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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
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
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
Cleaver Course Position Paper
Subject
The topic of the resource
Black Power
Creator
An entity primarily responsible for making the resource
Center for Participant Education
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
position paper
Description
An account of the resource
The University of California-Berkeley was one of the key sites of 1960s-era campus activism. During the early and mid-1960s, Cal students participated in the southern civil rights struggle and protested the House UnAmerican Activities Committee. In 1964, a conflict near Sather Gate sparked the Free Speech Movement. The Students for a Democratic Society were strong on campus and led student activists into the anti-Vietnam war era. During the late-1960s and early-1970s, UC-Berkeley played a pivotal role in the rise of the Black Studies and Third World Student movements.
In 1966, African Americans made up a mere 1% of the student population at the University of California-Berkeley. At the time, the Afro-American Student Union (AASU) was the lone black student political group on campus. On October 29, 1966, SDS sponsored a conference at the Greek Theater, titled, “Black Power and It’s Challenges,” which was attended by an estimated 12,000 overwhelmingly white students and featured keynote speakers, Ron Karenga (US Organization), James Bevel (Southern Christian Leadership Conference) and Stokely Carmichael (Student Nonviolent Coordinating Committee), who called UC-Berkeley the “white intellectual ghetto of the West.” AASU opposed the conference, calling it “farcical,” “insidious” and “detestable.”
By 1968, the number of African American students on campus began to rise. Early that year, a coalition of black student activists and local community members demanded the creation of a Black Studies Department. In a March, 1968 issue of the Daily Californian, the group wrote, “We demand a program of ‘BLACK STUDIES,’ a program that will be of and for black people. We demand to be educated realistically and that no form of education which attempts to lie to us, or otherwise mis-educate us will be accepted.” In response Chancellor Roger Heyns promised the establishment of a new department by the Fall of 1969. In the meantime, African American students worked with the College of Letters and Sciences to offer a selection of courses on the “Black Experience” during the 1968 school year, including a course titled, “Social Analysis 139X: Dehumanization and Regeneration of the American Social Order,” which was co-organized by four university faculty, but was to be guest taught by controversial Black Panther Minister of Information, Eldridge Cleaver. The 10-lecture class was sponsored by the Center for Participation in Education (CPE), a university supported effort to empower students to help devise classes that focused on pressing contemporary issues. Yet, as students began to enroll in the course, conservative Governor, Ronald Reagan, and state legislators pressured the Board of Regents to pass a new rule stating that classes could only include one guest lecture per semester, an obvious ploy to severely limit Cleaver’s platform on campus. The move set off a new controversy over academic freedom on campus and helped spur the mobilization of the Third World Liberation Front, a coalition of black students, Latin American students, Asian American students and Mexican American students that organized the longest student strikes in U.S. history. Ultimately, Cleaver gave six lectures on campus in 1968.
This document puts forth a defense of the "Cleaver Course," as it became known on campus.
AASU
Afro-American Student Union
Anti-War
Berkeley
Black Panther Party
Black Power
Black Studies
California
Daily Californian
Eldridge Cleaver
Free Speech Movement
Greek Theater
House UnAmerican Activities Committee
James Bevel
Roger Heyns
Ron Karenga
Ronald Reagan
Sather Gate
SDS
Southern Christian Leadership Conference
Stokely Carmichael
Student Nonviolent Coordinating Committee
Students for a Democratic Society
Third World Liberation Front
University of California
US Organization
Vietnam War
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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
Photographs
Description
An account of the resource
Roz Payne was a photographer and took hundreds of images of activism during the Sixties. The images in this collection include more than 500 photographs of the protests outside the 1968 Democratic National Convention in Chicago. Other seminal events captured here include the 1967 anti-war demonstration at the Pentagon, the 1968 student take-over at Columbia University, the 1968 Huey Newton and Panther 21 trials, the Yippies and the Venceremos Brigade. Photos include famous Sixties figures, like Abbie Hoffman, Jerry Rubin, Eldridge Cleaver, H. Rap Brown, Bobby Seale, Kathleen Cleaver, Phil Ochs, Norman Mailer, A.J. Muste, Dick Gregory, Jean Genet, William Burroughs, Richard Daley, Mark Rudd, Dhoruba Bin Wahad and others. There are numerous other photos of lesser-known moments and activists, as well.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photographs
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
Eldridge Cleaver Controversy at UC-Berkeley
(196 images)
Subject
The topic of the resource
Black Power
Description
An account of the resource
The University of California-Berkeley was one of the key sites of 1960s-era campus activism. During the early and mid-1960s, Cal students participated in the southern civil rights struggle and protested the House UnAmerican Activities Committee. In 1964, a conflict near Sather Gate sparked the Free Speech Movement. The Students for a Democratic Society were strong on campus and led student activists into the anti-Vietnam war era. During the late-1960s and early-1970s, UC-Berkeley played a pivotal role in the rise of the Black Studies and Third World Student movements.
