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Title
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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
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Title
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"Holiness"
Subject
The topic of the resource
Black Panther Party
Description
An account of the resource
This poem, written by imprisoned Black Panther Party member, Afeni Shakur, explores the hypocrisy of U.S. society and conjure a revolutionary Jesus who is in solidarity with the Black Panther Party.
Creator
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Afeni Shakur
Source
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Roz Payne
Publisher
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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
newsprint
Type
The nature or genre of the resource
poem
Afeni Shakur
armed self-defense
Black Panther Party
Black Power
Jesus
New York
New York 21
Pigs
radicalism
revolution
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Title
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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.
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Title
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Her Fight is My Fight, Free Angela Davis
Description
An account of the resource
Angela Davis grew up in the “Dynamite Hill” area of Birmingham, Alabama, in 1944. Later, she moved with her mother to New York City and studied at Brandeis University, the Sorbonne and the University of California-San Diego. In addition to the segregation and racial discrimination she experienced as a child, Davis was deeply influenced by the 1963 murder of four young girls at the 16th Street Baptist Church in Birmingham, as well as the activism of the Student Nonviolent Coordinating Committee and Black Panther Party. In 1968, she joined an all-black branch of the Community Party. The following year, UCLA hired Davis as an assistant professor of philosophy, a contentious appointment given her radical views, ultimately leading to her dismissal.
In the early-1970s, Davis became increasingly active in efforts to improve prison conditions for inmates, including the Soledad Brothers, two African American prisoners and Black Panther Party members, George Jackson and W. L. Nolen, who were incarcerated in the late 1960s. On August 7, 1970, 17-year old Jonathan Jackson, the younger brother of black radical, George Jackson, burst into the Marin County courtroom of Superior Court Judge Harold Haley, where James McClain was on trial for assaulting a guard in the wake of Black prisoner Fred Billingsley’s murder by prison officials in San Quentin Prison in February of 1970. Carrying three guns registered to Angela Davis, Jackson, with the help of McClain and Ruchell Cinque Magee, who was set to testify as a witness in McClain's trial, seized Judge Haley and ordered attorneys, jurors and court officials to lie on the floor. Magee freed another testifying witness, Black Panther William A. Christmas, who also aided in the escape attempt. In addition to their own freedom, the group sought a trade the release of Judge Haley for the “Soledad Brothers,” George Jackson, Fleeta Drumgo, and John Clutchette, who were charged with killing a white prison guard at California’s Soledad Prison. During an effort to flee the courthouse in a van, a shoot-out with police took place, killing Jackson, McClain, Christmas and Judge Haley. Two other hostages, Prosecutor Gary Thomas and juror Maria Elena Graham, were also injured, but survived. Ruchell Magee was the only abductor to survive. Although Davis did not participate in the actual break-out attempt, she became a suspect when it was discovered that the guns used by Jackson were registered in her name. Davis fled to avoid arrest and the FBI placed her on its “most wanted” list. Law enforcement captured her several months later in New York. During her high profile trial, black militants and New Left activists made ‘free Angela” a powerful slogan. In 1972, a jury acquitted Davis on all charges.
Creator
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Angela Davis Defense Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
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
Black Power
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
16th Street Baptist Church
Alabama
Angela Davis
Birmingham
Black Panther Party
Black Power
Brandeis University
communism
Dynamite Hill
FBI
Free Angela
George Jackson
Harold Haley
identity politics
intersectionality
Jonathan Jackson
New Left
New York
SNCC
Soledad Brothers
Sorbonne
University of California-San Diego
W. L. Nolen
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Title
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Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
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Title
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"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
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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
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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
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Title
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Newsreel Films
Creator
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Newsreel Films
Source
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Newsreel Films on YouTube
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. 1960s and 1970s
Format
The file format, physical medium, or dimensions of the resource
film
Description
An account of the resource
Roz Payne was involved in Newsreel Films from the group's inception in New York in 1967. Newsreel created a series of short films documenting various aspects of 1960s-era activism. The items in this collection provide links to each of the Newsreel Films that are currently available to view free on the web.
