so-called “terrorists.” One point of concern was the northern border with Canada. In this context, many saw the Kristina Berster case as an opportunity for U.S. law enforcement in the post-1960s era to promote this new anti-terrorism agenda. At first, the FBI Press Officer claimed the arrest “marked the first time a member of the notorious urban gang has been caught trying to enter the country.” In Burlington, Vermont, Assistant U.S. Attorney, Jerome O’Neill, stated that Berster was one of the 34 most wanted persons in the world. These were explosive claims that were picked up and repeated by national press across the country, including the New York Times. Quickly, though, those grand assertions began to unravel. West German authorities corrected FBI statements, saying that Berster was not, in fact a member of the Baader-Meinhof gang, and that they may not even be interested in extraditing her, prompting a corrected statement by the FBI. Yet, the cat was out of the bag in the U.S. media and the retraction did not change the overall tenor of coverage in the case, with most media continuing to refer to Berster as a “terrorist.”
American journalist Greg Guma has written extensively about the Berster case. In an article titled, “How disinformation turned Kristina Berster into an ‘enemy of the state,’” he described the context of growing radicalism in Germany when Berster entered the university:
“WHEN KRISTINA Berster, then 20, arrived in Heidelburg in late 1970, the student movement was well underway. The young in Germany were restless and angry, mostly about Vietnam. The rhetoric had turned revolutionary since the days of ‘Ban the Bomb!’ and the Berlin Wall. Student radicals numbered over 170,000, some of them turning gradually to Communism or Maoist ideology.
In a sense, German youth were emulating American dissent. The New Left in the US had reached a crisis point with the police riots at the Democratic Convention in Chicago and the Days of Rage, which sparked the formation of the Weather Underground. German protest erupted with demonstrations in Berlin and the bombing of two empty department stores by Andreas Baader and Gudrin Ensslin.
The purpose of the bombings, said Baader, was ‘to light a beacon’ against the consumer society. As Ensslin explained, ‘We set fires in department stores so you will stop buying. The compulsion to buy terrorizes you.’ The analysis was superficial, but it struck at the core of German complacency in an era of intensive economic development.
With their accomplices, the couple was caught and convicted on arson charges, but they found support from one of Germany’s leading leftist journalists, Ulrike Meinhof.
When they were released in 1969, pending appeal of their cases. Baader and Ensslin went underground with help from Meinhof, and on September 29, 1970, the Red Army Faction (RAF) was officially born with the robbing of three West Berlin banks. Baader said the first problem of ‘the revolution’ was finding financial support.
By early 1971, West German police were turning to automatic weapons and brutal tactics at demonstrations. Anyone who looked like a nonconformist risked a spontaneous interrogation. New search, arrest and gun laws were passed; roadblocks were a common sight on the Autobahn. The excuse for the broad extension of police powers was a nationwide search for the Baader-Meinhof group, even though the political fugitives were responsible for only five out of 1,061 bank robberies committed during their heyday. The first suspect killed by police was a 20-year-old hairdresser named Petra Schelm.
Berster was interested in psychology and grew increasingly alarmed at what she viewed as the isolation, atomization and alienation of people in West German society, as well as the frightening new psychological tactics authorities were developing against political dissidents. Berster was deeply influenced by radical concepts of therapy articulated by people like Thomas Szasz, who wrote, “The parallel between political and moral fascism is close. Each offers a kind of protection. And upon those unwilling to heed peaceful persuasion, the values of the state will be imposed by force: in political fascism by the military and the police; in moral fascism by therapists, especially psychiatrists.” After Berster was implicated by an informant as a left-wing sympathizer, she was detained and imprisoned for six months. During that time, she saw first-hand the erosion of legal rights in the West German system, as her lawyer was targeted and sanctioned by the state.
When Baader and Meinhof were arrested in 1971, they were placed in what was called “wipe-out detention.” As Guma explained, “It was a world of total sterility: luminous white, with fluorescent lights always on and all windows covered. The cells were soundproofed and filled only with white noise. In the ‘Dead Wing’ there were no visitors except lawyers and relatives. Reading materials were censored and other prisoners were never seen nor heard. When Jean-Paul Sartre saw Baader after two years in the ‘Dead Wing,’ he said, ‘This is not torture like the Nazis. It is torture meant to bring on psychic disturbances.’
Berster called this form of solitary confinement ‘the most effective way to destroy personality irreversibly. Humans are social. When you cut that off, when people are not able to talk or relate to others, an internal destruction begins. You become catatonic; somatic problems begin.’”
As a result of her own experience and the treatment of members of the Red Army Faction, Berster became increasingly interested in and involved with the prisoner’s rights movement in her country through the Socialist Patients Collective. In 1972, West German political leaders passed repressive new legislation against radicals, heightening concern that Berster and others would not receive fair trials. At the same time, growing debate divided the New Left in West Germany over the necessity of armed struggle. Berster later told supporters in Vermont that she had “problems with violence… I can’t shoot someone. I could never do violence.” As the 1970s pressed on, Berster decided to flee West Germany, spending time in Yemen, obtaining an Iranian passport and then ending up in Montreal. At her trial, Berster explained why she had crossed over to the U.S. in Vermont, “When I was in Paris, I was told that to get into the States, all you had to do was walk through Vermont’s northern border… They gave me a plan, with a map they drew, to enter from Noyan, Quebec, to Vermont.” Berster hoped to receive asylum in the U.S.
The Berster case attracted the support of a group of New Left activists in Vermont, including Roz Payne, as well as famed radical lawyer, William Kunstler, who represented Berster and saw in her case an opportunity to press back against increasing legal attacks against leftist lawyers in Germany, as well as new forms of political repression in the U.S. “This case goes far beyond Kristina Berster,” Kunstler told the press. “I am very concerned with West Germany’s treatment of so-called terrorists and the so-called left wing lawyers who defend them.” Kunstler also expressed concern over the “panic” reaction in the U.S. over the “terrorist” label, which resulted in $500,000 bail for Berster, to date the largest amount ever set for a border charge. The Berster Defense Committee in Vermont conducted a regional survey to assess public perceptions of the case and mounted rallies in support of Berster.
In October of 1978, after the longest jury deliberation in Vermont history, Berster received a mixed verdict, convicted on a felony and misdemeanor charge related to her border crossing, but acquitted of the more serious conspiracy charge. Several jurors were clearly sympathetic to Berster’s political plight and expressed hope after the trial that she might still win asylum in the U.S. The judge sentenced her to 9 months in jail, all but two weeks of which she had already served. The prosecutor in the case continued to stoke public fears about Berster, revealing to the media that Berster had spent time in Yemin. Immediately, U.S. Immigration and Naturalization Service initiated deportation proceedings against Berster. Roz Payne worked as an investigator and paralegal for attorneys Bill Knsutler, Jesse Berman, Bill Kittel and Chris Davis on Berster’s immigration case. Ultimately, in 1979, a deal was brokered between U.S. and West German officials to drop the original charges against Berster and allow her to return home without a deportation order.
Reflecting on the case years later, Guma wrote:
“What to make of the Kristina Berster case? In one sense, it was a matter of human rights. Victimized by shifting international politics, a student activist whose only crime was crossing a border to seek asylum had spent almost two years in prison, in Germany and then the US.
But there was more to it than that. Berster’s case demonstrated how a campaign against terrorism can easily go off the rails, threatening anyone who actively tries to change the way society is run – from civil libertarians and prison reformers to anti-nuclear protesters and feminists. Across the country, despite claims that the days of COINTELPRO were over, reports were surfacing – harassment, covert agents provoking violence in nonviolent groups, wiretapping, political grand juries, and intrusive surveillance. As the 1970s wound down a chill was setting in, and terrorism was becoming an excuse for virtually any tactic the government found effective…
[Berster’s] US stay had revealed a few things — for example, that officials, working in and with intelligence agents, were ready to lie in court and sanction illegal surveillance, and that some media could be used to distribute rumors and falsehoods; The evidence remained circumstantial, but it also looked like Vermont had witnessed the manufacturing of a terrorist scare, an attempt to warp public perceptions for political gain. The FBI had lied, so had the prosecutor. Anyone who supported the defendant was targeted for surveillance. Then there was the simulated terrorist ‘siege.’
In essence, it looked like a concerted effort to influence public opinion, what would soon be labeled ‘perception management’ in a Defense Department manual. Basically, this tactic involves both conveying and denying information ‘to influence emotions, motives, and objective reasoning.’ The goal is to influence both enemies and friends, ultimately to provoke the behavior you want. ‘Perception management combines truth projection, operations security, cover and deception, and psychological operations,’ according to DOD.
In the Reagan years this type of operation was euphemistically labeled ‘public diplomacy,’ which was officially expanded to include domestic disinformation during the Bush I administration. In those days it was mostly about stoking fear of communism, the Sandinistas, Qaddafi, and anyone else on Reagan’s hit list. Clinton modifications were outlined in Directive 68, which still showed no distinction between what could be done abroad and at home. When Bush II took office, the name was changed again, this time to ‘strategic influence.’
Title
A name given to the resource
Asylum for Kristina Berster
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Kristina Berster Defense Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1978
Format
The file format, physical medium, or dimensions of the resource
poster
“wipe-out detention”
Andreas Baader
Auschwitz
Autobahn
Baader-Meinhof
Ban the Bomb
Battle of Algiers
Berlin Wall
Berster Defense Committee
Bill Clinton
Bill Kittel
Bonnie and Clyde
Burlington
Canada
Che Guevara
Chicago '68
Chris Davis
COINTELPRO
communism
Days of Rage
Dead Wing
Defense Department
Directive 68
FBI
George Bush
Greg Guma
Gudrun Ennslin
Heidelburg
Iran
Jean-Paul Sartre
Jerome O’Neill
Jesse Berman
Kristina Berster
Kurt Georg Kiesinger
Libya
Maoism
Marighella
Montreal
Nazism
New Left
New York Times
Nicaragua
Noyan
perception management
Petra Schelm
Qaddafi
Quebec
Red Army Faction
rike Meinhof
Ronald Reagan
Sandinistas
Socialist Patients Collective
Stefan Aust
strategic influence
terrorism
Third Reich
Thomas Szasz
U.S. Border Patrol
Vermont
Weather Underground
West Germany
William Kunstler
Yemin
-
https://rozsixties.unl.edu/files/original/55ebf0d74067edb875f227ad3788eebf.jpg
cedb4391f3fdb67e19b7ee1c0ac5747d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NLF Star
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster features the colors and star of the Vietcong flag, with silhouettes of Vietnamese people.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
-
https://rozsixties.unl.edu/files/original/180ceaada33933aae931e6e5a3584a30.jpg
73a7ae06e5d25a7e5ba8a2652bdcc16d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Vermont Vietnam
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster features an image of the Vietnamese countryside and peasants.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Burlington
Vermont
Vietnam War
-
https://rozsixties.unl.edu/files/original/351f39610a6f41c5023ee2d9c78d3aef.jpg
557ec189db5ff27167cd1a91f2bfa737
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bring Abbie Home Rally
Subject
The topic of the resource
Counterculture/Yippies
Description
An account of the resource
These posters promote two events - one in New York City at Madison Square Garden and the other at Grant Park in Chicago - in August of 1978 to support Yippie leader, Abbie Hoffman, who had been underground for four and half years. The New York event featured celebrities and movement activists playing music, giving testimonials and performing a mock-trial. Participants included Rip Torn, William Kunstler, Rennie David, Bobby Seale, Terry Southern, Larry Rivers, Taylor Mead, Jon Voight, William Burroughs, Ossie Davis, Dave Dellinger, John Froines, Jerry Rubin and others. Many wondered if Hoffman was in attendance in disguise. A recorded message from Hoffman was played at the event.