In 1966, African Americans made up a mere 1% of the student population at the University of California-Berkeley. At the time, the Afro-American Student Union (AASU) was the lone black student political group on campus. On October 29, 1966, SDS sponsored a conference at the Greek Theater, titled, “Black Power and It’s Challenges,” which was attended by an estimated 12,000 overwhelmingly white students and featured keynote speakers, Ron Karenga (US Organization), James Bevel (Southern Christian Leadership Conference) and Stokely Carmichael (Student Nonviolent Coordinating Committee), who called UC-Berkeley the “white intellectual ghetto of the West.” AASU opposed the conference, calling it “farcical,” “insidious” and “detestable.”
By 1968, the number of African American students on campus began to rise. Early that year, a coalition of black student activists and local community members demanded the creation of a Black Studies Department. In a March, 1968 issue of the Daily Californian, the group wrote, “We demand a program of ‘BLACK STUDIES,’ a program that will be of and for black people. We demand to be educated realistically and that no form of education which attempts to lie to us, or otherwise mis-educate us will be accepted.” In response Chancellor Roger Heyns promised the establishment of a new department by the Fall of 1969. In the meantime, African American students worked with the College of Letters and Sciences to offer a selection of courses on the “Black Experience” during the 1968 school year, including a course titled, “Social Analysis 139X: Dehumanization and Regeneration of the American Social Order,” which was co-organized by four university faculty, but was to be guest taught by controversial Black Panther Minister of Information, Eldridge Cleaver. The 10-lecture class was sponsored by the Center for Participation in Education (CPE), a university supported effort to empower students to help devise classes that focused on pressing contemporary issues. Yet, as students began to enroll in the course, conservative Governor, Ronald Reagan, and state legislators pressured the Board of Regents to pass a new rule stating that classes could only include one guest lecture per semester, an obvious ploy to severely limit Cleaver’s platform on campus. The move set off a new controversy over academic freedom on campus and helped spur the mobilization of the Third World Liberation Front, a coalition of black students, Latin American students, Asian American students and Mexican American students that organized the longest student strikes in U.S. history. Ultimately, Cleaver gave six lectures on campus in 1968.
These photos, taken by Roz Payne show Eldridge Cleaver lecturing, as well as Kathleen Cleaver on campus, Ronald Reagan at Regents meetings and some of the campus protests surrounding Cleaver's lectures and the broader Third World Liberation Front activism on campus.
Creator
An entity primarily responsible for making the resource
Roz Payne
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
1968-1969
AASU
Afro-American Student Union
Anti-War
Berkeley
Black Panther Party
Black Power
Black Studies
Center for Participation in Education
CPE
Daily Californian
Eldridge Cleaver
Free Speech Movement
Greek Theater
House UnAmerican Activities Committee.