________
Roz Payne offered the following brief reflection on Newsreel Films in 2002:
"In 1967 a group of independent filmmakers, photographers, and media workers formed a collective to make politically relevant films sharing our resources, skills, and equipment. As individuals we had been covering many of the events that we considered news, demonstrations, acts of resistance, and countless inequities and abuses. Sometimes films were made and sometimes not. Most often they were made too late and did not go to the people who could use them best.
We met in a basement in the lower eastside of New York and later at the alternate U, then more basements until we got an office. The only news we saw was on TV and we knew who owned the stations. We decided to make films that would show another side to the news. It was clear to us that the established forms of media were not going to approach those subjects which threaten their very existence.
I was a school teacher in New Jersey who shot photos. My marriage with Arnold Payne, Mr. Muscle Beach Jr. had broken up, I left a little house on the Palisades, overlooking the boats on the Hudson River right over the Spry sign across from 96th Street. I would sit looking at the burning windows of the NYC skyline as the sun set. That fire and the fire from a GI's Zippo lighter on the straw of a Vietnamese hut helped ignite me. I moved to New York City.
Walking down Second Ave and 10th Street with my camera one afternoon Melvin Margolis , a wild looking hippie stopped me and said, ‘Hey, your a photographer and there's a meeting tonight of all the political film people. You have to go. It is very important. Make sure that you go. I'm not kidding.’ I showed up that night, to the first meeting of Newsreel.
About 30 people met weekly to talk about films, equipment, and politics. I think we were great because we came from various political backgrounds and had different interests. We never all agreed on a political line. We broke down into smaller groups to work on the films. The working groups included anti-Vietnam-war, anti-imperialist, high school, students, women, workers, Yippies, Third World, and the infamous sex, drugs and party committee.
We wanted to make two films a month and get 12 prints of each film out to groups across the country. We wanted to spark the creation of similar news-film groups in other major cities of the United States so that they would distribute our films and would cover and shoot the events in their area.
The first film I worked on was the 1968 student take-over of Columbia University. The students had taken over 5 buildings. We had a film team in each building. We were shooting from the inside while the rest of the press were outside. We participated in the political negotiations and discussions. Our cameras were used as weapons as well as recording the events. Melvin had a W.W.II cast iron steel Bell and Howell camera that could take the shock of breaking plate glass windows.
Newsreel worked to expand the awareness of events and situations relevant to shaping the movement. Our films tried to analyze, not just cover; they explored the realities that the media, as part of the system, always ignores.
In 1967 the FBI started the Counter-intelligence program to try to destroy African Americans, especially the Black Panther Party and the New Left. We worked with Third World groups. We produced various films that these groups could use to tell their stories and to use in organizing in their own communities and workplaces, hopefully serving as catalysts for social change.
Newsreel not only made films but we were among the first to distribute films made in Cuba, Vietnam, Africa, and the Middle East.
As Newsreel grew, we spread out, opened offices and distribution centers across the country. We had offices in San Francisco, Detroit, Boston, Kansas, Los Angeles, Vermont, and Atlanta. We made films and distributed our films in the hope that the audiences who saw them would respond to the issues they raised. We wanted people to work with our films as catalysts for political discussions about social change in America and to relate the questions in the films to issues in their own communities.
We had many struggles in Newsreel around class, women, political education, cultural and worker politics, the haves and have nots. It was hard to hold to the correct political line. Little by little the groups changed from film-maker control to worker control, to women control, to third world control. Today, Third World Newsreel is in New York, California Newsreel is in San Francisco, and there is a Vermont Newsreel Archives.
