1
50
121
-
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/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/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/485629baca5e03a43f17a1ac466b35e9.jpg
5c99671a088112d5d7be77a0476eac33
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
Thank You for Pot Smoking
Subject
The topic of the resource
Marijuana Legalization
Description
An account of the resource
The American Cannabis Society and its famous catchphrase, “Thank You for Pot Smoking,” was created in 1978 by Madison, Wisconsin, resident, Bob Kundert and his sons, Jeff and Eric. In a 2016 interview with the Psychedelic Times, Jeff Kundert, who is the current President of the organization, reflected on the origin of the group and its iconic slogan:
“My dad and my brother were watching TV and saw a placard on the television that said ‘Thank you for not smoking,’ and then ‘American Cancer Society’ underneath it. My brother in fun changed the ‘n’ to a ‘p’, then dad changed the word ‘cancer’ to ‘cannabis.’ We thought it was funny then, and it just stuck.”
He continued, “After I got back from Vietnam, I introduced my dad to cannabis and he really enjoyed it. We were hard working professionals, my dad owned a large construction company, and he found cannabis to be a big help in his life. He enjoyed what the youth were doing more than what the establishment was doing, which often involved things like drinking lots of alcohol.”
“Dad was worried that cannabis was being maligned and had been maligned for a long time. He thought, ‘Since people aren’t being given the truth about cannabis, why don’t we start a society just to disseminate the culture of cannabis — what people do when they’re high, what it feels like to be high, how to pass a joint correctly, things like that.’ Of course, there was pushback, but he stayed in that fight with the American Cannabis Society until his passing in the year 2000, when he was still wearing his ‘Thank You for Pot Smoking’ shirt, and was the most loved person in the nursing home with his friendliness, spunk, and humor.”
Another 2016 article in Madison’s Isthmus Magazine, further explained, “Members of the American Cannabis Society see themselves as freedom fighters on a mission to overturn nearly a century of federal marijuana prohibition. Their crusade to ‘free the herb’ isn’t so people can get high — which they do in spite of the law — but to have peace of mind while doing so. ‘The point,’ Kundert explains, ‘is that no one is going to put me or anybody else in jail for enjoying and sharing this sacred herb.’”
Creator
An entity primarily responsible for making the resource
American Cannabis Society
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
American Cancer Society’
American Cannabis Society
Bob Kundert
cannabis
counterculture
drugs
Eric Kundert
Isthmus
Jeff Kundert
legalization
Madison
marijuana
Psychedelic Times
Wisconsin
-
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/2ad0c5c1f50143c804325cc05dcd70b7.jpg
8a209140cb0d782f57f80b5d8fd91ff9
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
Bernie Benefit
Subject
The topic of the resource
Electoral Politics
Description
An account of the resource
This poster promotes a benefit event for Bernie Sanders' re-election campaign featuring an art auction and performance dances.
Creator
An entity primarily responsible for making the resource
artists for Sanders
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-1980s
Format
The file format, physical medium, or dimensions of the resource
poster
Bernie Sanders
Burlington
campaign
electoral politics
re-election
Vermont
-
https://rozsixties.unl.edu/files/original/0a8b7a89e33d47ef08f852cac75035b1.jpg
a299c12fb7d008247525bd814a131ccb
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
Bernie Sanders Campaign Poster
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
Bernie Sanders for Mayor
Subject
The topic of the resource
Electoral Politics
Description
An account of the resource
In 1983, Bernie Sanders ran for re-election as Mayor of Burlington, Vermont. Sanders, running as an Independent, narrowly won the mayor's office in 1981 by a margin of ten votes over his Democratic opponent, but won the 1983 election by a more comfortable margin, earning 52% of the vote, compared to 30% for his closest competitor. Sanders served three terms as Mayor of Burlington before moving on to the U.S. House of Representatives for sixteen years (1990-2005) and then the U.S. Senate in 2006, where he continues to serve. Bernie Sanders is the longest-serving Independent in U.S. congressional history. In 2016, Sanders mounted an insurgent campaign for the Democratic Presidential nomination, narrowly losing to Hillary Clinton, who went on to lose in the general election to Donald Trump.
Creator
An entity primarily responsible for making the resource
Bernie Sanders for Mayor
Source
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
1983
Format
The file format, physical medium, or dimensions of the resource
Poster
Type
The nature or genre of the resource
Physical Object
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Language
A language of the resource
en-US
1983 election
Bernie Sanders
Burlington
Donald Trump
electoral politics
Hillary Clinton
socialism
Vermont
-
https://rozsixties.unl.edu/files/original/df7f0254b3aeeefd7c83397d749fcbe2.jpg
0ad746c7cb481f73a5476ed867cf8d9f
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
"The Spirit of the People Will Be Stronger than the Pig's Technology"
Subject
The topic of the resource
Black Power Movement
Description
An account of the resource
This wall poster was created by the Black Panther Party and encourages revolution.
Creator
An entity primarily responsible for making the resource
Black Panther 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. late-1960s or early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
armed self-defense
armed struggle
Black Panther Party
Black Power
Pigs
Police Brutality
revolution
technology
Ten Point Program
-
https://rozsixties.unl.edu/files/original/2a788b30beae993ccfcafe07bc2b88cd.jpg
0da39fb844041cb8a7aeaf40d53d4815
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
Bread and Puppet Presents Joan of Arc
Subject
The topic of the resource
Experimental Theater
Description
An account of the resource
Bread and Puppet Theater is a radical theater group founded in 1962-63 in New York City by sculptor, dancer, baker and German émigré, Peter Schumann. During the 1960s, the experimental troupe participated in anti-war protests with large-scale puppets and was enmeshed in the countercultural scene. In 1970, they relocated to Plainfield and then Glover, Vermont, where they continue to perform today. The name of the group refers to their tradition of sharing bread with the audience to symbolize community and the significance of art to everyday life.