Creator
An entity primarily responsible for making the resource
Bring Abbie Home Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
August 1978
Format
The file format, physical medium, or dimensions of the resource
posters
Abbie Hoffman
Bobby Seale
Bring Abbie Home Committee
Chicago
counterculture
Dave Dellinger
Festival of Life
Grant Park
Illinois
Jerry Rubin
John Froines
Jon Voight
Larry Rivers
Madison Square Garden
New Left
New York
Ossie Davis
Rennie Davis
Rip Torn
Taylor Mead
Terry Southern
underground
William Burroughs
William Kunstler
Yippies
-
https://rozsixties.unl.edu/files/original/92ce6e9c7c0d0dbce6a6910976673589.jpg
60923277ee1dc80ca7fab95527f40906
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Machismo is fascism
Subject
The topic of the resource
Women's Liberation
Description
An account of the resource
This Young Lords poster says,
Machismo is fascism – equality for women – women's struggle is the revolution within the Revolution – Equality for Women - Equality Now!! - Enough of oppression – Freedom Now
Creator
An entity primarily responsible for making the resource
Young Lords Party
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. mid-1960s
Format
The file format, physical medium, or dimensions of the resource
poster
Chicano movement
feminism
intersectionality
New Left
Women's Liberation
Young Lords
-
https://rozsixties.unl.edu/files/original/2e315b9b69c90356c143bb696c95e7cd.jpg
84ece35e19e93f586a2ad4005a9ccac7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ask the Free Wild Animals
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This poster features references to the 1960s-era counterculture, like LSD and Timothy Leary and a "Weatherfreak."
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
counterculture
drugs
LSD
Timothy Leary
Weather Underground
-
https://rozsixties.unl.edu/files/original/54aef8faf3968c7d33b17736bf153034.jpg
a3e3fccd7a28d614f688340f692caf77
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Women Unite
Subject
The topic of the resource
Women's Liberation
Description
An account of the resource
Women's Liberation poster created by Jeanne Friedman, for The Women's Strike for Equality March in New York City, August 26, 1970. The rally was sponsored by the National Organization for Women (NOW). More than 20,000 women gathered for the protest in New York City and throughout the country.
Creator
An entity primarily responsible for making the resource
Jeanne Friedman
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1970
Format
The file format, physical medium, or dimensions of the resource
poster
feminism
Jeanne Friedman
National Organization for Women
New Jersey
New York
Newark
NOW
Women's Liberation
Women's Strike for Equality March
-
https://rozsixties.unl.edu/files/original/2271ed05d40754267cc27a1553672036.jpg
e56ae4de91e48e40b712cd14088e8ad3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Wobblies
Subject
The topic of the resource
Labor Movement
Description
An account of the resource
This poster promotes a production of a play, "Wobblies: The U.S. v. Wm. D. Haywood, et. al.," by The Labor Theater at the Hudson Theater in New York City. The play, written by Stewart Bird and Peter Robilotta, focused on the trial of 101 members of the Industrial Workers of the World (I.W.W.) during the First World War.
Creator
An entity primarily responsible for making the resource
The Labor Theater of New York
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. mid-1970s
Hudson Theater
I.W.W.
Industrial Workers of the World
labor movement
Labor Theater of New York
New York
Peter Robilotta
Stewart Bird
theater
William Haywood
Wobblies
-
https://rozsixties.unl.edu/files/original/447cd3e6cff59c82819a4d8047b22525.jpg
68c6526eedb71fa1fdbc910f315863aa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Burlington is Not for Sale
Subject
The topic of the resource
Electoral Politics
Description
An account of the resource
In 1981, Bernie Sanders successfully ran for mayor of Burlington, Vermont, as an Independent, self-described "socialist," defeating Democratic Party candidate, Gordon Paquette.
Sanders served as Burlington mayor throughout the 1980s before being elected to the House of Representatives for Vermont in 1990, again as an "Independent" socialist. Sanders held Vermont's lone House seat until 2006, when he successfully won election to the Senate, where he still serves. In 2016, after joining the Democratic Party, Sanders mounted a surprisingly potent challenge to Democratic Party establishment favorite, Hillary Clinton, for the party's presidential nomination.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1981
Format
The file format, physical medium, or dimensions of the resource
poster
1981 election
Bernie Sanders
Burlington
Democratic Party
electoral politics
Gordon Paquette
Hillary Clinton
socialism
Vermont
-
https://rozsixties.unl.edu/files/original/ee5fb8afcca9f3176869b6a5c7724b23.jpg
2bd79d697912da7ccf991dc560da9709
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Decade of Social Change, 1974-1984
Subject
The topic of the resource
Philanthropy
Description
An account of the resource
The Haymarket People's Fund is a philanthropic organization in Boston, Massachusetts, that funds grassroots efforts toward social justice.
Creator
An entity primarily responsible for making the resource
Haymarket People's Fund
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1984
Format
The file format, physical medium, or dimensions of the resource
poster
Boston
Haymarket People's Fund
Massachusetts
philanthropy
-
https://rozsixties.unl.edu/files/original/19c7b56ef6330cff089711f2902116de.jpg
2b5ef96632071b25eec840513bb9b08a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ten Days to Change the World
Subject
The topic of the resource
Yippies/Counterculture
Description
An account of the resource
This poster promoted Yippie protests at the Democratic and Republican National Conventions in Miami Beach, Florida, in 1972, the last time both major parties held their presidential conventions in the same city. Notably, these protests also included a break-away group from the original Yippies, led by Tom Forcade and called the "Zippies," for "Zeitgeist International Party." Contingents at the demonstrations also included the Vietnam Veterans Against the War and a large group of women’s liberation activists.
At the Republican Convention, about 3,000 anti-war activists, many wearing painted death masks and some splattered with red paint, confronted delegates, chanting, cursing, jostling and pounding on cars. Protesters aimed to force well-dressed delegates to walk through a "gauntlet of shame" as they approached the guarded gates of the convention. Protesters yelled, “Murderers, murderers” and "delegates kill!" Some protesters also broke windows along the main thoroughfare in Miami Beach during the protests, resulting in 212 arrests. Black Panther Party leader, Bobby Seale, who had recently been released from four years in jail as a result of his participation in the 1968 demonstrations outside the Democratic Convention in Chicago, participated in the protests and at one point led demonstrators in chanting, “One, two, three, four. We don't want your f---ing war.” Daniel Ellsberg, who was facing criminal prosecution for releasing the Pentagon Papers, spoke to a more subdued crowd of anti-war demonstrators outside the convention center as Nixon was being nominated inside. Vietnam war veteran turned anti-war activist, Ron Kovic, also participated in the protests at the Republican National Convention.
The Democratic Convention also saw a variety of protests, inside the conventional hall and outside of it. Inside, previously excluded political activists clashed with traditional party leaders and activists in sessions that often extended late into the night. Outside, anti-war, black freedom, feminist, gay rights and other activists rallied and demonstrated. Anti-poverty advocates constructed "Resurrection City II," named after "Resurrection City," which had been constructed in Washington, D.C. in 1968 as a part of the Poor People's Campaign. "Gonzo" journalist, Hunter S. Thompson, chronicled the 1972 Democratic Convention in his book, Fear and Loathing on the Campaign Trail '72.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1972
Format
The file format, physical medium, or dimensions of the resource
poster
1972 Democratic Convention
1972 election
1972 Republican Convention
Anti-War
Black Panther Party
Black Power
Bobby Seale
counterculture
Daniel Ellsberg
electoral politics
feminism
Florida
Gay Liberation
George McGovern
Hunter S. Thompson
Miami Beach
New Left
Poor People's Campaign
Resurrection City
Resurrection City II
Richard Nixon
Ron Kovic
Tom Forcade
Vietnam Veterans Against the War
Vietnam War
Women's Liberation
Yippies
Youth International Party
Zeitgeist International Party
Zippies
-
https://rozsixties.unl.edu/files/original/2429740cf21803e7edbcc1001c3a1c52.jpg
e654c6c79ac9bec21bd74fcd6efbd99e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A assurer... la relève
Subject
The topic of the resource
Quebec Separatist Movement
Description
An account of the resource
This poster promotes the Front de Liberation du Quebec, a radical separatist group within the broader Quebec sovereignty movement. The FLQ adhered to a Marxist-Leninist ideology and engaged in a number of violent paramilitary attacks between 1963 and 1970. A 1963 leaflet that was widely distributed in Montreal included the following inscription:
"Suicide-commandos of the Quebec Liberation Front have as their mission to completely destroy, by systematic sabotage:
1. "All the symbols and colonial institutions (federal), in particular the RCMP and the armed forces.
2. "All the information media of the colonial language (English) which holds us in contempt.
3. "All enterprises and commercial establishments which practice discrimination against Quebec people, which do not use French as their primary language, which have signs in the colonial language (English).
4. "All the factories that discriminate against French-speaking workers"
In general, FLQ members embraced “propaganda of the deed,” a term that referred to political action that was aimed at providing an example for other liberationist groups. The group issued a variety of statements that called for a socialist insurrection against oppressors they identified with "Anglo-Saxon" imperialism. They also encouraged the overthrow of the Quebec government, the independence of Quebec from Canada and the creation of a French-speaking "workers' society.” The FLQ enjoyed popularity among the broader global New Left.
FLQ violence reached its peak during the late-1960s with the bombing of the Montreal Stock Exchange in 1969 and what came to be known as the October Crisis on 1970, when the group kidnapped Canadian Trade Commissioner, James Cross, and later Labor Minister Pierre Laporte, who was then killed by a FLQ cell. The October Crisis led to a decline in support for the French separatist movement and a severe crackdown by the Canadian government. In total, the FLQ conducted at least 160 violent incidents during this period, resulting in property damage and the deaths of eight people and a number of other injuries. As support for the FLQ waned in Canada, a small number of members fled to Cuba.