In 1972, myself and others moved to Vermont. We continue to distribute Newsreel films, shoot videos, use computer graphics, and maintain a film, photo, and document archive. With the easy accessibility of video cameras thousands of people are making their own documents to tell the stories of what is happening around them. I am shooting history of retired FBI agents that worked on COINTELPRO against Don Cox, an exiled Black Panther and the white women who helped him. I teach History of the Sixties, Civil Rights Movement, Women, and Mycology at Burlington College."
In 2019, another original Newsreel Film member, Marvin Fishman, remembered a slightly different version of some of the events Roz related above:
“Roz invariably reminded me that it was her chance encounter with me on 14th Street that led to her attending that meeting [rather than Melvin Margolis]. Melvin, Marvin . . . I always nodded in agreement with her when she reminded me of that, but honestly, my memory is vague on that street encounter, though I always accepted it as true because she seemed so certain. I leave open the possibility that she indeed met Melvin earlier in the day, and that our meeting on 14th Street happened later on, when she was searching for the meeting address. But I do remember bringing her upstairs to the Free School, the site of the meeting.”
Fishman went on, “Also omitted [from Roz’s narrative] is the earlier, actual very first meeting, which was held on December 22, 1967, in Jonas Mekas’ Filmmakers Cinematheque. This is the date and place of what I consider the beginning of the collaborative undertaking among filmmakers. More than 30 people attended. Coincidentally, if I remember correctly, this is the date that Universal Newsreel, a service of Hollywood’s Universal Pictures, closed down.
Perhaps more important for Newsreel’s history, is that the narrative on the website does not mention why the meetings at the Cinematheque and then at the Free School were held. That is, what brought all the filmmakers together to that meeting which led to the formation of Newsreel? In fact, the catalyst for that meeting was the Pentagon Demonstration. To omit this fact is to omit the precipitating event, the traumatic historic milestone which led a disparate bunch of filmmakers and others to unite.”
According to filmmaker and activist, Danny Schechter, “Working in decentralized film collectives in several cities, [Newsreel] produced many, many films, mostly shot on 16 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.
These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the ‘intellectual property’ everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system.”
The UCLA Film & Television Archive adds, “Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verité and poster art. The student movement (Columbia Revolt), racism (Black Panther) and Vietnam (No Game; People's War) were among the subjects Newsreel addressed. Feminist consciousness-raising efforts were documented in films such as The Woman's Film, produced collectively by women, and Makeout. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and Now omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.”
Among the items in this collection is also a 7-page journal article, "Newsreel: Film and Revolution," written by Bill Nichols for Cinéaste in 1973. The article provides a different introduction to Newsreel Films. Nichols also completed an M.A. Thesis by the same title at UCLA in Theater Arts in 1972. That thesis runs more than 300-pages and can be found online for those interested in a much more in-depth exploration of the history of Newsreel:
https://billnichols99.files.wordpress.com/2014/05/newsreel-film-and-revolution.pdf
_________
The following is a list of Newsreel films made and/or distributed by the group during the 1960s-era with a brief description after each one written by Roz Payne. It is reprinted from Roz Payne's website:
Amerika
Against the background of the November 1969 Anti-Vietnam War demonstration in Washington DC., footage from all over the world.
1969 - 45 minutes
Army
US. imperialism needs massive military power capable of maintaining its markets overseas and quelling rebellions at home. This film records the training and indoctrination given to G.I.s to produce this force. The men themselves talk about who the army really serves, and the effect the indoctrination has on them, and the beginnings of resistance to the army and against the war.
Off the Pig (Black Panther)
This is one of the first films made about the Panthers. It contains interviews with Party leaders Huey Newton and Eldridge Cleaver describing why the Party was formed and what its goals are. It also includes footage of Panther recruitment, training and the Party's original 10 Point Program laid out by Chairman Bobby Seale.
1968 - 20 minutes
El Caso Contra Lincoln Center
La Renovacion Urban destruyo los hogares de 35,000 familias puertoriquenasde la ciudad de Nueva York para construir Lincoln Center, una vitrina cultural para las clase dominante de la ciudad. La pelicula explica la coneccion entre esta accion cotidiana y es imperlialismo corporativo norteamericano.