Creator
An entity primarily responsible for making the resource
Bread and Puppet Theatre Company
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
1977
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Bread and Puppet
experimental theater
Glover
New York
Peter Schumann
Plainfield
theater
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/d3eb0dabe1718205cec12d18b051b1a9.jpg
4004fe51871881ed6346b41d3cbf8c9d
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
The Wood Chip Plant is Coming
Subject
The topic of the resource
Environmentalism
Description
An account of the resource
Environmental advocacy poster from Burlington, Vermont.
Creator
An entity primarily responsible for making the resource
Burlington Environmental Alliance
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
Burlington
Burlington Environmental Alliance
environmentalism
Vermont
-
https://rozsixties.unl.edu/files/original/c784781cb213c2386dbaf3f8b1edb8f5.jpg
cded75ef9434b8b4eb587a97923c176b
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
Oct. 22, Where Will You Be?
Subject
The topic of the resource
Anti-Nuclear Movement
Description
An account of the resource
In October of 1983, the Campaign for Nuclear Disarmament (CND), a British-based anti-nuclear organization that started in 1957, held a massive anti-nuke demonstration in cities across Europe to oppose the introduction of Cruise and Pershing 2 missiles at military bases in the U.S. and across Europe, as well an increase in submarine-based Trident missiles. In all, nearly 600 new nuclear missiles were planned to be placed in European NATO countries as a part of renewed Cold War bellicosity between the U.S. and Soviet Union in the mid-1980s. The London action drew an estimated 300,000 people, bringing the city center to a virtual standstill. Labour leader, Neil Kinnock told a crowd at Hyde Park, “We believe that the only sane use for the Polaris system is to put it into negotiations to ensure our nuclear disarmament and to… force reduction in the rest of the world." In West Germany, where the United States had a large military presence and was soon to place new Cruise Missiles, roughly 600,000 people came out to demonstrations. Protests also occurred in Rome, Paris, Madrid and Brussels. In all, an estimated 3 million people took part in actions across Europe. CND chair, Joan Ruddock, remarked afterward, "The demonstration put [to rest] the notion that the peace movement is on its last legs.”
Creator
An entity primarily responsible for making the resource
Campaign for Nuclear Disarmament
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
1983
Format
The file format, physical medium, or dimensions of the resource
poster
anti-nuke
Anti-War
Brussels
Campaign for Nuclear Disarmament
CND
Cold War
Cruise Missile
disarmament
England
Joan Ruddock
London
Madrid
NATO
Neil Kinnock
Paris
Pershing 2 Missile
Rome
Ronald Reagan
Soviet Union
Trident Missile
West Germany
-
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/9dc30f4ac52eb8a7260249d2d2ea8d2f.jpg
8abb08939c6083751c13cc6f22ef5dfd
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
Artists Call Against U.S. Intervention in Central America
Subject
The topic of the resource
U.S. Interventionism in Central America
Description
An account of the resource
In 1984, a group of artists in New York joined forces to use their creative talents to challenge U.S. intervention in Latin America under the Reagan Administration. This poster was a call for artists to join the effort and was created by American sculptor, Claes Oldenburg. The final version of the poster differed from the one here, listing 1,087 participants, from individual visual artists and collaborative teams, performance artists, poets, filmmakers, curators, art critics and writers, as well as 80 events, including 29 exhibitions, 20 film showings, 7 dance and performance festivals, 6 poetry brigades, 6 video and TV installations, 6 reading series, 2 street actions, 2 window installations, and 2 panel discussions. According to artist, Doug Ashford, "Artists’ Call Against US Intervention in Central America was a nationwide mobilization of writers, artists, activists, artists organizations, and solidarity groups that began in New York in 1983. Quickly mobilizing artists and their organizations across the country, Artists Call collectively produced over 200 exhibitions, concerts and other public events over a period of 12 months. These events increased awareness of our government’s involvement in state terrorism across the hemisphere, linked the notion of aesthetic emancipation to revolutionary politics and provided concrete resources for the cultural workers and public intellectuals in the region and in exile."
Creator
An entity primarily responsible for making the resource
Claes Oldenburg
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
anti-imperialism
Artists Call Against U.S. Intervention in Central America
arts
Claes Oldenburg
Doug Ashford
interventionism
Latin America
New York
Ronald Reagan
-
https://rozsixties.unl.edu/files/original/ec4bc3f98dd5a834b4ebe6c7eed7f7db.jpg
e1397b207464e6106b759012baf935b9
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.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
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
FNL de Vietnam del Sur
Description
An account of the resource
According to a 2015 article in Slate Magazine by Rebecca Onion, this poster was one of a set created by Cuban artist Felix René Mederos Pazos, "the product of a trip Mederos took to Vietnam in 1969, on assignment from the Cuban government's Department of Revolutionary Orientation.
Cuban artists often addressed international subjects, in alignment with the Cuban Revolution's political focus. (Other posters produced around this time expressed solidarity with anti-colonial guerrillas in Angola, Black Panthers in Watts, California, and the people of Hiroshima, Japan.) These Mederos posters repeated the slogan 'Como en Vietnam,' which was meant to encourage Cubans to emulate the resourcefulness of the North Vietnamese in their daily lives." Roz Payne travelled to Cuban during the 1960s-era as a part of the Venceremos Brigade.