Creator
An entity primarily responsible for making the resource
Front de Liberation du Quebec
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s or early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
armed struggle
Canadian Trade Commissioner
Cuba
Front de Liberation du Quebec
James Cross
Labor Minister
Leninism
Marxism
Montreal
Montreal Stock Exchange
New Left
October Crisis
Pierre Laporte
propaganda of the deed
Quebec
Quebec nationalism
repression
separatism
workers' society
-
https://rozsixties.unl.edu/files/original/4066ae086e34a87338c5e035f09e72eb.jpg
9f5529315af62d7b5931de94f2eb58c3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Save the Waterfront
Subject
The topic of the resource
Environmentalism
Description
An account of the resource
During the mid- and late-1980s, a coalition of environmentalists and politicians in Burlington, Vermont, fought to redevelop the city's derelict waterfront area into a primarily public and entertainment area, with limited private development.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. mid- or late-1980s
Format
The file format, physical medium, or dimensions of the resource
poster
Burlington
environmentalism
redevelopment
Vermont
-
https://rozsixties.unl.edu/files/original/c12ea94750fc633a1db22a4356d62787.jpg
e3db76a5e95bef6f2032db50672a8f35
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Assata Shakur - Free All Black Liberation Fighters
Subject
The topic of the resource
Black Power
Description
An account of the resource
Assata Olugbala Shakur is a political activist, author, fugitive and aunt of hip-hop artist, Tupac Shakur. She was born in 1947 in New York City, JoAnne Deborah Byron. Following her parents’ divorce, Byron spent much of her childhood moving between her grandparents and other family in Wilmington, North Carolina, and New York City, where her mother moved after she remarried. As a student at the Borough of Manhattan Community College and then City College of New York, Byron was exposed to African American history and Black Nationalism, which made a significant impact on her political development. She met her husband, Louis Chesimard, and began participating in the student movement, anti-war activism and the struggle for black liberation. In 1970, while visiting Oakland, California, Byron met members of the Black Panther Party and joined the Harlem branch upon her return to New York, where she worked with the breakfast program. Frustrated with the Black Panther Party’s unwillingness to work with other black radical organizations, Byron left the party in 1971 and joined the Black Liberation Army, an underground Black Power group whose goal was to “take up arms for the liberation and self-determination of black people in the United States.” In her autobiography, she wrote, “the Black Liberation Army was not a centralized, organized group with a common leadership and chain of command. Instead there were various organizations and collectives working together and simultaneously independent of each other.” The group believed "the character of reformism is based on unprincipled class collaboration with our enemy" and asserted the following principles:
1. That we are anti-capitalist, anti-imperialist, anti-racist, and anti-sexist.
2. That we must of necessity strive for the abolishment of these systems and for the institution of Socialistic relationships in which Black people have total and absolute control over their own destiny as a people.
3. That in order to abolish our systems of oppression, we must utilize the science of class struggle, develop this science as it relates to our unique national condition.
It was also at this time that Byron changed her name to Assata (“she who struggles”) Olugbala (“love for the people”) Shakur (“the thankful”).
In 1972, the FBI issued a warrant for Shakur’s arrest for alleged crimes committed by the BLA and was the subject of a multi-state manhunt by law-enforcement. During a traffic stop on the New Jersey Turnpike in 1973, Sundiata Acoli Zayd Malik Shakur and Assata Shakur got into an altercation with two police officers, Werner Foerster and James Harper. The incident resulted in the deaths of Zayd Shakur and Foerster. Harper and Assata Shakur were also wounded in the shoot-out. Over the next few years, beteen 1973 and 1977, Shakur was charged with a variety of crimes related to the 1973 incident and others, including murder, attempted murder, armed robbery, bank robbery and kidnapping. Six of the charged were ultimately dismissed, though she was convicted of Foerster’s murder and seven other felonies related to that incident in 1977 and sentenced to life in prison plus thirty years. Many black liberation and New Left activists argued that Shakur did not receive a fair trial. In 1979, three members of the BLA helped Shakur escape from prison. For the next few years, Shakur lived underground, ultimately fleeing the U.S. for Cuba in 1984, where she was reunited with her daughter, who had been born in prison while she was on trial. Shakur continues to live in Cuba and remains on the FBI’s list of “most wanted terrorists.”
The quotation printed on this poster is from a letter Shakur wrote on July 4, 1973 from prison. The full letter is here:
Black brothers, Black sisters, i want you to know that i love you and i hope that somewhere in your hearts you have love for me. My name is Assata Shakur (slave name joanne chesimard), and i am a revolutionary. A Black revolutionary. By that i mean that i have declared war on all forces that have raped our women, castrated our men, and kept our babies empty-bellied.
I have declared war on the rich who prosper on our poverty, the politicians who lie to us with smiling faces, and all the mindless, heart-less robots who protect them and their property.
I am a Black revolutionary, and, as such, i am a victim of all the wrath, hatred, and slander that amerika is capable of. Like all other Black revolutionaries, amerika is trying to lynch me.
I am a Black revolutionary woman, and because of this i have been charged with and accused of every alleged crime in which a woman was believed to have participated. The alleged crimes in which only men were supposedly involved, i have been accused of planning. They have plastered pictures alleged to be me in post offices, airports, hotels, police cars, subways, banks, television, and newspapers. They have offered over fifty thousand dollars in rewards for my capture and they have issued orders to shoot on sight and shoot to kill.
I am a Black revolutionary, and, by definition, that makes me a part of the Black Liberation Army. The pigs have used their newspapers and TVs to paint the Black Liberation Army as vicious, brutal, mad-dog criminals. They have called us gangsters and gun molls and have compared us to such characters as john dillinger and ma barker. It should be clear, it must be clear to anyone who can think, see, or hear, that we are the victims. The victims and not the criminals.
It should also be clear to us by now who the real criminals are. Nixon and his crime partners have murdered hundreds of Third World brothers and sisters in Vietnam, Cambodia, Mozambique, Angola, and South Africa. As was proved by Watergate, the top law enforcement officials in this country are a lying bunch of criminals. The president, two attorney generals, the head of the fbi, the head of the cia, and half the white house staff have been implicated in the Watergate crimes.
They call us murderers, but we did not murder over two hundred fifty unarmed Black men, women, and children, or wound thousands of others in the riots they provoked during the sixties. The rulers of this country have always considered their property more important than our lives. They call us murderers, but we were not responsible for the twenty-eight brother inmates and nine hostages murdered at attica. They call us murderers, but we did not murder and wound over thirty unarmed Black students at Jackson State—or Southern State, either.
They call us murderers, but we did not murder Martin Luther King, Jr., Emmett Till, Medgar Evers, Malcolm X, George Jackson, Nat Turner, James Chaney, and countless others. We did not murder, by shooting in the back, sixteen-year-old Rita Lloyd, eleven-year-old Rickie Bodden, or ten-year-old Clifford Glover. They call us murderers, but we do not control or enforce a system of racism and oppression that systematically murders Black and Third World people.
Although Black people supposedly comprise about fifteen percent of the total amerikkkan population, at least sixty percent of murder victims are Black. For every pig that is killed in the so-called line of duty, there are at least fifty Black people murdered by the police.
Black life expectancy is much lower than white and they do their best to kill us before we are even born. We are burned alive in fire-trap tenements. Our brothers and sisters OD daily from heroin and methadone. Our babies die from lead poisoning. Millions of Black people have died as a result of indecent medical care. This is murder. But they have got the gall to call us murderers.
They call us kidnappers, yet Brother Clark Squires (who is accused, along with me, of murdering a new jersey state trooper) was kidnapped on April z, 1969, from our Black community and held on one million dollars' ransom in the New York Panther 21 conspiracy case. He was acquitted on May 13, 1971, along with all the others, of 156 counts of conspiracy by a jury that took less than two hours to deliberate. Brother Squires was innocent. Yet he was kidnapped from his community and family. Over two years of his life was stolen, but they call us kidnappers. We did not kidnap the thousands of Brothers and Sisters held captive in amerika's concentration camps. Ninety percent of the prison population in this country are Black and Third World people who can afford neither bail nor lawyers.
They call us thieves and bandits. They say we steal. But it was not we who stole millions of Black people from the continent of Africa. We were robbed of our language, of our Gods, of our culture, of our human dignity, of our labor, and of our lives. They call us thieves, yet it is not we who rip off billions of dollars every year through tax evasions, illegal price fixing, embezzlement, consumer fraud, bribes, kickbacks, and swindles. They call us bandits, yet every time most Black people pick up our paychecks we are being robbed. Every time we walk into a store in our neighborhood we are being held up. And every time we pay our rent the landlord sticks a gun into our ribs.
They call us thieves, but we did not rob and murder millions of Indians by ripping off their homeland, then call ourselves pioneers. They call us bandits, but it is not we who are robbing Africa, Asia, and Latin America of their natural resources and freedom while the people who live there are sick and starving. The rulers of this country and their flunkies have committed some of the most brutal, vicious crimes in history. They are the bandits. They are the murderers. And they should be treated as such. These maniacs are not fit to judge me, Clark, or any other Black person on trial in amerika. Black people should and, inevitably, must determine our destinies.
Every revolution in history has been accomplished by actions, al-though words are necessary. We must create shields that protect us and spears that penetrate our enemies. Black people must learn how to struggle by struggling. We must learn by our mistakes.
I want to apologize to you, my Black brothers and sisters, for being on the new jersey turnpike. I should have known better. The turnpike is a checkpoint where Black people are stopped, searched, harassed, and assaulted. Revolutionaries must never be in too much of a hurry or make careless decisions. He who runs when the sun is sleeping will stumble many times.
Every time a Black Freedom Fighter is murdered or captured, the pigs try to create the impression that they have quashed the movement, destroyed our forces, and put down the Black Revolution. The pigs also try to give the impression that five or ten guerrillas are responsible for every revolutionary action carried out in amerika. That is nonsense. That is absurd. Black revolutionaries do not drop from the moon. We are created by our conditions. Shaped by our oppression. We are being manufactured in droves in the ghetto streets, places like attica, san quentin, bedford hills, leavenworth, and sing sing. They are turning out thousands of us. Many jobless Black veterans and welfare mothers are joining our ranks. Brothers and sisters from all walks of life, who are tired of suffering passively, make up the BLA.
There is, and always will be, until every Black man, woman, and child is free, a Black Liberation Army. The main function of the Black Liberation Army at this time is to create good examples, to struggle for Black freedom, and to prepare for the future. We must defend ourselves and let no one disrespect us. We must gain our liberation by any means necessary.
It is our duty to fight for our freedom.
It is our duty to win.
We must love each other and support each other.
We have nothing to lose but our chains.
Creator
An entity primarily responsible for making the resource
Right edge has "Jackrabbit Press 464 Willamette Eugene Oregon" printed in black and a black stamp for the Assatta Shakur Defense Committee.
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1973
Format
The file format, physical medium, or dimensions of the resource
poster
Angola
anti-imperialism
Anti-War
Assata Shakur
Attica Prison
Bedford Hills Prison
Black Liberation Army
black nationalism
Black Panther Party
Black Power
Borough of Manhattan Community College
Cambodia
City College of New York
Clark Squires
COINTELPRO
Cuba
Emmett Till
FBI
George Jackson
James Chaney
James Harper
JoAnne Deborah Byron
Jr.
Leavenworth Prison
Louis Chesimard
Malcolm X
Martin Luther King
Medgar Evers
MLK
Mozambique
Nat Turner
New Jersey
New York
North Carolina
Pigs
San Quentin Prison
Sing Sing Prison
South Africa
student movement
Sundiata Acoli
Third World liberation
Tupac Shakur
Vietnam
Vietnam War
Watergate
Werner Foerster
Wilmington
Zayd Malik Shakur
-
https://rozsixties.unl.edu/files/original/344dccf917cda030af76b5035b822b06.jpg
a3f986bcb4f88767e3e103834ed3dc83
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mobilize to End the War in Vietnam
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
On April 15, 1967, the National Mobilization Committee organized a protest march against the Vietnam War from Central Park to the United Nations. One of the largest demonstrations of the Vietnam War era, an estimated 100,000 to 400,000 participated, including a range of anti-war and civil rights organizations. The march was peaceful, with five arrests, all of people who opposed the demonstration. During the event, Martin Luther King, Jr., Floyd McKissick, Stokely Carmichael and Dr. Benjamin Spock all gave speeches in front of the United Nations critiquing U.S. involvement in the war as well as the socioeconomic politics of the draft. Prior to the march, nearly 200 draft cards were burned by youths in Central Park. In San Francisco, Black nationalists led a march of an estimated 20,000 mostly white demonstrators in San Francisco on the same day.