James Bevel
Kathleen Cleaver
Minister of Information
Roger Heyns
Ron Karenga
Ronald Reagan
SDS
Social Analysis 139X
Southern Christian Leadership Conference
Stokely Carmichael
student movement
Student Nonviolent Coordinating Committee
Students for a Democratic Society
Third World Liberation Front
University of California
US Organization
Vietnam War
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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
Photographs
Description
An account of the resource
Roz Payne was a photographer and took hundreds of images of activism during the Sixties. The images in this collection include more than 500 photographs of the protests outside the 1968 Democratic National Convention in Chicago. Other seminal events captured here include the 1967 anti-war demonstration at the Pentagon, the 1968 student take-over at Columbia University, the 1968 Huey Newton and Panther 21 trials, the Yippies and the Venceremos Brigade. Photos include famous Sixties figures, like Abbie Hoffman, Jerry Rubin, Eldridge Cleaver, H. Rap Brown, Bobby Seale, Kathleen Cleaver, Phil Ochs, Norman Mailer, A.J. Muste, Dick Gregory, Jean Genet, William Burroughs, Richard Daley, Mark Rudd, Dhoruba Bin Wahad and others. There are numerous other photos of lesser-known moments and activists, as well.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photographs
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
SDS National Conference in Austin (17 images)
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Roz Payne
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
Description
An account of the resource
Like many campuses, the University of Texas at Austin saw an increase in student activism and protest during the mid- and late-1960s. The student Free Speech Movement, anti-war activism, African American and Latino student protest, women’s liberation organizing and the counterculture were all present. White New Left activism was particularly significant, with UT being an important site of what came to be known as “Prairie Power,” a faction within Students for a Democratic Society that was critical of the national office and advocated a more decentralized structure for the organization and a greater emphasis on campus organizing and the war in Vietnam. Jeff Shero, Thorne Dreyer, Carol Neiman, Gary Thiher, Alice Embree, Grace Cleaver, Robert Pardun, Larry Jackson and Greg Calvert were all notable Texas New Left activists. Austin was also home of The Rag, which author John McMillian called “a spirited, quirky, and humorous paper, whose founders pushed the New Left's political agenda even as they embraced the counterculture's zeal for rock music, psychedelics, and personal liberation.” Former Rag staffer, Alice Embree, remembered, "The Rag covered what was not covered by the 'straight' press. The writers participated in the political and cultural uprising and also wrote about it. And they told you where to get a chicken dinner for 35 cents." White student activists at UT were increasingly working with black and Latino activists, enlisted military soldiers at Fort Hood and the local labor movement. According to historian, Beverly Burr, student activists, “tied many issues together in a comprehensive critique of the American government, the economic system and socialization.”
Between 1967 and 1969, the relationship between student activists and the university administration became increasingly contentious. In May of 1967, six student activists were censured for their role in an anti-war protest that disrupted a visit by Vice-President Hubert Humphrey. The following year, the administration fired, Professor Larry Caroline, who served as the faculty adviser for SDS, after he told a group of anti-war protesters that only revolution would bring a solution to racism and militarism in the U.S. Caroline had also led a successful effort to integrate the faculty lounge, supported African American activist and graduate student, Larry Jackson, and pushed for other structural reforms at the university that rankled not only administrators, but also some of his fellow faculty members. These conflicts raised a variety of issues related to free speech and academic freedom. At the same time, African American and Latino students demanded a series of reforms, including the creation of Black Studies and Chicano Studies programs. Countering the rising tide of student militancy, the state legislature and university Board of Regents passed new “disruptive activities” bills in early 1969, hoping to head off upcoming protests by black, Chicano and anti-war campus activists. Beverly Burr explained, “The bill basically prohibits pickets, strikes, sit-ins, and anything the university deems ‘disruptive to administrative, educational or other authorized activity.’” The Regents also refused a request by SDS to hold their national convention at the Student Union, announcing "we are not about to let the university be used by subversives and revolutionaries." A March 1969 article in The Rag quoted President, Norman Hackerman, claiming SDS’s "intention of destroying the American educational system" and a lack of meaningful educational purpose for the decision by the Board of Regents. Following legal wrangling, the SDS National Convention ultimately took place at the Catholic Student Center and was attended by more than 800 activists. Beyond the conflict with university officials, the 1969 SDS gathering was notable for the growing factionalization within the group. Burr wrote, “A ten-point proposal for the liberation of schools was passed which called for among others: an end to the tracking system, an end to flunkouts and disciplinary expulsions, a new teaching of history in such a way as to truly expose the injustice of 'this racist, capitalist society' and support for the Black Panthers.”