To read Onion's full article, click here: http://www.slate.com/blogs/the_vault/2015/05/01/history_of_cuba_and_vietnam_posters_by_rene_mederos.html
Creator
An entity primarily responsible for making the resource
Cuban artist Felix René Mederos Pazos
Source
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Subject
The topic of the resource
Cuban Revolution
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Format
The file format, physical medium, or dimensions of the resource
poster
Angola
anti-colonialism
Anti-War
arts
Black Panther Party
California
Cuba
Department of Revolutionary Orientation
Felix René Mederos Pazos
Hiroshima
Japan
SDS
solidarity
Venceremos Brigade
Vietnam War
Watts
-
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.
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
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
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. 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/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/528f7da9b535475d394ec2216486e5d5.jpg
a2258fd5418ede85f64f21a38f4a622f
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
Gone With the Wind
Subject
The topic of the resource
Anti-Nuclear Movement
Description
An account of the resource
This poster, which parodies the iconic promotional poster for the epic romantic 1939 neo-Confederate film, “Gone With the Wind,” starring Clark Gable and Vivian Leigh, features conservative U.S. President, Ronald Reagan, and conservative British Prime Minister, Margaret Thatcher, in a passionate embrace. The poster pokes fun at the cozy relationship between the two politicians and their advocacy for a renewed and heightened Cold War with the Soviet Union, particularly an escalation in nuclear weapons.
This poster, which parodies the iconic promotional poster for the epic romantic 1939 neo-Confederate film, “Gone With the Wind,” starring Clark Gable and Vivian Leigh as tragic white southerners, Rhett Butler and Scarlett O’Hara, features conservative U.S. President, Ronald Reagan, and conservative British Prime Minister, Margaret Thatcher, in a passionate embrace. The poster pokes fun at the cozy relationship between the two politicians and their advocacy for a renewed and heightened Cold War with the Soviet Union, particularly an escalation in nuclear weapons.
Text on the poster reads: "The Film To End All Films/Most Explosive Love Story Ever/Milton Freedman In Association With Pentagon Productions Presents 'Gone With The Wind'/Screenplay By Kid Joseph/Directed by Hank Kissinger/Music By Eddy Heath." Caption below image reads "She Promised To Follow Him To The End Of The Earth. He Promised To Organize It!" And, “Now Showing World Wide.” Small printed notation at the bottom also says, “An IMF Picture” and “Right Rank Inc.” In the lower left corner, it reads "Bob Light/John Houston For Socialist Worker."
Creator
An entity primarily responsible for making the resource
design by Bob Light and John Houston, printed by East End Offset Ltd in the U.K., and published by Socialist Workers 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
1981
Format
The file format, physical medium, or dimensions of the resource
poster
anti-nuke
Anti-War
Bob Light
Clark Gable
Cold War
conservatism
Conservative Party
Edward Heath
England
Gone With the Wind
Henry Kissinger
IMF
John Houston
Margaret Thatcher
Milton Freedman
Rhett Butler
Ronald Reagan
Scarlett O’Hara
Socialist Workers Party
Vivian Leigh
-
https://rozsixties.unl.edu/files/original/718e5cdae2563591070498a1abef8205.jpg
7e3143a26091258f057ead86f533a3f0
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.
Physical Dimensions
The actual physical size of the original image
paper
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
Fred Hampton
Description
An account of the resource
This poster, created by Black Panther Party Minister of Culture, Emory Douglas, ca. 1969, features Fred Hampton, leader of the Illinois Chapter of the Black Panther Party. Hampton was murdered by the FBI after a raid on Panther headquarters in Chicago on December 4, 1969. The poster includes two quotes. The quote at the top reads "You can jail a revolutionary/ but you can't jail the/ revolution. You can run a/ freedom fighter around the/ country but you can't run freedom/ fighting around the country. You/ can murder a liberator, / but you can't murder/ liberation." The second reads "Fred Hampton Deputy/ Chairman Illinois Chapter/ Black Panther Party/ Born August 30, 1948/ Murdered by Fascist Pigs/ Dec. 4, 1969."
Creator
An entity primarily responsible for making the resource
Emory Douglas for the Black Panther Party newspaper
Source
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1969
Subject
The topic of the resource
Black Panther Party
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Format
The file format, physical medium, or dimensions of the resource
poster
Black Panther Party
Black Power
Chicago
COINTELPRO
Emory Douglas
fascist
FBI
Fred Hampton
Illinois
Pigs
-
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/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/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/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/9574a248d8e43035c05b17c90a5fc4f0.jpg
11603010b530dd07541f4571c7272481
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
In 1966, Detroit cultural radicals, Allen Van Newkirk, John Sinclair and Gary Grimshaw created Guerrilla, “a monthly newspaper of contemporary kulchur” and “weapon of cultural warfare.” The newspaper was a part of a larger project, the Detroit Artists Workshop, which was formed in 1964, “a local attempt in self-determination for artists of all disciplines.” Guerrilla mixed “humor, politics and music under the circus big top of surrealism and pop culture.” It was primarily a cultural review and included an international artistic perspective. Soon after its first issue appeared, Van Newkirk, who was an revolutionary anarchist with an antipathy for the hippie counterculture and slackers, split with the Detroit Artists Workshop and fired Sinclair, who was more aligned with the hippie counterculture. Despite their ideological and political differences, the two, in fact, continued to work together on Guerrilla, though Van Newkirk’s vision predominated. In subsequent issues, Van Newkirk included a series of oversized political posters, including this one.