Here is a news footage of the march in New York:
https://www.youtube.com/watch?time_continue=18&v=40m5gBgwjQE
Creator
An entity primarily responsible for making the resource
Spring Mobilization Committee to End the War in Vietnam
Photo Credit to Robert Joyce
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Format
The file format, physical medium, or dimensions of the resource
poster
A.J. Muste
Anti-War
Benjamin Spock
California
Central Park
Floyd McKissick
James Bevel
Martin Luther King
MLK
National Mobilization Committee to End the War
New York
Robert Joyce
San Francisco
Sheep Meadow
Spring Mobilization Committee to End the War in Vietnam
Stokely Carmichael
United Nations
Vietnam War
-
https://rozsixties.unl.edu/files/original/c4cf5932baae1fc6bdba4ba3a73a3e88.jpg
108f2f59bfb801f5dd323258bb363329
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"When You Finally Notice Something..."
Subject
The topic of the resource
Anti-Nuclear Movement
Description
An account of the resource
This 1975 anti-nuclear power poster by Gillado Booth and White Whippet Press includes the quote, "When you finally notice something that's been a long while coming you don't have much time left." During the 1970s, many environmental activists opposed nuclear power because of concerns over nuclear waste disposal.
Creator
An entity primarily responsible for making the resource
art by Gillado Booth and published by White Whippet Press in Huntington, New York
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1975
Format
The file format, physical medium, or dimensions of the resource
poster
anti-nuke
environmentalism
Gillado Booth
Huntington
New York
nuclear power
White Whippet Press
-
https://rozsixties.unl.edu/files/original/e36c8211c7962fb4c11b50eb8decbf9c.jpg
6b9b342728b1f87c66af4df27b708de5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"False Promises/Nos Engañaron"
Subject
The topic of the resource
Counterculture
Description
An account of the resource
The San Francisco Mime Troupe was an avant-garde, “guerilla theater” troupe created by R.G. Davis in 1959 and dedicated to political satire. Peter Berg directed the group throughout its heyday in the 1960s. Initially performing in lofts and basements, the SFMT gained notoriety during the mid- and late-1960s for its rambunctious free performances outdoors in public parks, particularly Golden Gate Park. Their performances targeted political repression in the U.S., American military intervention abroad, racism, sexism, materialism and capitalism. Seen as a part of the countercultural movement, the SFMT also had several well-known run-ins with law enforcement, often charged with “obscenity”. Their 1965 Minstrel Show, Or Civil Rights in a Cracker Barrel, was performed in black face and offended some — both black and white. In another piece, an actor played a military policeman who paraded prisoners into Berkeley’s Sproul Plaza and began to abuse them. The troupe was also arrested on the campus of the University of California-Berkeley during the Free Speech Movement. Berg later went on to co-found, the Diggers with Emmett Grogan, a collective that brought a sense of theater to their charity work with the hippies and the poor in San Francisco.
This poster by Jane Norling, was created for the San Francisco Mime Troupe’s 1976 original production of the play, "False Promises/Nos Enganaron.” According to the Troupe’s website, provides the following summary of the play: “Set in a Colorado mining town in 1898 where Mexican and American workers are organizing a copper mine, this simple story evolves into an epic that links the stories of Mexican and white miners, black and white dance hall queens, and a black soldier to the global machinations of Teddy Roosevelt and J.P. Morgan. The play also ties in U.S. expansion into Puerto Rico, the Philippines and Hawaii with the development of the American West.”
The play was written by Joan Holden, directed by Arthur Holden, with music and lyrics by Andrea Snow, Bruce Barthol and Xavier Pacheco. It featured Marie Acosta, Lonnie Ford, Sharon Lockwood, Melody James, Ed Levey, Dan Chumley, Esteban Oropeza, Patricia Silver and Deb'bora Gilyard and a band, the “Rough Riders,” including Bruce Barthol, Barry Levitan, David Topham and Jack Wickert. The production toured West Germany, Italy and France after its initial run in San Francisco.
Creator
An entity primarily responsible for making the resource
artist Jane Norling
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1976
Format
The file format, physical medium, or dimensions of the resource
poster
Andrea Snow
anti-imperialism
Anti-War
Arthur Holden
Barry Levitan
Berkeley
Bruce Barthol
California
Civil Rights in a Cracker Barrel
Colorado
counterculture
Dan Chumley
David Topham
Deb'bora Gilyard
Diggers
Ed Levey
Emmett Grogan
Esteban Oropeza
False Promises/Nos Enganaron.
France
Free Speech Movement
Golden Gate Park
guerilla theater
Hawaii
Italy
J.P. Morgan
Jack Wickert
Jane Norling
Joan Holden
Lonnie Ford
Marie Acosta
Melody James
mining
Minstrel Show
Patricia Silver
Peter Berg
Puerto Rico
R.G. Davis
San Francisco
San Francisco Mime Troupe
Sharon Lockwood
Sproul Plaza
Teddy Roosevelt
the Philippines
theater
University of California
Vietnam War
West Germany
Xavier Pacheco
-
https://rozsixties.unl.edu/files/original/6ec26054388f7d4ae1151131b2697bc0.jpg
134e5a7ffb4bfa3829d80dcaf5e4cbcb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jornada de la Marcha Combatiente Hacia el Moncada
Subject
The topic of the resource
Cuban Revolution
Description
An account of the resource
On July 26, 1953, Fidel Castro led a small group of revolutionaries in an attack on the Moncada military barracks in Santiago de Cuba. The barracks was the second largest in Cuba and had been named for General Guillermon Moncada, a heroic figure from Cuba’s War for Independence in the 1890s. The attempted coup failed, with eight killed, several more wounded and more than seventy captured and tortured by the Batista regime, including Fidel Castro’s brother, Raul. Fidel Castro initially escaped into the countryside, but was later captured and placed on trial. During the theatrical trial, Castro famously said, "You may condemn me. History will absolve me." Following the 1959 revolution, Castro would mark the storming of Moncada as the start of the struggle against the Batista regime. This poster commemorates that event.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
Format
The file format, physical medium, or dimensions of the resource
poster
anti-colonialism
Batista
Cuban Revolution
Fidel Castro
Guillermon Moncada
Moncada
Raul Castro
Santiago de Cuba
-
https://rozsixties.unl.edu/files/original/be539784c3b34646ef2cc303c2d4ad68.jpg
5598e52daf7637cef7bc4661c78cdfaa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Dile a Fidel que yo complire con mi deber"
Subject
The topic of the resource
Latin American Leftism
Description
An account of the resource
This Cuban poster features Argentinian President Salvador Allende holding a gun and stating, "Tell Fidel I understand my duty."
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1973
Argentina
Cuban Revolution
Fidel Castro
Latin America
Salvador Allende
-
https://rozsixties.unl.edu/files/original/3fa2d960dadadbf5d82fb2796dab1417.jpg
7a4b9a806a8b35659db8267f680a82d3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Y Salvador Allende Cumplio Su Palabra en Forma Dramatica e Impresionante
Subject
The topic of the resource
Latin American Leftism
Description
An account of the resource
This Cuban poster quotes a speech by Fidel Castro given on September 28, 1973 at the Plaza de la Revolucion, shortly after the CIA-backed coup in Argentina on September 11 that overthrew the Democratic-Socialist Salvador Allende and installed military dictator, Augusto Pinochet. During the coup, Allende took his own life.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1973
Format
The file format, physical medium, or dimensions of the resource
poster
Augusto Pinochet
CIA
Cuban Revolution
Fidel Castro
Latin America
Plaza de la Revolucion
Salvador Allende
-
https://rozsixties.unl.edu/files/original/94a81cae2e5c5929ee0252645f42c1d9.jpg
29cb79f610bc9ba6782506e5636be215
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Free Ruchell Magee
Subject
The topic of the resource
Black Power
Description
An account of the resource
Ruchell Magee was born in 1939. In 1963, Magee was convicted of aggravated kidnapping over a dispute involving $10 of marijuana. While in prison, Magee learned about African American history, the black liberation struggle and became politicized, joining the Black Panther Party.
While imprisoned during the 1960s, Magee dedicated much of his time to studying law and petitioning the court to challenge his conviction, stating the the U.S. criminal justice system “used fraud to hide fraud” to convict African Americans and other political activists. He was able to overturn his initial conviction and earn a new trial based on a falsified transcript. In essence, Magee argued that his conviction was based on fraudulent grounds, denying him his constitutional rights and holding him involuntarily, making him a slave. As such, he claimed, he and others had a legal right to do everything in their power to escape enslavement. “My fight is to expose the entire system, judicial and prison system, a system of slavery,” he wrote. “This will cause benefit not just to myself but to all those who at this time are being criminally oppressed or enslaved by this system.” During this period, Magee took the middle name “Cinque,” in honor of a slave who escaped the slave ship, Amistad, and won his freedom in a Connecticut court. Magee also hoped his case might draw attention to the broader injustices within the American legal system.
On August 7, 1970, just a few months before Magee was eligible for parole, 17-year old Jonathan Jackson, the younger brother of black radical, George Jackson, burst into the Marin County courtroom of Superior Court Judge Harold Haley, where James McClain was on trial for assaulting a guard in the wake of Black prisoner Fred Billingsley’s murder by prison officials in San Quentin Prison in February of 1970. Carrying three guns registered to Angela Davis, Jackson, with the help of McClain and Ruchell Cinque Magee, who was set to testify as a witness in McClain's trial, seized Judge Haley and ordered attorneys, jurors and court officials to lie on the floor. Magee freed another testifying witness, Black Panther William A. Christmas, who also aided in the escape attempt. In addition to their own freedom, the group sought a trade -- the release of Judge Haley for the “Soledad Brothers,” George Jackson, Fleeta Drumgo, and John Clutchette, who were charged with killing a white prison guard at California’s Soledad Prison. During an effort to flee the courthouse in a van, a shoot-out with police took place, killing Jackson, McClain, Christmas and Judge Haley. Two other hostages, Prosecutor Gary Thomas and juror Maria Elena Graham, were also injured, but survived. Ruchell Magee was the only abductor to survive.
In the legal proceeding that followed the incident, prosecutors attempted to get Magee to testify against Angela Davis, but he refused. Ultimately, he pled guilty to aggravated kidnapping in exchange for the Attorney General requesting a charge of murder be dropped. Magee later tried to withdraw his guilty plea, but was unsuccessful. In 1975, he was sentenced to life in prison. Over the years, Magee has continued to petition the court for his release and to help other prisoners with legal challenges.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
Angela Davis
Black Panther Party
Black Power
California
Cinque
Connecticut
Fleeta Drumgo
Fred Billingsley
Gary Thomas
George Jackson
Harold Haley
James McClain
John Clutchette
Maria Elena Graham
Marin County Courthouse
Political Prisoners
revolutionary
Ruchell Magee
San Quentin Prison
slavery
Soledad Brothers
Soledad Prison
William A. Christmas
-
https://rozsixties.unl.edu/files/original/a2ca05a9dbce4189ffbeb97bc4e257a0.jpg
5c4626a34d9c71ed1672074469107487
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Creator
An entity primarily responsible for making the resource
Alfredo Rostgaard
Title
A name given to the resource
Vietnam, April 1975
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This 1975 poster, by Cuban designer and filmmaker, Alfredo Rostgaard, commemorates the Fall of Saigon, when North Vietnamese and Viet Cong forces captured the South Vietnam capitol, compelling an end to the Vietnam War. The poster was published by OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba. Notably, these colorful propaganda posters were not designed to be posted on walls within Cuba, as others were. Instead, they were folded and stapled inside the magazine, Tri-Continental, where they were then distributed internationally. Rostgaard was the artistic director of OSPAAAL for nine years, beginning in 1966.