12 minutes
To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families moved into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents.
11 minutes
Columbia Revolt
In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings.
1968 - 50 minutes
The Earth Belongs to the People
An analysis of the ecology crisis, this film dispels the myths that big business and big government have been telling the people about the world-wide ecological crisis. Is there really over-population in the world, or is there an unequal distribution of wealth and food? Do people or large industries ruin the environment? Will the earth survive for the people or for corporate profit????
1971 - 10 minutes
Garbage
Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike.
1968 - 10 minutes
High School Rising
High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today,)
1969 - 15 minutes
Los Siete de la Raza
This film is about the oppression of the Third World community in the Mission district of San Francisco. It deals specifically with seven Latino youths who were recruiting street kids into a college Brown Studies Program. They are accused of killing a plainclothesman. While they become victims of a press and police campaign to "clean-up" the Mission, their defense becomes the foundation of a revolutionary community organization called Los Siete
1969 - 30 minutes.
Available in Spanish and English. Spanish soundtrack is poor quality.
Make Out
The oppressive experience of making-out in a car...from the woman's point of view. Short and sweet. It can be shown a second time with the sound off and the male can make up his own sound track.
1969 - 5 minutes
Up Against the Wall Miss America
A now historical film about the disruption of the Miss America pageant of 1968. With raps, guerrilla theater, and original songs . Women stress the (mis)use of their sisters, by the pageant, as mindless sexual objects. Footage includes Attorney /activist Flo Kennedy.
6 minutes
Richmond Oil Strike
In January, 1969 oil workers in NorthernCalifornia struck. The local police and the Standard Oil goon squads attacked the strikers and their families, killing one and injuring others. The striking students from San Francisco State were asked to join the struggle. For the first time workers and students fight together against their common enemy.
Footage includes speeches of Bob Avakian.
People's Park
In the spring of 1969 , the Berkeley street community initiated a project to transform a barren and unused university-owned Lot into a park for the whole community to enjoy-a People's Park. Because the park threatened the control of the university and presented a challenge to the concept of private property, the police and National Guard were used to brutalize the people and destroy the People's Park.
25 minutes
This film was made by SF Newsreel and was originally rejected as not being political enough. It was too hippie dippy so the beginning five minute rap by Frank Barneke, a Peoples Park politico was added on in the beginning .
Por Primeria Vez (For the First Time)
The Cuban Film Institute sends mobile film units into the rural provinces-young and old delight on seeing movies "for the first time." Modern Times with Charlie Chaplin is shown in a rural village. An enchanting short that leaves you happy and smiling.
10 minutes (Available in Spanish)
Peoples' War
In the summer of 1969, Newsreel went to North Vietnam. From that trip came PEOPLES' WAR. This film moves beyond the perception of the North Vietnamese as victims to a portrait of how the North Vietnamese society is organized. It shows the relationship of the people to their government-how local tasks of a village are coordinated and its needs met. It deals with the reality of a nation that has been at war for twenty-five years, that is not only resisting US aggression and keeping alive under bombing, but that is also struggling to raise its standard of living and to overcome the underdevelopment of centuries of colonial rule. Amid much publicity, the footage was confiscated upon its return to the US. Despite this attempt at suppression, PEOPLE'S WAR has become one of the most sought-after films on Vietnam. Blue ribbon at U.S.A. film festival in Houston, Texas. and the Golden Bear Award, Moscow, USSR
1969 - 40 minutes
R.O.T.C.
The issue of ROTC is uppermost on many college campuses and is a major focus of anti-war activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed.