The text on this poster reads: "A Rule Of Thumb Of Revolutionary Politics / Is That No Matter How Oppressive The Ruling Class May Be / No Matter How Impossible The Task Of Making / Revolution / May Seem / The Means Of Making That / Revolution / Are Always At Hand." At the center is information on a publication, Guerrilla with the quote "our purpose in entering the political arena / is to send the jackass back to the farm and the elephant back to the zoo." At the bottom is "Eldridge / Cleaver / For President / Minister of information/Black Panther Party".
Eldridge Cleaver was the controversial "Minister of Information" for the Black Panther Party. Cleaver, who edited the Black Panther Party newspaper, is credited with crafting a more radical and incendiary public rhetoric for the organization. His 1968 book, Soul On Ice, was a best-seller, simultaneously praised and condemned, and much-debated. Cleaver was the presidential candidate for the Peace & Freedom Party in 1968, earning .05% of the vote. Following a deadly altercation with Oakland police that same year, Cleaver fled the United States, first to Cuba, then to Algeria and ultimately France, before he returned to the United States in 1975. An ideological split between Cleaver and party co-founder, Huey Newton, led to Cleaver's ouster from the party. Following his exile, Eldridge Cleaver became a born-again Christian, dabbling in a variety of different denominations. He also participated in conservative politics through the Republican Party. Cleaver died in 1998.
Title
A name given to the resource
Revolution Revolution - Eldridge Cleaver for President
Subject
The topic of the resource
Black Power
Creator
An entity primarily responsible for making the resource
Guerilla: Free Newspaper of the Streets
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
1968 election
Algeria
Allen Van Newkirk
Anti-War
Black Panther Party
Black Power
Cuba
Detroit
Eldridge Cleaver
France
Gary Grimshaw
Guerrilla
Huey Newton
John Sinclair
Michigan
Minister of Information
New Left
New York
Peace & Freedom Party
Soul On Ice
Vietnam War
-
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
An entity primarily responsible for making the resource
Harlem Progressive Labor Club
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
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/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/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/ec99643c6f71924f4a92e886aac64eb5.jpg
ccc99cc52367fd517b2b5e2454b8460f
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 the San Quentin 6
Subject
The topic of the resource
Prisoner's Rights Movement
Description
An account of the resource
The San Quentin 6 were six prisoners at the San Quentin State Prison in California - Hugo Pinell, Willie Tate, Johnny Larry Spain, David Johnson, Fleeta Drumgo and Luis Talamantez- accused of participating in the 1971 escape attempt that resulted in six deaths, including celebrated black radical, George Jackson, as well as three guards, Frank DeLeon, Paul Krasenes and Jere Graham, and two white inmates, John Lynn and Ronald L. Kane. After the longest trial in California history, a preceding that garnered widespread national publicity, the San Quentin 6 received a mixed verdict.
Creator
An entity primarily responsible for making the resource
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
ca. 1973
Format
The file format, physical medium, or dimensions of the resource
poster
Black Power
California
David Johnson
Fleeta Drumgo
Frank DeLeon
George Jackson
Hugo Pinell
Jere Graham
John Lynn
Johnny Larry Spain
Luis Talamantez
Paul Krasenes
Prisoner's Rights Movement
radicalism
revolutionary
Ronald L. Kane
San Quentin
Willie Tate
-
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/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
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
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
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. 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/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/aa679b4ddf86268308e26f43f4b50b4a.jpg
f74ebf6873ffc8ac49c7d7b693c59237
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 the Heroic Guerrilla
Creator
An entity primarily responsible for making the resource
Lázaro Abreu
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
Subject
The topic of the resource
Cuban Revolution
Description
An account of the resource
This 1970 poster, by Cuban designer Lazaro Abreu, commemorates the "Day of the Heroic Guerrilla," a celebration of the life and legacy of Ernest "Che" Guevara. 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.
Che Guevara
Cuba
Day of the Heroic Guerrilla
Lazaro Abreu
OSPAAAL
Tri-Continental magazine
-
https://rozsixties.unl.edu/files/original/d605fe462ebe3de1df4ef06252e1c11a.jpg
1ccf9a4acb28c2cfc9992ce8ae62eb77
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
Exorcise the Pentagon
Subject
The topic of the resource
Anti-Vietnam War Movement
Creator
An entity primarily responsible for making the resource
Martin Carey
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
Description
An account of the resource
This poster promoted the October 21, 1967, antiwar demonstration held in Washington, D.C. by a collection of organizations. The estimated 100,000 protesters included radicals, liberals, black nationalists, hippies, professors, women’s groups, and war veterans.
The rally began 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.
Abbie Hoffman
Anti-War
Benjamin Spock
counterculture
Jerry Rubin
LBJ
Lincoln Memorial
New Left
Pentagon
Robert Sherrill
The Nation
Vietnam War
Washington D.C.
Yippies
-
https://rozsixties.unl.edu/files/original/dedcdda77c404376a56ea179f0ff925f.jpg
4b441619009e15159ee0e3db7f8a0bfb
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.