Alice Embree
Anti-War
Austin
Beverly Burr
Black Panther Party
Black Power
Black Studies
Carol Neiman
Chicano movement
Chicano Studies
counterculture
factionalization
Free Speech Movement
Gary Thiher
Grace Cleaver
Greg Calvert
Hubert Humphrey
Jeff Shero
John McMillian
Larry Caroline
Larry Jackson
New Left
Norman Hackerman
Prairie Power
Robert Pardun
SDS
student movement
Students for a Democratic Society
Texas
The Rag
Thorne Dreyer
University of Texas
Vietnam War
Women's Liberation
-
https://rozsixties.unl.edu/files/original/9efa6c6ac3326b9bdb544aa984934bf3.jpg
7a791b322917da16dfcbeaa8caf0b744
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
San Francisco Mime Troupe
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.
Creator
An entity primarily responsible for making the resource
San Francisco Mime Troupe
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. mid-1960s
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Counterculture
Berkeley
California
counterculture
Diggers
Emmett Grogan
Free Speech Movement
Golden Gate Park
guerilla theater
Peter Berg
police
R.G. Davis
San Francisco
San Francisco Mime Troupe
theater
University of California
-
https://rozsixties.unl.edu/files/original/abc39fb7303f665e6c2ad1a2f69db580.jpg
ef4ef1b6769088c337f8b6a59e2977fc
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
No Reagan
Description
An account of the resource
In 1966, Ronald Reagan ran successfully as the Governor of California on the Republican ticket. Reagan’s governorship between the years 1967 to 1975 was met with reaction from student protesters, specifically addressing Regan’s anti-civil rights stance and his campaign against Berkeley’s free speech and antiwar student protesters. In 1976, Reagan ran unsuccessfully for the Republic presidential nomination, but was successful in 1980 and 1984, serving two terms as President. As a politician, Reagan positioned his new conservatism as a reaction against 1960s liberalism. He remained a controversial, polarizing political figure throughout his career.
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
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Electoral Politics
Creator
An entity primarily responsible for making the resource
unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
1976 election
1980 election
1984 election
Anti-War
Berkeley
California
Civil Rights
conservatism
electoral politics
Free Speech Movement
New Right
Ronald Reagan
-
https://rozsixties.unl.edu/files/original/167edf6cd99a03efad139da8a683f8f3.jpg
b8ae4bfc7991ba2305b14ea7a3e3dbb5
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
Ronald Reagan for Fuehrer
Description
An account of the resource
Former Hollywood actor, Ronald Reagan, launched his political career in 1966 by targeting University of California-Berkeley's student peace activists, professors, and, to a great extent, the University of California itself. In his successful campaign for governor that year, Reagan championed traditional authority and emphasized two themes, anti-government promises "to send the welfare bums back to work" and “law and order” rhetoric, including assurances "to clean up the mess at Berkeley," where civil rights activism, the Free Speech Movement and growing anti-war demonstrations had roiled the campus and brought national attention the previous year. Reagan strongly attacked student leaders, like Mario Savio, as well as UC President, Clark Kerr, who Reagan perceived as too lenient on campus demonstrators. Once in office after defeating Democratic incumbent, Pat Brown, Reagan directed the UC Board of Regents to dismiss Kerr from his position, cementing a turbulent relationship with the state’s leading institution of higher education, as well as Regan’s reputation as a key conservative opponent of the emerging New Left.
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
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Electoral Politics and Anti-War Movement
Creator
An entity primarily responsible for making the resource
unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1966
anti-welfare
Berkeley
California
Clark Kerr
conservatism
Free Speech Movement
law and order
Mario Savio
New Left
New Right
Pat Brown
Republican
Ronald Reagan
University of California
-
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