1969 - 20 minutes
Seventy-Nine Springs of Ho Chi Minh
This film on the life and death of Ho Chi Minh is a skillfully interwoven blend of old still photographs and Newsreel footage of the DRV's (Democratic Republic of Vietnam) founder, a man whose life spans three revolutions, three continents and three wars. It portrays his life: from militant student to revolutionary lead of this country; and his life-long work dedication to the Vietnamese people and their struggle for liberation. This eulogy was made by Cuba's renowned filmmaker, Santiago Alvarez. Musical soundtrack, Spanish titles. (Note: Understanding of the Spanish titles is not necessary for full enjoyment of the film.)
25 minutes
" . . . one of the most moving political films this reviewer has seen . . ." (Lenny Rubenstein, Cineaste)
She's Beautiful When She's Angry
In a skit presented at an abortion rally in New York City, a beauty contestant is pressured to fulfill certain roles in order to be the "ideal woman", a "winner". The skit shows how women, especially minority women, are used in this society for profit. The women who perform also discuss their personal lives and how their struggle as women is expressed in the skit. ( Note: Soundtrack is sometimes difficult to understand. )
1967 - 17 minutes
Strike City
Plantation workers in Mississippi having gone on strike against the extreme exploitation of the plantation system, and decide to form their own collective Their determination to stick together, rather than go back to the plantation or be forced out of the state, is their main resource. After a bitter winter, living in tents, they obtain partial support from private sources and begin building permanent housing. The poverty program backs down on its promise of support in response to Mississippi senators who fear the implications of collectives of back farmers in Mississippi.
1967 - 30 minutes
Summer '68
Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a GI. coffeehouse in Texas, Newsreel's take-over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project--the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities.
1968 - 60 minutes
BDRG: Boston Draft Resistance Group
This film detailed draft resistance organizing in Boston.
1968 - 15 minutes
Troublemakers
In 1965, a group of white organizers went into Newark's central ward to work with the black community, forming the Newark Community Union Project (NCUP). Traditional forms of protest--letters to city officials, demonstrations, electoral politics--were used as tactics for organizing. The film focuses on the action undertaken around three issues. The first is an attempt to get housing code enforcement; the second, to get a traffic light installed at a hazardous intersection. After many months of hallow promises, and inaction on the part of the city government an attempt was made to elect a third party candidate to the City Council. Lacking the resources of the two major parties, this was doomed to failure too The film is an absorbing, informative documentary of the frustrating failures of NCUP and the problem of getting even modest reform within the present political structure. But it goes beyond this--it shows clearly the contradictions in the concept of white groups organizing in black and other third world communities. A good study in some of the early New Left tactics--how and why they failed.
1966 - 53 minutes
The Woman's Film
The film was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself was written from preliminary interviews with the women in the film. Their participation, their criticism, and approval were sought at various stages of production.
"... What we see is not only natural and spontaneous, it is thoughtful and beautiful. It is a film which immediately evokes the sights and sounds and smells of working class kitchens, neighborhood streets, local supermarkets, factories, cramped living rooms, dinners cooking, diaper-washing, housecleaning, and all the other "points of production" and battlefronts where working class women in America daily confront the realities of their oppression. It is . . . a supremely optimistic statement, showing the sinews of struggle and capturing the essential energy and collective spirit of all working people-and especially that advanced consciousness which working class women bring to the common struggle." (Irwin Silber, Guardian)
1971 - 40 minutes
Yippie
Yippie is filmed farce, juxtaposing the brutal police riot at the 1968 Democratic Convention with the orgy scenes from D.W. Griffith's "Intolerance." A clear and energetic no-verbal statement of Yippie politics Hip jive.
1968 - 15 minutes
Young Puppeteers of South Vietnam
"A gift from the youth of South Vietnam to the youth of America." Teenagers in the NLF liberated areas of South Vietnam make beautiful, intricate puppets from scraps of US. war materials. Armed with these puppets, they travel through the liberated zones performing for the local children while our planes "search and destroy". A poignant film that gives a view of the war even more powerful than images of atrocities. English sound track.