Physical Dimensions
The actual physical size of the original image
paper
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
May Day Gathering of Tribes in Atlanta
Description
An account of the resource
This poster is a promotional piece for the 1967 Atlanta May Day Gathering of Tribes. The artifact does not include a year. The May Day Collective was loose-knit anti-war organization that eschewed national leadership and promoted local organizing. The group played a key role in massive protests that took place in Washington, D.C., in May of 1971.
Creator
An entity primarily responsible for making the resource
May Day Collective
Source
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Subject
The topic of the resource
Counterculture
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Atlanta
counterculture
Gathering of Tribes
Gay Liberation
Mayday
MayDay Collective
Vietnam War
Women's Liberation
-
https://rozsixties.unl.edu/files/original/f664daab3fc7ce9f64ba3f69354a4115.jpg
39a03590af0ab036c0a2a4e2b2e97f1b
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
To Whom Does Palestine Belong?
Subject
The topic of the resource
Israeli-Palestinian Conflict
Creator
An entity primarily responsible for making the resource
Mohamad El Fara
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
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. It juxtaposes an image of Golda Meir with Ayesha Audi and asks, “To Whom Does Palestine Belong?”
Golda Meir was born in Kiev, but emigrated to the United States with her family when she was a small child. She grew up in Milwaukee, Wisconsin, where she was active in Zionist politics as a teenager. In 1921, Meir and her husband moved to Palestine, where she played a variety of important roles in the emergence of the new Israeli state. During the first two decades of Israel’s existence, Meir served as Labor Minister (1949-1956) and Foreign Minister (1956-66), and in 1969, after a brief retirement, she was elected as the nation’s Prime Minister, a position she held until 1974.
Less is known about Ayesha Audi. She was born in Palestine in 1944 and later became a school teacher. Audi was a pan-Arabist and ultimately joined the Popular Front for the Liberation of Palestine (PFLP), a secular Marxist-Leninist, revolutionary socialist organization founded in 1967. In the late-1960s, Fatah began to launch operations inside Israel. In 1969, Audi placed two bombs in West Jerusalem, killing two people. In response, Israeli forces destroyed Audi’s family’s home, imprisoned her and tortured her. Audi was released from Israeli prison in 1979, as a part of a prisoner swap where 76 jailed Palestinians were exchanged for captured Israeli Defense Force soldier, Avraham Amram. She then lived in Jordan and became a member of the Palestinian parliament in 1981.
Many New Left activists viewed the Palestinian liberation struggle as the vanguard of the broader Third World liberation movement of the 1960s and 1970s.
Ayesha Audi
Golda Meir
Israel
Jerusalem
Jordan
Kiev
Leninism
Marxism
Milwaukee
Mohamad El Farah
New Left
Palestine
PFLP
Popular Front for the Liberation of Palestine
Third World liberation
Wisconsin
Zionism
-
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/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/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/977e2c2c8b5dd27bbad179ad6c16ba16.jpg
f369cd68988ec1834416a1134021c140
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
Join the New Action Army
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
In 1967, Captain Howard B. Levy faced a court-martial after declining to provide medical training for Green Berets heading to the war zone in Vietnam, arguing that such a practice was against medical and his personal ethics. The trial received national attention and raised questions about the responsibility of military doctors to teach soldiers medicine, as well as an individual’s right to refuse to participate in war crimes. Levy served two years in prison for his actions and his case ultimately reached the Supreme Court.
Creator
An entity primarily responsible for making the resource
New York Medical Committee to End the War on Vietnam
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. 1967
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
conscientious objector
court martial
Green Berets
Howard Levy
medicine
Supreme Court
Vietnam War
war crimes
-
https://rozsixties.unl.edu/files/original/c140c52d6a2bd851a728bc492f6d669a.jpg
8dd74a1b13c9641446f842f4fb1c6a5b
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
Interactive Resource
A resource requiring interaction from the user to be understood, executed, or experienced. Examples include forms on Web pages, applets, multimedia learning objects, chat services, or virtual reality environments.
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
“Break And Enter / Rompiendo Puertas"
Subject
The topic of the resource
Anti-Poverty and Housing Rights
Description
An account of the resource
“Break And Enter / Rompiendo Puertas,” also known as “Squatters,” is a short film by the Newsreel collective in New York City. It focuses on "Operation Move-in," an anti-poverty and urban redevelopment campaign by Puerto Rican and Dominican families to actively reclaim unused, vacant housing on Manhattan's Upper West Side.
A July 22, 1970, New York Times article, by Edith Evans Asbury, titled, “Squatter Movement Grows As Housing Protest Tactic,” offered a view of the campaign as it unfolded:
City officials, the courts, a hospital, Columbia University and private landlords were embroiled in a growing squatter movement yesterday as about 170 families illegally occupying apartments insisted on what they called their “Moral” right to remain.
At the end of the day, 25 men, women and children evicted from a building on West 15th Street won a promise from the city's Housing and Development Administrator, Albert A. Walsh, that the city would negotiate with the, landlord who evicted them.
The group, which went first to City Hall to see Mayor Lindsay, held a sit‐in at the administration's head quarters at 100 Gold Street all afternoon. They represented six families who had moved into empty apartments at 233 West 15th Street and were evicted by the police Monday.
The Rev. Robert O. Weeks, who had accompanied the families, hailed Commissioner Walsh's announcement as a “great victory,” declaring that “bureaucracy does work.”
City to Furnish Cots
Others in the group ex pressed skepticism, but left the Gold Street offices cheer fully, minutes after a contingent of policemen had arrived.