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1975
Format
The file format, physical medium, or dimensions of the resource
format
Alfredo Rostgaard
Anti-War
Cuban Revolution
North Vietnam
OSPAAAL
Saigon
South Vietnam
Tri-Continental magazine
Vietcong
Vietnam War
-
https://rozsixties.unl.edu/files/original/be60720785b0acfa540f7a184696da52.jpg
bdb9bf8e436f2ed85fef87f67b092c77
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Zimbabwe Liberation Day
Subject
The topic of the resource
Third World Liberation
Description
An account of the resource
This poster, promotes a Zimbabwe Liberation Day event in Pittsburgh, sponsored by the local chapter of the African Liberation Support Committee. According to the African Activist Archive, “The African Liberation Support Committee (ALSC), a black activist organization that supported Pan Africanism, was organized at a conference in September 1972 in Detroit, Michigan. ALSC grew out of the first African Liberation Day (ALD) on May 27, 1972 that drew some 60,000 demonstrators in cities across the U.S. and Canada. The first ALD grew out of a trip of a group of black activists to Mozambique's liberated areas in the summer of 1971. One of the activists on that trip was Owusu Sadaukai who, upon his return, convened a meeting in Greensboro, North Carolina that led to the first ALD demonstration, which was designed to show support for African liberation struggles. A second ALSC conference was held in 1974 and was attended by 51 local committees from 27 states and six countries. ALSC organized African Liberation Day each May, and in 1973 demonstrations were held in more than 30 cities with an estimated 100,000 participants. The 1973 African Liberation Day included a call to boycott Portuguese products and Gulf Oil because of its operation in Angola. By 1974 ideological conflicts and other factors including class and regional differences weakened the organization. Many of those who had been involved in ALSC went on to found or join other organizations supporting African struggles against colonialism and apartheid.” During the late-1970s, the United States and Soviet Union engaged in diplomatic maneuvers to discuss Cold War politics on the African continent, including Zimbabwe (formerly Rhodesia).
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
African Liberation
African Liberation Day
African Liberation Support Committee
Angola
anti-colonialism
Canada
demonstration
Detroit
Greensboro
Jimmy Carter
Leonid Brezhnev
Michigan
Mozambique
North Carolina
Owusu Sadaukai
Pennsylvania
Pittsburgh
Portuguese
Rhodesia
Soviet Union
Third World liberation
Zimbabwe Liberation Day
-
https://rozsixties.unl.edu/files/original/b525fe15c1dfaac32e77f902530030ef.jpg
8212723bf271f26fc8015a56514590e0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
LBJ Yelling in 1960
Subject
The topic of the resource
1960 Election
Description
An account of the resource
This poster features a 1960 photo by Richard Pipes, a photographer for the Amarillo Globe-News, of then Vice-Presidential candidate, Lyndon B. Johnson, yelling at the pilots of a nearby airplane to shut off their engines so that Democratic Presidential candidate, John F. Kennedy, could speak. According to the U.S. Senate website, “In the fall, Johnson campaigned intensely, conducting a memorable train ride through the South. He also pressed for a joint appearance of the Democratic candidates somewhere in Texas. They arranged the meeting at the airport in Amarillo, where campaign advance men stopped all air traffic during the brief ceremonies so that the candidates could address the crowd. But they had not counted on the Republican-leaning airline pilots, who deliberately ran the engines of their planes in order to drown out the speakers. At the close of the ruined appearance, a photographer snapped a concerned Kennedy placing his hand on Johnson's shoulder, trying to calm his angry, gesticulating running mate.” Kennedy poked fun at the noise during his speech, quipping, "That is Dick coming in." (Richard Nixon was also campaigning in Texas that day) and "They can’t stop the truth anyway. I don’t care how much that engine warms up."
Creator
An entity primarily responsible for making the resource
Richard Pipes, photographer
Source
A related resource from which the described resource is derived
unknown
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
Format
The file format, physical medium, or dimensions of the resource
poster
1960 election
Amarillo
John F. Kennedy
LBJ
Richard Nixon
Richard Pipes
Texas
-
https://rozsixties.unl.edu/files/original/e3d288b329b927440f1537a3a327a6e4.jpg
023e0ae5311bfd3c91cc415faaed64d9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
National Hard Times Conference
Subject
The topic of the resource
Ant-Poverty
Description
An account of the resource
This poster, created by Flood Time’s Here Culture Collective for the New England Regional Office for the National Hard Times Conference, promotes the Hard Times Conference, which took place between January 30 and February 1, 1976, at the University of Illinois Circle Campus in Chicago. The conference was organized by the Prairie Fire Organizing Committee, with the support of a number of Weather Underground leaders and sought to challenge political cuts to social welfare programs, protest inflation and advocate for a guaranteed jobs and income program. The conference slogan was “Hard Times are Fighting Times.” According to the Freedom Archive, the Prairie Fire Organizing Committee was “An anti-imperialist group that began as the Prairie Fire Distributing Committee in 1974 to distribute Prairie Fire: The Politics of Revolutionary Anti-Imperialism, written by members of the Weather Underground Organization. After its initial publication, groups sprang up around the country to discuss the book. PFOC was formally organized in 1976 and was active in the San Francisco Bay Area, Los Angeles, and Chicago until the mid-1990s. Their work embraced a broad range of issues: international solidarity with national liberation struggles in Zimbabwe, Namibia, South Africa, Nicaragua and El Salvador; and with the struggles for self-determination of Puerto Rican, African-American, Mexicano, and Native peoples inside U.S. borders; support of political prisoners; opposition to white and male supremacy and support of women’s and gay liberation.”
Creator
An entity primarily responsible for making the resource
New England Regional Office for the National Hard Times Conference
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1976
Format
The file format, physical medium, or dimensions of the resource
poster
anti-poverty
California
Chicago
El Salvador
Flood Time’s Here Culture Collective
Freedom Archive
guaranteed income
Hard Times Conference
Illinois
living wage
Los Angeles
Mexico
Namibia
New England Regional Office for the National Hard Times Conference
New Left
Nicaragua
Poverty
Prairie Fire
Prairie Fire Distributing Committee
Prairie Fire Organizing Committee
Puerto Rico
San Francisco
South Africa
University of Illinois Circle Campus
Urban
Weather Underground
Zimbabwe
-
https://rozsixties.unl.edu/files/original/c0504d2356b0baa538ee0e7e89fdea26.jpg
b67af076920e19dd58a059a59d7f11c9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
1976 - What are We Celebrating?
Subject
The topic of the resource
U.S. Bicentennial
Description
An account of the resource
This poster asks, "1976 - What are We Celebrating?" and points out that "What Betsy Ross did as an act of freedom is now being done behind bars by women in prison."
Notation at the bottom says, "Amherst".
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1976
Format
The file format, physical medium, or dimensions of the resource
poster
Amherst
Betsy Ross
Bicentennial
feminism
Massachusetts
Prison Reform
Women's Liberation
-
https://rozsixties.unl.edu/files/original/48deaf04ee3d9fca3b137d2a1ad5657a.jpg
27154eef59b47cf6dc13a2d9a6e1366b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Day of International Solidarity with the People of Zimbabwe
Subject
The topic of the resource
Third World Liberation
Description
An account of the resource
This 1967 poster, by Cuban designer and filmmaker, Alfredo Rostgaard, promotes a Day of International Solidarity with the People of Zimbabwe. The poster was published by OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba. Notably, these colorful propaganda posters were not designed to be posted on walls within Cuba, as others were. Instead, they were folded and stapled inside the magazine, Tri-Continental, where they were then distributed internationally. Rostgaard was the artistic director of OSPAAAL for nine years, beginning in 1966.
Creator
An entity primarily responsible for making the resource
Alfredo Rostgaard
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Format
The file format, physical medium, or dimensions of the resource
poster
Africa
African Liberation
Alfredo Rostgaard
anti-colonialism
Cuba
Cuban Revolution
Day of International Solidarity with the People of Zimbabwe
OSPAAAL
Tri-Continental
Zimbabwe
-
https://rozsixties.unl.edu/files/original/096ad125a84812066c9b7c7213fa9dfd.jpg
dab9b4a7337fbdd4fe8908492d5b22bc
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Vietnam Will Win
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This 1968 poster, by Cuban designer, Felix Beltran, promotes the Vietnamese liberation struggle. The poster was published by OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba. Notably, these colorful propaganda posters were not designed to be posted on walls within Cuba, as others were. Instead, they were folded and stapled inside the magazine, Tri-Continental, where they were then distributed internationally.
Creator
An entity primarily responsible for making the resource
Felix Beltran
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Cuba
Cuban Revolution
Felix Beltran
OSPAAAL
Third World liberation
Tri-Continental magazine
Vietnam War
-
https://rozsixties.unl.edu/files/original/518f8706d22543faa9c2126be6b35908.jpg
8bfe5750266a10b8233a830ad148c536
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Power
Subject
The topic of the resource
Black Power
Description
An account of the resource
This 1968 poster, by Cuban designer and filmmaker, Alfredo Rostgaard, promotes the Black Power movement and revolutionary violence. The poster was published by OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba. Notably, these colorful propaganda posters were not designed to be posted on walls within Cuba, as others were. Instead, they were folded and stapled inside the magazine, Tri-Continental, where they were then distributed internationally. Rostgaard was the artistic director of OSPAAAL for nine years, beginning in 1966. A statement by OSPAAAL was included with this poster: “On the occasion of Dr. Martin Luther King’s assassination, we have published a poster that is now being circulated all over the world. We are sending you herewith a certain amount of these posters, which may be used in your country for the activities to be carried out in this regard.” This poster was later re-purposed by the Black Panther Party as a part of the Free Huey! campaign. OSPAAAL published several posters by Emory Douglas, Minister of Culture for the Black Panther Party.
Creator
An entity primarily responsible for making the resource
Alfredo Rostgaard
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Format
The file format, physical medium, or dimensions of the resource
poster
Alfredo Rostgaard
Black Panther Party
Black Power
Cuba
Cuban Revolution
Emory Douglas
Huey Newton
Martin Luther King
MLK
OSPAAAL
Third World liberation
-
https://rozsixties.unl.edu/files/original/c06feb113a16519d2b4e17ab2e7f5101.jpg
9a9167585c7b687d8ae9ff4f4a8eb3ca
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Day of Solidarity with the Afro-American People
Subject
The topic of the resource
Black Power
Description
An account of the resource
This 1968 poster, by Cuban designer, Daysi Garcia, promotes the Black Power movement through a day of solidarity of Afro-American people. The poster was published by OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba. Notably, these colorful propaganda posters were not designed to be posted on walls within Cuba, as others were. Instead, they were folded and stapled inside the magazine, Tri-Continental, where they were then distributed internationally.