25 minutes
Mayday (Black Panther)
On May 1, 1969 the Black Panther Party held a massive rally in San Francisco. Speakers Kathleen Cleaver, Bobby Seale, and Charles Garry present the rally's demands for the release of Huey Newton and all political prisoners. The film includes footage of the police raid on Panther headquarters in San Francisco a few days prior to the rally and the Panther's Breakfast for Children Program.
1969 - 15 minutes
Only the Beginning
For years the sentiment against the war in Vietnam has been growing. The latest polls show that 73% of the US. population want the troops out of Vietnam now G.I.'s are among the most active protesters against the war. In April, l971, thousands of G.I.'s-Marines and regular army, veterans and active duty personnel came to Washington, DC., to denounce their participation in that "dirty war," and to demand it be ended immediately. The film begins with the demonstration in Washington. In front of the Capitol, we see the veterans come before the crowd and throw their medals away. The film moves to Vietnam where the devastating effects of US. bombs are documented. ONLY THE BEGINNING is about the GI. movement to end the war.
1971 - 20 minutes color
Two Heroic Sisters of the Grassland
A cartoon version of a true story about two young sisters who risked their lives to save their commune's sheep heard during a sudden snowstorm. The film gives us a sense both of the values stressed in the new society, and the people's participation at every level in the transformation of China.
English track 42 minutes
El Pueblo Se Levanta (THE YOUNG LORDS FILM)
One-third of the Puerto Rican people live in the United States. Most have come in search for the better life promised them by US. propaganda. Instead they found slum housing, poor or miseducation, low-paying jobs, and constantly rising unemployment, in a society determined to destroy their cultural identity The film traces the growth of the Puerto Rican struggle by focusing on the development of the Young Lords Party. A Newsreel crew in New York City worked closely with the Lords for a year and a half-participating and recording the events and programs which the Young Lords are using to make significant advances in the Puerto Rican struggle. The film deals with the main problems in the Puerto Rican community-health, education, food, and housing. These problems become the focus of the Young Lords Party.
The Case Against Lincoln Center
Urban renewal removes 35,000 Puerto Rican families from New Your City's upper West Side to build Lincoln Center, a cultural show-case for the city's middle and ruling class. The film discusses the links between the problems of the city, and the forces of American corporate imperialism.
1968 - 12 minutes (available in Spanish)
No Game
October 21, 1967; The pentagon; 100,000 anti-war demonstrators who had not come prepared for a violent confrontation with the military police and Pentagon guards; for the tear gas, and rifle butts.
Considered the first collective Newsreel film. [According to Marvin Fishman, “This film was shot and edited before Newsreel officially came into existence and was then donated to Newsreel to get the newly formed organization’s distribution service off the ground.”]
1967 - 17 minutes
Pig Power
As student take to the streets in New York and Berkeley, the forces of order illustrate Mayor Daley's thesis that the police are there "to preserve disorder", and we must organize to challenge their control and preserve our lives as well as our life styles. A short impressionistic montage of music and images pointing up the disparity between their force and ours. The function of police repressing Black and white demonstrators alike is emphasized.
6 minutes
Community Control
The struggle for Community Control in Black and Puerto Rican communities in New York City. An examination of colonialism as it manifests itself in many American cities. In two so called experimental districts, police are constantly called in to enforce the political decisions of the state and city bureaucracy, and the striking teachers; union. All ofthis taking place against the legitimate demands of the community (Ocean Hill-Brownsville, and East Harlem). Filmed inside some of the schools involved in the conflict; contains interviews with Herman Ferguson, Minister of Education for the Republic of New Africa, and Les Campbell, director of The Afro-American Teachers Association.
50 minutes
Venceremos
A film shot in Cuba in l970-71 about two brigades of 500 Americans that went to Cuba illegally in order to show support by breaking the blockade and to help with the sugar harvest of ten million tons. They cut cane with brigades that were sent from Vietnam, North Korea, and Latin America. This is the story of their boat ride from St. Johns, Canada and their stay in Cuba.
20 minutes
High School
A film about high school students and how school becomes a prison.