Mr. Weeks had sheltered the evicted families the previous night in Holy Apostle Episcopal Church, of which he is rector. He led them back to the church at Ninth Avenue and 28th Street, with Commissioner Walsh's assurance that the city would furnish them with 50 cots and blankets.
The group had demanded that the city take over the building from which they had been evicted‐ and convert it to units for low‐income families. They said the owner, Leon Nagin, of 425 Beach 146th Street, Far Rockaway, Queens, had boarded if, up prior to converting it to luxury units.
The announcement that sent the squatters away smiling at 5:45 P. M. yesterday was that Mr. Nagin had agreed to suspend any dernolition work for the rest of the week while he discussed selling the building to Housing and Development Administration for rental to low‐in come families.
Mr. Walsh told the group that there was “a very real possibility” that the city's proposal would be accepted, but warned that it might take several months to rehabilitate the building.
Housing Promised
Meanwhile, Commissioner Walsh promised to provide temporary apartments for the squatters in unoccupied apartments of city‐owned buildings in lower Manhattan urban renewal areas.
Buildings in Manhattan's Upper West Side Urban Renewal Area already contain about 150 squatting families, according to Operation Move In, a group of several anti poverty and community organizations in the area.
The families in the Upper West Side buildings, and in other buildings, have been as in moving into the vacant apartments by a variety of tenant organizations, community groups and churches.
They say that poor and middle‐income families are being squeezed out of Manhattan as the buildings they occupy are vacated and demolished to make way for new housing that they cannot afford. They argue that the current housing shortage is so critical that the poor and middle‐income families have a moral right to move into habitable boarded up buildings.
These arguments were offered in Civil Court yester day by volunteer lawyers on behalf of several families who made an unauthorized take over of apartments on East 13th Street. But a jury re turned a verdict in favor of the landlord, and authorized him to proceed with their eviction.
Hospital the Landlord
In this case, the landlord is the New York Eye and Ear Hospital, which owns four tenement buildings on 13th Street between First and Second Avenues.
The hospital seeks to clear tenants from the buildings to convert them to a residence for nurses.
Six squatter families were welcomed into the buildings, at 317 to 327 East 13th Street, on June 5 by families already living there.
“I was delighted to see them move in,” Mrs. Rose Arak, a resident for 40 years of 319 East 13th Street, said yesterday. “When those apartments were vacated and the tin was put over the windows, it was an open invitation to addicts and junkies and bums, and I was afraid to go into the halls alone.”
One of the squatter families moved from a city‐owned building in Brooklyn where it had been robbed of all furniture and clothing, and arrived with nothing but two sleeping bags, according to Mrs. Arak. “Now their apartment is completely furnished —by neighbors around here,” she added.
Philip Goldrich, a Bronx teacher who has lived at 317 East 13th Street for five years, also helped to welcome the squatters.
“I can't find a decent apartment at a price I can pay, so I know they can't,” Mr. Gold rich said yesterday.
Eric Greenbush, one of the lawyers representing the 13th Street squatters' families, will be back in court to day to press, for a stay of their eviction from Judge Richard W. Wallach, before whom the case was tried.
Over on East 11th Street, a group of squatters moved into buildings owned by a private landlord.
Here, too, the squatters were welcomed by people al ready living in the building. And here, with the help of Mrs. Francis Goldin, of the Metropolitan Council on Housing, tenants, supporters and the squatters were able to persuade the landlord to discuss letting the squatters stay.
“He's really a wonderful landlord,” Miss Susan Hirsch, an elementary school teacher and a resident, said yesterday.
“He takes wonderful care of our buildings, as you can see,” she said, waving a hand at freshly painted, well lighted halls. “But he wants to hold apartments empty so he can sell the buildings for a lot of money, and that's just not fair in a housing crisis.”
The owner, Jack Gucker, was not available for comment yesterday. But squatters' representatives reported that they had met, with him and that he was considering letting the squatters stay for a limited time as rent‐paying tenants.
“I hope it is true,” said 13‐year‐old Luz Rosado, in a sunny, fifth‐floor apartment at 120 East 11th Street.
“On Allen Street we all had to sleep in one room,” the girl went on, gesturing toward her three brothers and a sister. “Here I have my own room, and everything is so nice.” She translated for her mother, Mrs. Anna Rosado, who already had sheer white curtains hung, at all of the windows and was talking of painting the kitchen white.
Another landlord that yielded somewhat toward a squatter this week was Columbia. University. It permitted Mrs. Juanita Kimble, who moved in with her eight children, to have the gas turned on and plumbing connected at 130 Morningside Avenue.
“No, we have not accepted her as a tenant,” a university spokesman said yesterday. “We acted on a humane basis.” The building is scheduled for eventual demolition and replacement, he said.
Creator
An entity primarily responsible for making the resource
Newsreel
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
Albert A. Walsh
anti-poverty
Break And Enter
Dominican Republic
Edith Evans Asbury
John Lindsay
Manhattan
New York
New York Times
Newsreel
Operation Move-in
Puerto Rico
Robert O. Weeks
Rompiendo Puertas
squatters
tenant's rights
Upper West Side
urban redevelopment
-
https://rozsixties.unl.edu/files/original/2a4fd89ffaac3f790fb0ade2fdf0ebf7.jpg
6851fcbc3774c2d046f08d4517a11863
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
Interactive Resource
A resource requiring interaction from the user to be understood, executed, or experienced. Examples include forms on Web pages, applets, multimedia learning objects, chat services, or virtual reality environments.