Creator
An entity primarily responsible for making the resource
Daysi Garcia
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1968
Format
The file format, physical medium, or dimensions of the resource
poster
Black Power
Cuba
Cuban Revolution
Day of Solidarity with the Afro-American People
Daysi Garcia
Third World liberation
Tri-Continental magazine
-
https://rozsixties.unl.edu/files/original/6dff7fea3faf017485a593316eaf8a3d.jpg
7ad5e0ee16c0d70b906dd5fb3ebde9b6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"La mujer hebrea" de Bertold Brecht; "El Holandés" de Leroy Jones
Subject
The topic of the resource
Theater and Culture
Description
An account of the resource
This pop art-inspired poster promotes Cuban productions of Bertolt Brecht's play, "The Jewish Wife," and LeRoi Jones's, "The Dutchman."
Creator
An entity primarily responsible for making the resource
Rolando de Oraá Carratalá, artist
Consejo Nacional de Cultura, publisher
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Format
The file format, physical medium, or dimensions of the resource
poster
Amiri Baraka
Bertolt Brecht
Cuba
LeRoi Jones
The Dutchman
The Jewish Wife
theater
-
https://rozsixties.unl.edu/files/original/ef18e4ad2e612cce97d0461cb9ad5a11.jpg
01cf4ec8c0625f808f2418f0bfdf71be
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
International Women's Day, March 8
Subject
The topic of the resource
Women's Liberation
Description
An account of the resource
This poster promotes International Women's Day on March 8, 1975. The hand-written notation says, "Scrub-a-dub-dub, here's the rub. It's time to scrub out the greed and grub."
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1975
Format
The file format, physical medium, or dimensions of the resource
poster
feminism
International Women's Day
Women's Liberation
-
https://rozsixties.unl.edu/files/original/04129d01f58d98d238b6f1d6a812b555.jpg
f7c9346336a0889d34a968384d27ef6f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Confront the Warmakers
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster promotes the October 21, 1967, antiwar demonstration held in Washington, D.C. by a collection of organizations, including the Vietnam Peace Parade Committee in New York. The estimated 100,000 protesters who took place in the demonstration included radicals, liberals, black nationalists, hippies, professors, women’s groups, and war veterans.
The rally in front of the Lincoln Memorial started peacefully. Dr. Benjamin Spock, the baby specialist, author, and ardent critic of the war gave a strong speech, labelling President Johnson “the enemy.” Afterward, demonstrators marched toward the Pentagon, where some violence erupted when the more radical element of the demonstrators clashed with U.S. troops and Marshals. The protesters surrounded and besieged the military nerve center until the early hours of October 23. By the time order was restored, 683 people, including novelist Norman Mailer and two United Press International reporters, had been arrested.
One of the notable aspects of the Pentagon protest, in addition to its size, was the participation of both the political and counter-cultural wings of the New Left. Famously, in a bit of political theater, Yippie leaders, Abbie Hoffman and Jerry Rubin, claimed demonstrators would perform an "exorcism" on the Pentagon. Surrounding the five-sided building with a circle of hippies, “they would make the Pentagon rise from the ground a few inches. And all the evil was going to leave.”
Rubin stressed to the media that “we were going to close down the Pentagon” – which was taken more seriously than the levitation. President Johnson retorted, “I will not allow the peace movement to close down the Pentagon.” As Rubin pointed out later, “By saying that he wasn’t going to allow us to close it down, he gave us the power to have that possibility. So in a way, just by announcing it, we created a victory.”
In an essay for The Nation, titled “Bastille Day on the Potomac,” Robert Sherrill described the protest at the Pentagon:
“The strange thing about the confrontation, at least at first, of the troops and the protesters at the Pentagon was that there seemed almost to be a rapport, partly contrived but also partly natural. The troops who met the marchers and turned them away were sometimes cursed, but more often they were merely lectured as flower children might lecture a nosy cop in DuPont Circle. One boy stuck chrysanthemums in the muzzles of the rifles confronting him; late in the day, a soldier was seen tossing a package of cigarettes into the sprawl of sit-inners he was guarding. More significant than these random, amiable acts, however, was the fact that the protesters, although they made repeated forays with their identifying banners onto forbidden territory (one participant said it reminded him of the schoolboy game, Capture the Flag), never seriously contested or baited the troops physically—except for the one occasion when half a dozen protesters outflanked the main cluster of soldiers, raced through an unguarded Pentagon door, and made their coup, before being tossed out. A handful of stones, a couple of bottles, a few pieces of heavy cardboard were tossed at the soldiers during the day—but considering the size of the crowd, at peak emotion, acting over a period of several hours, these peaceniks were really peaceful. And by day, so were the troops. At dusk, they shot a couple of canisters of tear gas into the protesters’ ranks; and after dark they used their boots and rifle butts more freely than they had during the day….
On the occasion of the actual penetration of the Pentagon, there was rough stuff on both sides, but the only brutalities were committed by the marshals. When the protesters raced for the Pentagon entrance, The Nation’s reporter was in the van, not fast enough to get into the building with the six who made it, but in time to reach the doorway just as the bodies came hurtling back through, borne on a wave of soldiers. In the midst of this, he observed, one of the protesters was knocked down and lay imprisoned among the legs of the soldiers. A marshal seized this opportunity to start beating the helpless young man with all his might and the beating continued for so long and seemed of such homicidal intent that the several newsmen caught in the crush began screaming at the marshal to quit. Finally the soldiers stopped him. The Nation’s reporter saw the marshals beating demonstrators on five occasions, four of these beatings were administered when the demonstrators were either on the ground or helpless.”
The Pentagon protest was paralleled by demonstrations in Japan and Western Europe. In one raucous incident outside the U.S. Embassy in London, 3,000 demonstrators attempted to storm the building.
Creator
An entity primarily responsible for making the resource
Vietnam Peace Parade Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Format
The file format, physical medium, or dimensions of the resource
poster
Abbie Hoffman
Anti-War
Benjamin Spock
counterculture
DuPont Circle
Japan
Jerry Rubin
LBJ
Levitation
Lincoln Memorial
New Left
New York
Norman Mailer
Pentagon
Robert Sherrill
The Nation
Vietnam Peace Parade Committee
Vietnam War
Washington D.C.
Western Europe
Yippies
-
https://rozsixties.unl.edu/files/original/05d1081ce71a3f78f7e55d48f936c687.jpg
3b90cbeca0a002ec3fa4d322005f15e1
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Second Burlington People's Circus
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This poster promotes the second Burlington People's Circus.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
Format
The file format, physical medium, or dimensions of the resource
poster
Battery Park
Burlington
Burlington People's Circus
circus
counterculture
theater
Vermont
-
https://rozsixties.unl.edu/files/original/36e560f36ffa6a5b535c77d240cc4019.jpg
438b992bb50e747fb2544ff566c24a05
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
We Celebrate Women's Struggles, We Celebrate People's Victories
Subject
The topic of the resource
Women's Liberation
Description
An account of the resource
This poster was created by designer, Susan Shapiro, at Inkworks Press in Oakland, California, in 1975 and connects the growing women’s liberation movement with the reunification of North and South Vietnam. The text at bottom of the poster states, "The mountain is only so high... Our capacity is without limit. The stars move; our will is unshakable! / Inscription on the walls of a cell: Con Son Women's Prison, South Viet Nam (Liberated April 30 1975)."
Creator
An entity primarily responsible for making the resource
Inkworks
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1975
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
California
Con Son Women's Prison
feminism
Inkworks Press
inter-sectionalism
North Vietnam
Oakland
solidarity
South Vietnam
Susan Shapiro
Third World liberation
Vietnam War
Women's Liberation
-
https://rozsixties.unl.edu/files/original/8b1fd54c58f0c92f3e2700195a0fb604.jpg
47bf366c18df2673223e10cd38cf7130
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
“The overriding rule I want to affirm is that our foreign policy must always be an extension of our domestic policy. Our safest guide to what we do abroad is always what we do at home.”
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster juxtaposes images of police violence from the siege at Columbia with a quote from Lyndon B. Johnson, stating, "The overriding rule I want to affirm is that our foreign policy must always be an extension of our domestic policy. Our safest guide to what we do abroad is always what we do at home.”
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1968
Anti-War
domestic policy
foreign policy
seige at Columbia
Vietnam War
-
https://rozsixties.unl.edu/files/original/289ca73d17bc73e1c0d74527d6a2f27a.jpg
05b54a187c1f634eac76e00ee87c2b99
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reading/Performance FBI Letters: The War on Black Americans
Subject
The topic of the resource
Black Power and Repression
Description
An account of the resource
As a part of her work on the DVD reissue of the Newsreel Films three Black Panther Party films, Roz Payne collected a trove of primary source materials on the FBI COINTELPRO operations against the Panthers. This event features Payne reading selections from those materials.
Creator
An entity primarily responsible for making the resource
FBI
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
Format
The file format, physical medium, or dimensions of the resource
poster
Black Panther Party
Black Power
Burlington
Burlington City Hall
COINTELPRO
FBI
repression
Roz Payne
Vermont
-
https://rozsixties.unl.edu/files/original/3b14782fc9083ee4d5b3de89ad279578.jpg
82f57aaed570592092e9ee4275a711c9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Palestine Bleeds on the Hands of Zionist Torture
Subject
The topic of the resource
Israeli-Palestinian Conflict
Description
An account of the resource
This poster was created by Palestinian artist, Mohamad El Farah, in 1970, as a part of a poster series for Fatah, the Palestinian nationalist movement.
Many New Left activists viewed the Palestinian liberation struggle as the vanguard of the broader Third World liberation movement of the 1960s and 1970s.
Creator
An entity primarily responsible for making the resource
Mohamad El Farah
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1970
Format
The file format, physical medium, or dimensions of the resource
poster
Fatah
Fateh
Israel
Mohamad El Farah
New Left
Palestine
Third World liberation
torture
-
https://rozsixties.unl.edu/files/original/069d6a1ce02994d4ccfb26718420318a.jpg
d377e61aef4eca72f7ed5df8ff6c8cd4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Uncle Sam needs YOU nigger
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster was issued by the Harlem Progressive Labor Club, the Harlem branch of the Progressive Labor Party, a Marxist-Leninist organization founded in 1962 out of a split within the Communist Party USA. Some described the organization as Maoist in the late-1960s. The PLP gained a foothold in the anti-Vietnam War movement through its Worker Student Alliance faction, which rivaled the Revolutionary Youth Movement within Students for a Democratic Society. The Harlem chapter initially emerged in response to police violence against African Americans in Harlem and later in opposition to the War in
Vietnam, emphasizing the racial dynamics of the war. This poster reads, "Uncle Sam needs YOU nigger/ Become a member of the world's highest paid black mercenary army!/ Fight for freedom... (in Viet Nam)/ Support White Power - travel to Viet Nam, you might get a medal!/ Receive valuable training in the skills of killing off other oppressed people!/ (Die Nigger Die - you can't die fast enough in the ghettos.)/ So run to your nearest recruiting chamber! (Keep the faith, baby)."
Creator
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Harlem Progressive Labor Club
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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ca. 1968
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Black Power
California
Chicago
Harlem
Harlem Progressive Labor Club
Illinois
Leninism
Los Angeles
Maoism
Marxism
New York
Progressive Labor Party
Revolutionary Youth Movement
San Francisco
SDS
Students for a Democratic Society
Vietnam War
White Power
-
https://rozsixties.unl.edu/files/original/147b2dcba79978032497a30820b9e11c.jpg
e79634421307b219bb16006a454f2a23
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Dublin Core
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Title
A name given to the resource
People of the World Salute Fatah
Subject
The topic of the resource
Israeli-Palestinian Conflict
Description
An account of the resource
This poster from the mis-1980s salutes Fatah, the Palestinian National Liberation Movement, a prominent Palestinian liberation organization.