20 minutes (muddled, poor editing)
You Don't Have to Buy the War
A speech by former Miss America, Bess Meyerson presented to the group Another Mother for Peace at a gathering in Beverly Hills. One of the strongest speeches ever given about who is making money out of the war in Vietnam. She gives excellent reasons to boycott many everyday products that women buy.
Open for Children
One of the first films ever made about the need for childcare.
Make It Real
This is what Newsreel considered an energy film. It contains great shots of street actions and hot music. These short films were made to show between our longer films that were "more serious" They were made to give youth a feeling that they could get up and become "street fighting men".
8 minutes
McDonnel-Douglas
A film about the McDonnel-Douglas company and its relationship to the war-machine.
Free Farm
A film made by Newsreel folks that went to live in Vermont. A story about a community free farm on land loaned by a small college. It tell the story of coming together to farm the land and to have Sunday community gatherings. The college calls the cops to kick people off the land in the fall before the harvest and local young men trash the farm. An interesting note is that posters are put up warning that a local cop named Paul Lawrence was setting up and beating up people. Ten years later he was busted for planting drugs and was known as the bad cop that went to jail. A true story of hippies with politics.
1971 - 18 minutes
Inciting to Riot
A quick montage flirtation with the idea of rural guerrilla struggle in the US returning repeatedly to the reality of pig power in the cities and space technology. A flashing image of a state of mind common among hip and political youth.
10 minutes
Don't Bank on America
This is the story of one of the first ecological political actions of the period, the burning of the Bank of America. (Newsreel distributed this film?)
Mighty Mouse and Little Eva
This is a 1930's racist cartoon, taking off on Uncles Tom Cabin. Distributed by Newsreel.
8 Minutes
Ice
A film made by Newsreel member Robert Kramer with a production team made up of Newsreel members. A story of a time in the future when the US is at war with Mexico and the Americans are living in a police state. The film includes a kidnapping, a murder, prison break, takeover of an apartment house for political education, sex, nudity, and violence. and much, much more. 150 Minutes
( a new description of this film will be available soon! although this was perhaps the description in an early NR catalogue, we hope to have more background on these old films. how they were made. the process and reflections of those who worked on them )
_________
This collection includes links to each of the Newsreel Films that is currently available to view on the web. If you find that any of the links are broken, please drop a note to the archive manager (see, Contact tab) and let us know!
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.
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Title
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"Newsreel: Film and Revolution," by Bill Nichols
Subject
The topic of the resource
Underground Press
Description
An account of the resource
This article was written by Bill Nichols for Cinéaste, vol. 5, no. 4, pp. 7-13, for an issue on radical film in 1973. It provides a brief overview of the history of Newsreel Film.
Creator
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Bill Nichols
Source
A related resource from which the described resource is derived
Cinéaste
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1973
Contributor
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Patrick Jones
Format
The file format, physical medium, or dimensions of the resource
journal article
Bill Nichols
Cinéaste
film
media
New Left
New York
Newsreel
San Francisco
Underground Press
-
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Dublin Core
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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
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Title
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"Jesus Wept, Peter Slept, John Fell Out the Back Door Step"
Subject
The topic of the resource
Black Panther Party
Description
An account of the resource
This article includes a poem about Jesus meeting a member of the Black Panther Party (Afeni Shakur) and being turned on to the revolution.