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
Patriots for Peace
Subject
The topic of the resource
Anti-War Movement
Description
An account of the resource
Patriot’s for Peace was a peace organization created in 2003 by 47-year old Shelburne, Vermont, businessman, Derrick Senior, to protest the invasion of Iraq by the George W. Bush administration. Senior organized the group after he attended an anti-war demonstration in Washington, D.C. that same year. The notable thing about this group is that it did not include the usual, long-standing peace and social justice activists and organizations from the area.
Creator
An entity primarily responsible for making the resource
Patriots for Peace
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
2003
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Derrick Senior
George W. Bush
Iraq War
Patriots for Peace
Shelburne
Vermont
-
https://rozsixties.unl.edu/files/original/eb2c99b81e95a4e82ee4e3bf955a7674.jpg
36aa94791ad1e14c6cf4f999c8a3078c
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
Fuck Communism
Subject
The topic of the resource
Anti-Communism and Irreverent Obscenity
Description
An account of the resource
In 1963, Paul Krasner and John Francis Putnam collaborated to produce this satirical poster and distributed it through the free-thought magazine, The Realist. The poster pokes fun at anti-communist fervor, combined with the politics of obscenity, which were an integral part of the era. Typography for the poster was done by Putnam, who also wrote a regular column for the magazine, "Modest Proposals." Krasner was the founder and publisher of the magazine.
American author, Kurt Vonnegut, wrote a brief reflection on the poster:
Foreword
by Kurt Vonnegut
Paul Krassner, 63 at this writing (1996), old enough to be my baby brother, in 1963 created a miracle of compressed intelligence nearly as admirable for potent simplicity, in my opinion, as Einstein's e=mc2. With the Vietnam War going on, and with its critics discounted and scorned by the government and the mass media, Krassner put on sale a red, white and blue poster that said FUCK COMMUNISM.
At the beginning of the 1960s, FUCK was believed to be so full of bad magic as to be unprintable. In the most humanely influential American novel of this half century, "The Catcher in the Rye," Holden Caulfield, it will be remembered, was shocked to see that word on a subway-station wall. He wondered what seeing it might do to the mind of a little kid. COMMUNISM was to millions the name of the most loathsome evil imaginable. To call an American a communist was like calling somebody a Jew in Nazi Germany. By having FUCK and COMMUNISM fight it out in a single sentence, Krassner wasn¹t merely being funny as heck. He was demonstrating how preposterous it was for so many people to be responding to both words with such cockamamie Pavlovian fear and alarm.
What hasn't been said about that poster, and surely not by Krassner, is that its author was behaving harmoniously with most of the Ten Commandments, the Bill of Rights of the Constitution of the United States and the Sermon on the Mount. So, too, were his now-dead friends Lenny Bruce and Abbie Hoffman and Jerry Rubin, roundly denounced and even arrested for bad manners and impudence, and now mourned and celebrated as heroes, which indeed they were, in this important book. They were prophets, too, at the service of humanity in jeering, like the prophets of old, at mean-spirited hypocrisies and stupidities and worse that were making their society a hell, whether there
was a God or not.
And this book is emphatically not nostalgic, but raffishly responsive to the here and now. Nor are decades like chains of knockwursts, sutured off from one another at either end. To think of them as such, the 1950s, the 1960s, the 1970s and so on, is merely a mnemonic device. The only 1960s people are those who died back then. Everyone alive today has no choice but to be, like Paul Krassner, a 1990s person. Krassner does a good job of that. So should we all.
I told Krassner one time that his writings made me hopeful. He found this an odd compliment to offer a satirist. I explained that he made supposedly serious matters seem ridiculous, and that this inspired many of his readers to decide for themselves what was ridiculous and what was not. Knowing that there were people doing that, better late than never, made me optimistic.
Creator
An entity primarily responsible for making the resource
Paul Krasner and John Francis Putnam
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
1963
Format
The file format, physical medium, or dimensions of the resource
poster
Abbie Hoffman
anti-communism
Jerry Rubin
John Francis Putnam
Paul Krasner
satire
The Realist
Yippies
-
https://rozsixties.unl.edu/files/original/6e29e1a3fecfa2a9295bca652c10b402.jpg
98930f320e89115640e4c36d4ecff958
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.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
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
Phase 1: Nixon Eviction
Description
An account of the resource
This poster publicized the "Phase 1" of the "Evict Nixon" campaign, which featured a demonstration in Washington, D.C., in August of 1971. An estimated 1,000-1,500 protesters listened to speakers and marched toward the White House. Around 300 were arrested by police during the march, including Milwaukee civil rights leader, Fr. James Groppi, and anti-war activist, Rennie Davis. After Mayday demonstrations the previous spring, police over-prepared for this demonstration putting 2,000 Guardsmen, 2,000 federal troops and 5,100 police on alert. They also rented the Kalorama Skating Rink to use for mass arrests. Demonstration leaders also participated in a phone call with NLF representatives in Paris. It was hoped that the demonstration would kick off a year of anti-Nixon activism that would lead to his ouster from the White House in 1972. In reality, Nixon won re-election in a landslide.
Creator
An entity primarily responsible for making the resource
People's Coalition for Peace & Justice, Washington, D.C.
Source
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
1971
Subject
The topic of the resource
New Left
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Evict Nixon
Fr. James Groppi
Kalorama Skating Rink
May Day
Milwaukee
National Liberation Front
New Left
Rennie Davis
Richard Nixon
Vietnam War
Washington D.C.
