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https://rozsixties.unl.edu/files/original/f3cd99f232347dfb1be2c5144742a8b3.jpg
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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
Buttons
Description
An account of the resource
Buttons were one of the most popular and pervasive forms of political messaging during the 1960s, combining brief messaging and memorable graphic designs. Buttons were inexpensive to produce on a mass basis and easy to distribute. They afforded any individual an opportunity to voice their opinions and, potentially, reach a broad audience. As Hunter Oatman-Stanford has written, “From discreet lapel pins to oversized buttons on purses or backpacks, pinbacks invite conversation by declaring potentially controversial viewpoints to complete strangers.” In this way, buttons were (and still are) a particularly democratic form of political propaganda.
As button collector, John Aisthorpe, has put it, buttons offer “a little snapshot of history.” During the 1960s, buttons were vital to the visual identity of a range of movements. “There were many protest groups who put their views on buttons,” Aisthorpe recalls, “from the early ’60s with the Free Speech Movement (FSM) to the Student Nonviolent Coordinating Committee (SNCC), Students for a Democratic Society (SDS) and, later, the Veterans for Peace, the Fifth Avenue Vietnam Peace Parade Committee, and the Yippies.” The political impact of buttons in the 1960s is hard to gauge, though their popularity suggests some modicum of significance. And, as Aisthorpe has asserted, “It’s hard to say what impact they had, but the text of buttons worn at protests were often used as antiwar chants, like ‘Hell no, we won’t go!’… They must have had some effect.” The buttons of the 1960s have remained some of the most enduring relics from this important past.
This collection includes buttons from a wide array of movements from the Sixties, including the student movement, civil rights and Black Power movements, women's liberation, environmentalism, the anti-nuclear movement, gay liberation, electoral politics, the Chicano movement, the labor movement and the counterculture, with a strong emphasis on the anti-war movement. In addition, a few buttons date from Roz Payne’s activist efforts in the 1970s and 1980s, including the early political campaigns of Vermont politician, Bernie Sanders.
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
Woodstock Music and Arts Fair
Description
An account of the resource
Between August 15 and August 18, 1969, an estimated 400,000 members of the counterculture generation descended on Max Yasgur's farm near White Lake, New York, to attend a series of sometimes rain-soaked concerts by 32 popular musical acts, including Janis Joplin, Santana, Canned Heat, The Who, Creedence Clearwater Revival, Richie Havens, Joan Baez, Joe Cocker, Country Joe & the Fish, Ravi Shankar, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills Nash & Young, Sha-Na-Na, Paul Butterfield Blues Band, Jefferson Airplane, the Grateful Dead, Sly and the Family Stone, and Jimi Hendrix, whose searing, cacophonous performance of the "Star-Spangled Banner" on the final day of the festival has become iconic in the years since the event. Woodstock - which billed itself as "An Aquarian Exposition: 3 Days of Peace & Music" - is one of the primary historical markers of the Sixties counterculture. A 1970 documentary on the festival won an Academy Award and the accompanying triple LP record reached #1 on the pop music chart that same year.
Creator
An entity primarily responsible for making the resource
Woodstock Music and Arts Fair
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
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Counterculture
Blood
Canned Heat
counterculture
Country Joe & the Fish
Creedence Clearwater Revival
Crosby
Janis Joplin
Jefferson Airplane
Jimi Hendrix
Joan Baez
Joe Cocker
Johnny Winter
Max Yasgur
New York
Paul Butterfield Blues Band
Ravi Shankar
Richie Havens
Santana
Sha-Na-Na
Sly and the Family Stone
Star-Spangled Banner
Stills Nash & Young
Sweat & Tears
The Band
the Grateful Dead
The Who
White Lake
Woodstock Music and Art Festival