Creator
An entity primarily responsible for making the resource
Kamal Boullata
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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ca. 1985
Format
The file format, physical medium, or dimensions of the resource
poster
Fatah
Israel
Palestine
Third World liberation
-
https://rozsixties.unl.edu/files/original/591fb5d9a78b72e4f72d8a4770e5d0fd.jpg
e7f8ab33ea68be2dea107e66b9c870ec
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
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Title
A name given to the resource
First Annual Detroit-Area Hookers' Halloween Masquerade
Subject
The topic of the resource
Sexual Liberation
Description
An account of the resource
Text at the top reads, "First Annual Detroit-Area Hookers' Halloween Masquerade October 28 9-2 Detroit City Women's Club Park at Elizabeth Tickets at the door - $5.00 Regular $3.00 Unemployed, welfare, youth, seniors, costume contest at 12 prizes for costumes from the fast life, best hooker, trick, pimp vile-cop, live music and entertainment. Cash Bar." Text along the bottom reads, "sponsored by CUPIDS Citizens to Upgrade Prostitution in Detroit and Suburbs. Sister to Coyote chapter of PEP the Prostitution Education Project of Michigan PO Box 32174 Detroit 48232 (313) 331-7703."
Creator
An entity primarily responsible for making the resource
CUPIDS Citizens to Upgrade Prostitution in Detroit and Suburbs
Source
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Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1990
Format
The file format, physical medium, or dimensions of the resource
poster
Citizens to Upgrade Prostitution in Detroit and Suburbs
CUPIDS
Detroit
Detroit City Women's Club Park
hooker
Hookers' Halloween Masquerade
Michigan
pimp
prostitution
Prostitution Education Project
sexual liberation
-
https://rozsixties.unl.edu/files/original/ab5a8213d7c6e2bf4669d677a8da0d13.jpg
36845bb1e60502221f0cffcebfc6e0a3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
The Chicago Women’s Liberation Rock Band, which was connected to the Chicago’s Women’s Liberation Collective, and the New Haven Women’s Liberation Rock Band, which was connected to New Haven Women’s Liberation, attempted to inject a feminist perspective into rock music and challenge the traditionally hyper-masculinist and misogynistic rock scene. As bassist and vocalist, Susan Abod, recalled, “We loved to dance, [but] we were dancing to songs that were degrading to us.” The groups were around from 1969 to 1973 and recorded their first record together, “Mountain Moving Day,” in 1972. In the liner notes, the women explained, "We wanted to make music that would embody the radical, feminist, humanitarian vision we shared.” The strong feminist orientation and DIY ethos of the groups foreshadowed the Riot Grrrl movement of the 1990s and paved the way for other female artists.
The full liner notes to the 1972 album are here:
Both the Chicago Women’s Liberation Rock Band and the New Haven Women’s Liberation Rock Band were begun about 2 1/2 years ago by women in and around the women’s movement in our two cities. At that time some of us were already musicians who had gotten an education in sexism by playing in male bands. Some of us were fugitives of high school marching bands, folk music groups and Mrs. Porter’s music recitals. Some of us had stashed unplayed instruments under our beds years ago. And some of us were would-be musicians, learning to play for the first time. All of us wanted to create a new kind of band and a new kind of music, though we had no clear idea how to do that.
We knew what we didn’t want: the whole male rock trip with its insulting lyrics, battering-ram style and contempt for the audience. We didn’t want to write the female counterpart of songs like “Under My Thumb,” “Back-Street Girl,” “It’s a Man’s Man’s Man’s World” where men say to us ‘you’re beneath contempt and we will celebrate your degradation.’ We had to think of some other way to make a hit besides bumping and grinding like Mick Jagger, raping and burning our guitars like Jimi Hendrix, or whacking off on stage like Jim Morrison. We didn’t want to pulverize our audience’s (and our own) eardrums with 1010 decibels. As performers we didn’t want to get off by trashing the people we played for, and we didn’t want to have a star backed up by a squad of secondary musicians.
But what did we want anyway? We knew that we wanted to make music that would embody the radical, feminist, humanitarian vision we shared. And the lyric were the obvious place to begin—the field was wide open. Most of the rock songs women have sung till now were about the pain men cause us—the pain that’s supposed to define us as women. We didn’t want to deny that tradition (women struggled hard for the right to sing even that much) bvt we wanted to sing about how the pain doesn’t have to be there—how we fight and struggle and love to make it change. At first it was easiest to write new lyrics to old songs, but as time has gone on we have begun to write entirely new material (the record contains examples from both these phases).
We also had to demystify the priesthood of the instrument and the amplifier— move and set up the equipment, find the fuses, fix the feedback, mike, monitor and control it all ourselves. We had to try to break down the barriers that usually exist between performers and audiences by rapping a lot between songs about who we are, what we’re doing, and where our songs come from. Whenever possible we’ve played in places where people can dance, done some theatre and comedy, passed out lyrics so people could sing with us, and invited other women to come and jam with us.
The hardest thing to deal with was the music itself—what could we make out of such a motley collection of tastes, backgrounds and instruments? We had started from scratch, not by fitting accomplished musicians into traditional slots. We had no leaders, arrangers, managers, agents, roadies—even equipment or instruments. We thought of the bands as collectives, so we wanted to learn together and work toward eliminating the inequalities of (musical) power that existed among us. Our progress has been slow and difficult-it has come out of thousands of hours spent practicing, teaching each other, taking lessons, listening to other bands, jamming, writing and working all kinds of things out with each other.
Over the past 2 1/2 years each band has evolved its own material and style which is partly the result of the combination of instruments we happened to end up with and largely the result of our efforts to make collective, non-assaultive joyful rock music.
WHAT WE DO:
We are the ‘agit-rock’ arm of our respective women’s movements. In Chicago this means we are a chapter of the Chicago Women’s Liberation Union (more about this later). In New Haven we are all members of New Haven Women’s Liberation. We go places where leaflets can’t go—college dances, women’s conferences, rallies, benefits, festivals, prisons and miscellaneous events. And perhaps we say things that leaflets can’t say because we have music and performance to help us generate for those few hours while we’re playing some glimpse of the world we’d like to see happen. Some of our jobs have been more than just exciting—we and the audience have shared in a deeply-felt celebration of our vision. At others we’ve been met with bad vibes, hostile men, inadequate electricity, freezing weather. We charge for our performances according to what people can pay, and so far have spent our earnings on equipment, transportation, food, drink, rent for rehearsal space and donations to the women’s movement. We don’t see the bands as profit-making (all of us have other jobs which support us) but as part of what needs to be done to change the culture of this society.
What we all want to do is use the power of rock to transform what the world is like into a vision of what the world could be like; create an atmosphere where women are free enough to struggle to be free, and make a new kind of culture that is an affirmation of ourselves and of all people.
CWLU
We in the Chicago band wanted to add just a little note about the organization that we’re a part of because we feel that it has been important to us and to the women in Chicago. This is the Chicago Women’s Liberation Union, which is the only on-going radical feminist organization of its type in the country. In its three years it has provided a political unity and sense of direction for much of the women’s movement in Chicago. Some of the projects included in the Union are:
- Women’s Graphics Collective (original feminist art & posters) Liberation School for Women (alternative education for and about women)
- Health Project (which fights to keep city maternity centers open and offers pregnancy testing and health referrals)
- Work Work Group (to equalize salary and job differentials for city employees)
- Womankind (a women’s newspaper)
- Speakers Bureau
- Rape Crisis Center
The following is an abridged version of an article by Ben Kim from April 1994 that appeared in Chicago's alternative paper, New City:
“Suffragette City: The Chicago Women's Liberation Rock Band”
“Changing the lyrics, controlling the equipment, making low the mighty—these are obvious [although difficult] tasks of a feminist, humanitarian music. Divesting rock of its sexism, however, leads to a startling development apparently, one can’t simply make nice, clean revolutionary rock without the rock itself—the musical form—changing. Maybe the quality of that energy which so characterizes relic is modified when it is used for dancing and celebration rather than as an insistent, repetitive power trip to keep the audience awed, obedient, and flat on its back.”
—Naomi Weisstein and Virginia Blaisdell from “Feminist Rock: No More Balls and Chains” (1972)
“Wanna start your own rock band, its easier than you think,” claims an article in this month’s Sassy. In “Kicking Out the Jams: A How-To Guide,” Mary Ann Marshall breaks it down neatly, from step one: “Learn to play an instrument,” to step 11: “Shop your demo to labels.” The band illustrated is comprised like Sassy’s targeted readership, of adolescent girls.
Notwithstanding prevailing sexism on the radio/video airwaves, in clubland, on the charts, and in the industry in general, things have come a long way: the Sassy article isn’t some fantasy, it’s a nuts-and-bolts guide to what hundreds of women can do, will do, are doing. The riot-grrl phenomenon, which welled up just a few years ago in a bright-hot fusion of postfeminist politics and postpunk rock, selected the guitar as a tool every girl should have to build a secret world apart. As never before, it’s a time for women to rock. But 24 years ago, a group of Chicagoans said it was time. And they were early. That is, they were first.
The Chicago Women’s Liberation Rock Band was the self- described “agit-rock” arm of the Chicago Women’s Liberation Union. Founded in 1969, the union was an umbrella organization, rooted in principles that came to be identified as socialist feminism, focusing on projects in education, service, and direct-action, by and for women (This predilection for action distinguished the union from its more theoretically oriented counterparts across the country, which emphasized consciousness-raising.)
These projects included the Liberation School which predated most women’s studies curricula), Graphics Collective, Legal Clinic, Prison Project, Direct Action for Rights of Employment (DARE), Speakers Bureau, Action Coalition for Decent Childcare (ACDC), Rape Crisis Center, and the renowned Abortion Counseling Service, Jane.
Naomi Weisstein organized the band in March of 1970.
Though later in the decade punk rock would affirm that indeed “anyone can play”, feminism spread that plain truth to women early on. “Our early women’s movement said that any woman could do anything” Weisstein writes. (Due to ill health, Weisstein could not conduct a personal interview. Her comments are drawn, with consent, from a recent essay and correspondence, cited at the end of this piece.) “As long as a woman wanted to learn an instrument or wanted to sing, I included her as a member, believing that with positive expectations and a good deal of enthusiasm she could quickly learn what she didn’t know.”
Many lent their efforts during the initial months, and the band debuted in Grant Park that summer with 12 singers and 4 guitarists: by all accounts it was a musical disaster, proving the open membership policy untenable. Soon after, the band’s core lineup solidified: Susan Abod (bass, vocals), Sherry Jenkins (guitar, vocals), Patricia Miller (guitar, vocals), Linda Mitchell (manager), Fania Mantalvo (drums), Suzanne Prescott (drums). and Weisstein (keyboards).