-
https://rozsixties.unl.edu/files/original/9a6cdbfba63a6d81aa422bdc7ff387f4.jpg
62878c9947d97a5a803a7beb8f9fa0a5
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
Would You Be More Careful If It Was You Who Got Pregnant?
Description
An account of the resource
This is a reprint of a pro-birth control poster originally created by photographer, Alan Brooking, art director, Bill Atherton, and copywriter, Jeremy Sinclair, who all worked for Cramer Saatchi advertising agency in Britain. The poster provocatively asks men, "Would you be more careful if it was you who got pregnant?" Many people found the poster shocking and some offensive when it first appeared. Contraception was a much-debated subject and not usually on display in public spaces. The image itself also challenged popular notions of masculinity. These shock tactics effectively drew men's attention to the issue of unwanted pregnancy and has become a famous example of the power of advertising. The poster has been reconceptualized and reused a number of times since the 1960s-era.
Creator
An entity primarily responsible for making the resource
photographer, Alan Brooking, art director, Bill Atherton, and copywriter, Jeremy Sinclair, who all worked for Cramer Saatchi advertising agency in Britain
Source
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Subject
The topic of the resource
Women's Liberation
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Format
The file format, physical medium, or dimensions of the resource
poster
Alan Brooking
Bill Atherton
Birth Control
Britain
contraception
Cramer Saatchi
England
feminism
gender
Jeremy Sinclair
photographer
pregnancy
Women's Liberation
-
https://rozsixties.unl.edu/files/original/414c44aa8fed719d62384a87741b7371.jpg
96b8fd46b401eef5159a9702f573b83c
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
Anti-WW3 International Arts Show
Subject
The topic of the resource
Anti-War Movement
Description
An account of the resource
The Anti-WW3 Internationalist Arts Festival was organized by the San Francisco Poster Brigade in 1981-1982 as a travelling exhibit of roughly 2000 works of contemporary art and poetry that dealt with themes related to peace and social justice. Stops included San Francisco, Los Angeles, Tucson and New York. This poster was designed by artist, Rachael Romero.
Creator
An entity primarily responsible for making the resource
Rachael Romero
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
1981-1982
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Anti-WW3 International Arts Festival
Arizona
California
Los Angeles
New York
Rachael Romero
San Francisco
San Francisco Poster Brigade
Tucson
-
https://rozsixties.unl.edu/files/original/52dcfcc7742767af1ff4ee3df5fa4995.jpg
df4ed950fa55d87e7d57a9fed4cba67b
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
Anti-WW3 Internationalist Arts Show
Description
An account of the resource
The Anti-WW3 Internationalist Arts Festival was organized by the San Francisco Poster Brigade in 1981-1982 as a travelling exhibit of roughly 2000 works of contemporary art and poetry that dealt with themes related to peace and social justice. Stops included San Francisco, Los Angeles, Tucson and New York. This poster was designed by artist, Rachael Romero.
Subject
The topic of the resource
Anti-War Movement
Creator
An entity primarily responsible for making the resource
Rachael Romero
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
1981-1982
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-WW3 International Arts Festival
Arizona
arts
California
Los Angeles
New York
poetry
Rachael Romero
San Francisco
San Francisco Poster Brigade
Tucson
-
https://rozsixties.unl.edu/files/original/89ada27d533463242fb0274883a80b2b.jpg
9725aa72d7ef2e919a28ae68eefd4456
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
Anti-WW3 Internationalist Art Show
Subject
The topic of the resource
Anti-War Movement
Description
An account of the resource
The Anti-WW3 Internationalist Arts Festival was organized by the San Francisco Poster Brigade in 1981-1982 as a travelling exhibit of roughly 2000 works of contemporary art and poetry that dealt with themes related to peace and social justice. Stops included San Francisco, Los Angeles, Tucson and New York. This poster was designed by artist, Rachael Romero.
Creator
An entity primarily responsible for making the resource
Rachael Romero
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
1981-1982
Format
The file format, physical medium, or dimensions of the resource
poster
Arizona
arts
California
Los Angeles
NewYork
poetry
Rachael Romero
San Francisco
San Francisco Poster Brigade
Tucson
-
https://rozsixties.unl.edu/files/original/8dcd59a04cec9219b8a4df9163084573.jpg
70eeb67a26eb9ec4493f6ff88829230a
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/.
Date
A point or period of time associated with an event in the lifecycle of the resource
1971
Title
A name given to the resource
Free All Political Prisoners
Subject
The topic of the resource
Political Prisoners
Description
An account of the resource
This poster was created by designer Rafael Morante in 1971 to support political prisoners across the global Third World liberation movement. 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
Rafael Morante
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
Format
The file format, physical medium, or dimensions of the resource
poster
Cuba
Cuban Revolution
OSPAAAL
Political Prisoners
Rafael Morante
-
https://rozsixties.unl.edu/files/original/afad6c0a10583ff5048a5b2baa2df56a.jpg
e97a1ce227f3149283c28c2055a2674b
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
Ramparts Wall Poster
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
During protests at the 1968 Democratic Presidential Convention in Chicago, activists made wall posters to circulate information about what was happening. Many of these posters were made by Ramparts Magazine.
This wall poster, written by Jake McCarthy, details police repression against protesters on August 28, 1968.
Creator
An entity primarily responsible for making the resource
Rampart's
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 28, 1968
Format
The file format, physical medium, or dimensions of the resource
wall poster
1968 election
Anti-War
Chicago '68
Jake McCarthy
New Left
police repression
Rampart's
Vietnam War