“We were trying to tackle the form,” recalls Abod. “With the exception of Sherry, we were all coming from classical or folk backgrounds so it was a real challenge for us. We were just trying to get our technical skills together and get a strong backbeat.” If the band’s musical quality was initially shaky, the enthusiasm of the audience more than compensated. “I remember one of our first gigs, in January of 1971, at Alice’s Revisited (a popular coffeehouse on Wrightwood),” recalls Pat Solo, formerly Patricia Miller. “We were just terrible. And we got a standing ovation. Clearly it wasn’t just for the music.” Abod remembers the gig, too. “The place was packed to the gills with women. After I sang my first song they roared.
Musically, we were schlocking our way through. But there was so much love and support for what were trying to do. They just thought we were the greatest!”
Like the union itself, the band was about action, but steeped in ideology, born of it. The band theorized its purpose, debated its role, and even documented the course of its thoughts. In a “Work Group Analysis,” written late in 1972, the band saw itself expanding the union’s scope in a vital way.
“(In the union) there was no awareness of how a culture shapes what people want and how they should want it. Aspects of culture such as music, poetry and art were frivolous (The union should) recognize the seriousness of our commitment to the Women’s Movement. We are more than an entertaining way to break the tensions that. come from ‘serious’ political work”.
Every band, to some extent, concentrates on extra-musical details, everything that might possibly define what it stands for— today’s indie rockers, for example, focus enormous attention on graphic design.
As an explicitly political entity, this band treated its every move as explicitly political—as a nominally leaderless collective, the band hashed out every decision at length. “We were riding this wave of tremendous change,” Abod notes.” And when you do that, stuff comes up. What are we going to say, how, and why. Who can and can’t do what and who says so. What does it mean for our power structure. It was political self-analysis at its gutsiest.”
Meetings and rehearsals placed heavy demands—a minimum of 15 hours a week, excluding performances—on the members, all who had full-time engagements as professionals or students. In this band, working out your part meant more than learning notes.
The band’s extraordinary self-consciousness combined with its dutiful self--chronicling, yields a rare, deep look into in idea in time. If its merely taking the stage was revolutionary, the band’s imperative to rock was radical in ways not readily apprehensible, as explained in a “Culture Paper” submitted to the union in early 1973:
“We like rock and so do millions of others. There is creativity and music and a sense of joy in all of us. What rock told us, though, was that in order to be able to create this kind of music, you had to be magic, and you had to be male. And everybody accepted that. We accepted that, until the words got through to us, and we realized that we were despised. Why were we digging the celebrations of our degradation? Partly hype, partly real content. The hype was that this music was the new insurgency, that it was dangerous to the powers that were. And the content had to do with the music...We should tell it simply: we chose rock because we dug it so much. And so did many other people: every 14-year-old listens to rock music. Here was a cultural vehicle of great popularity, power and appeal. Maybe we could use it.”
So they used rock to build q revolutionary, socialist feminist, humanist culture, first by writing politically charged lyrics, like the wonderfully angry “Secretary” (See Lyrics). But the band felt that lyrics weren’t enough.
“We have to change the total experience of the rock performance,” the band writes in its Culture Paper. “We have to involve our audiences as equals, include rather than insult them, respect rather than degrade them, play for them rather than at them, acknowledge that our audience is our life, our understanding, our spirit... We keep the house lights on them. We rap a lot with them.. .We do theater for them and with them...We pass out lyrics, teach them songs, and have them sing along.”
The band’s assault on male rock hegemony, simultaneously straightforward and tricky, used both music and humor. The latter came out primarily during the raps and theater. Abod recalls one particular crowd-phasing routine. “We did the Kinks ‘ You Really Got Me’ but with a whole new set of lyrics that started with ‘Man,’ instead of ‘Girl,’ and we pranced holding our ‘cocks’ like Mick Jagger. Or whatever rock star we found really annoying, and it would just look ridiculous. And the audience was totally into the guerrilla theater of it—they’d shriek and grab at our legs like groupies. It was so much fun, laughing at a culture that had kept us down.”
"We have been able to create an alternative to the total macho rock culture," the band wrote in its Work Group Analysis. In moving apart, they created a dialectic with that culture, casing Guyville and vandalizing its main street, mapping the regions of disgust and awe in a Mick Jagger, world not of their own making that would inescapably define their exile from it—all this around the time Liz Phair was gearing up for kindergarten.
All through 1971 and ‘72, the band racked up more gigs, traveling to Colorado Springs, Indianapolis, Ithaca, Lewisburg, Pittsburgh, Toronto and elsewhere, and playing locally at universities (U of C, UIC) Wobbly Hall on Lincoln, and the People’s Church on Lawrence. “Women are welcome to come with us on out-of-town gigs as space and money permits,” they wrote to union members. “Be willing to work a little and drink some”.
They got better as they played. And though clearly making history all along, the band was eventually able to freeze its moment in vinyl for posterity. In the spring of ‘72 they journeyed to Massachusetts, where, along with their counterparts in the New Haven Women’s Liberation Rack Band, they recorded on album for Rounder Records. “Mountain Moving Day” was released that fall, with each band contributing one side.
“We were perfectionists, so we weren’t satisfied with the product,” admits Abod. “We worked really hard on our stuff, and it still wasn’t where we wanted it so be.” Nevertheless, on “Mountain Moving Music” the band displays more than a fair amount of musicianship and spirit. The Chicago group contributes the mid-tempo rocker “Secretary:” the bluesy “Ain’t Gonna Marry,” a rag called “Papa” which transforms the traditional “Keep On Truckin'’ Mama” into an attack on —“Rolling Stones, Blood Sweat and Tears/I’ve. taken that shit for too many years”, and the stirring title ballad. Though “Mountain Moving Music” doesn’t rock hard by conventional standards, its strong convictions lend it considerable weight. In a sense, it’s the mother of riot grrl. foxcore, any rock by women who ask no quarter.
The band broke up in mid-1973, after Weisstein moved to the East Coast. The union continued until 1977. The others wrote to the union, upon dissolution, that “expanding a feminist vision through titanic will continue by the formation of new bands,” This, then, is the legacy of these women who played hard and thought rigorously—the very idea, so very empowering, of women rocking, echoed today in the riot grrl call for."all girls to be in bands."
"A lot of women came up to me after our shows and said,'I want to do that,'” remembers Abod. "and we tried to make them understood that they could. Any of them could. And I think a lot of them did."
“Our music is embedded in a context, Women’s Liberation and a vision of our possibilities as women,” the band wrote in its Work Group Analysis. The riot grrls dramatically reclaim that context just as Sassy—"This starting-a- band business is quite a committment...but if its something you’re meant to do, you’ll breeze right through it"-blithely accepts that birthright. And both versions--the battle still raging, the victory won—feel like progress. The vision of the Chicago Women’s Liberation Rock Band is a girl’s picture of herself rocking today. Rocking like it can change the world—like it’s the most natural thing in the world.
Title
A name given to the resource
New Haven Women's Liberation Rock Band
Subject
The topic of the resource
Women's Liberation
Creator
An entity primarily responsible for making the resource
New Haven Women's Liberation Rock Band
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1971
Format
The file format, physical medium, or dimensions of the resource
poster
Ben Kim
Chicago
Chicago Women’s Liberation Rock Band
Chicago’s Women’s Liberation Collective
Connecticut
counterculture
feminism
Illinois
Mountain Moving Day
Music
New City
New Haven
New Haven Women’s Liberation Rock Band
New Left
Riot Grrrl
rock and roll
Susan Abod
Women's Liberation
-
https://rozsixties.unl.edu/files/original/a8f5bd10e51baffb116ec3f51b43b0ed.jpg
1842f38c68fe5ac53f7e55547b5e256a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Viet Nam Shall Win
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster was created by self-taught Cuban artist, Rene Mederos, as a tribute to North Vietnamese leader, Ho Chi Minh, and the Vietnamese people’s struggle against U.S. imperialism. It was published in the U.S. in 1972 by The Glad Day Press, an I.W.W. shop in Ithaca, New York, as a part of a fundraiser for Medical Aid for Indochina. The large text at the top of the poster reads, "Viet Nam". The text below reads, "Shall Win" in 13 different languages. "Mederos - Cuba/71" is in the bottom left corner of the illustration. "Price $2.50. Published by The Glad Day Press, Ithaca, N.Y. All proceeds go to N.Y.C Medical Aid to Indochina, a project of MCHR, 135 w. 4th St., N.Y., N.Y. 10012" is in the right bottom margin.
Creator
An entity primarily responsible for making the resource
Rene Mederos
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1971
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Cuba
Glad Day Press
Ho Chi Minh
I.W.W.
Ithaca
MCHR
Medical Committee for Human Rights
N.Y.C Medical Aid to Indochina
New York
North Vietnam
Rene Mederos
Third World liberation
Vietnam War
-
https://rozsixties.unl.edu/files/original/e0217a0b33732e3aba41ad8759dd412e.jpg
a525adba61b2c2039ab092e78c08ccf3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Rally on the Green
Subject
The topic of the resource
New Left
Description
An account of the resource
This poster promotes a series of workshops at Billings, Montana.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s or early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
Billings
Black Panther Party
campus radicalism
Montana
New Left
Women's Liberation
-
https://rozsixties.unl.edu/files/original/9ae03fd98f0841f4687ad725a12c7528.jpg
52fcfda4a4c49d6b25a66f394096e2e9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
1959-1969 Tenth Anniversary of the Triumph of the Cuban rebellion
Subject
The topic of the resource
Cuban Revolution
Description
An account of the resource
This poster was created by self-taught Cuban artist, Rene Mederos, in honor of the tenth anniversary of the Cuban Revolution. The image heroicizes Fidel Castro as a leader of people’s liberation struggles.
Creator
An entity primarily responsible for making the resource
Rene Mederos
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
poster
Cuba
Cuban Revolution
Fidel Castro
Rene Mederos
Third World liberation
-
https://rozsixties.unl.edu/files/original/f6cc15b67f716ff3d71e388efe6c67c0.jpg
ea205aa65a50587c9fda82515a9eabf6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Mozambique
Subject
The topic of the resource
Third World Liberation
Description
An account of the resource
This poster was created in 1969 by Cuban artist, Enrique Martinez, in support of a “Day of Solidarity with the
People of Mozambique”. The poster was published by OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba. Notably, these colorful propaganda posters were not designed to be posted on walls within Cuba, as others were. Instead, they were folded and stapled inside the magazine, Tri-Continental, where they were then distributed internationally.
Creator
An entity primarily responsible for making the resource
Enrique Martinez
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
poster
Africa
Cuba
Cuban Revolution
Enrique Martinez
Mozambique
OSPAAAL
Third World liberation
Tri-Continental magazine
-
https://rozsixties.unl.edu/files/original/64774055fc16c814735ffabb9eb0dd41.jpg
4372123a92f80cfe0c4ea7b6ca925569
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
SPARC Speakers Bureau Presents...
Subject
The topic of the resource
Student Activism
Description
An account of the resource
SPARC, or Student Political Awareness and Responsibility Collective, is a student organization dating back to the 1970s at the University of Vermont “devoted to increasing the awareness of and responsibility towards the political happenings in our communities and in the world in which we live.” Part of the group's work has been to offer an alternative speaker’s bureau and film series, as well as a “portal for activism.”
Creator
An entity primarily responsible for making the resource
SPARC
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1988
Format
The file format, physical medium, or dimensions of the resource
poster
Barbara Ehrenreich
Burlington
Deborah Shaffer
Harry Magdoff
John Stockwell
SPARC
University of Vermont
Vermont