Creator
An entity primarily responsible for making the resource
Black Panther Party (Afeni Shakur)
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
July 4, 1970
Format
The file format, physical medium, or dimensions of the resource
newsprint
Type
The nature or genre of the resource
article
Afeni Shakur
Black Panther Party
Black Power
Jesus
New York
New York 21
radicalism
revolution
-
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0da39fb844041cb8a7aeaf40d53d4815
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Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
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Title
A name given to the resource
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
-
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Title
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Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
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Title
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"Woman and Her Mind: The Story of Daily Life," by Meredith Tax
Subject
The topic of the resource
Women's Liberation
Description
An account of the resource
On her website, Meredith Tax offers this description of her 1970 essay, as well as a contemporary reconsideration of some of its major points:
"This four part essay, my first major work in print, is often considered a founding document of the women’s liberation movement, as well as one of the first texts to discuss sexual harassment. It was published as a pamphlet by the New England Free Press in the spring of 1970. The first two sections were reprinted in Notes from the Second Year (1970), published by the New York Radical Feminists. The same sections were also reprinted widely in the underground press after being syndicated by Liberation News Service. The editors of Notes from the Second Year edited the text rather heavily. I have restored the original pamphlet text. The quotations from Sylvia Plath are from Ariel (1965).
In rereading the essay, I am struck by the following:
How strongly I was influenced by the existential psychology of R.D. Laing, which is now completely out of fashion.
How certain I was that I could draw any necessary theory from my own experience and that of my friends—this premise lead to a number of overconfident assertions but also gave our writing and thinking a freshness and immediacy that today’s academic feminist theory lacks.
How much the world has changed. I was in violent rebellion against a middleclass suburban world in which women were expected to stay home and perform their wifely duties rather than have a public life. That world never existed for everyone and it now hardly exists at all.
How clear and brave my voice was then. I had that in common with most of the women in my cohort at the time, for this was the voice of women’s liberation in its early days: impassioned, detailed, scathing in its criticisms, sometimes making unjustified generalizations, but never dull, academic, or abstract.
And what about the section on sex? Has women’s experience of sex changed and become freer? Certainly reliable birth control—for those who have it—has been enormously liberating—and the AIDS epidemic and rise of fundamentalist religion enormously confining. Was my point of view in 1970 too rigidly Marxist, not to mention white, straight, middle class, and unable even to imagine the enormous variations in human sexuality that have since become apparent? No question about it. But as far as relations go between men and women, I don’t see that the power relations I described in 1970 have fundamentally changed, despite the marketing of women’s pleasure, good clothes, and high heels represented by “Sex and the City”—which seems, rather, to exemplify what I said about women becoming objects of consumption even to themselves."
Creator
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Bread and Roses and the New England Free Press
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
pamphlet
Bread and Roses
family
feminism
feminist theory
identity politics
Marxism
New England Free Press
New York
New York Radical Feminists
R.D. Laing
sexism
sexual harassment
Sylvia Plath
Women's Liberation
-
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557ec189db5ff27167cd1a91f2bfa737
Dublin Core
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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
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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
-
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Dublin Core
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Title
A name given to the resource
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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Title
A name given to the resource
The Carolina Plain Dealer, vol. 1, no. 8, February 1971
Subject
The topic of the resource
New Left
Description
An account of the resource
The Carolina Plain Dealer was an underground press newspaper published out of Durham, North Carolina, during the early-1970s. In this issue, articles focus on the murder of Ella May Wiggins and labor strife in Gastonia, NC; free phone calls; Vietnam, Cambodia and Laos; People’s Peace Treaty; Oppression in High Point cartoon; imagination poster insert; environmental set-backs in Washington, D.C., New Haven harbor and New York; imperialism in Latin America; Uruguay; brief pieces on local activism across N.C.; a feminist critique of rock music; Historical Comics; Fabulous Fury Freak Brothers.
Creator
An entity primarily responsible for making the resource
Carolina Plain Dealer
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
February 1971
Type
The nature or genre of the resource
underground press
anti-imperialism
Anti-War
Cambodia
Carolina Plain Dealer; Durham
comix
Ella May Wiggins
environmentalism
Fabulous Furry Freak Brothers
feminism
free phone calls
Gastonia
Greensboro
High Point
Historical Comics
imperialism
labor movement
Laos
Latin America
Music
New Haven
New Left
New York
North Carolina;
People’s Peace Treaty
rock and roll
Uruguay
Vietnam War
Washington D.C.
Women's Liberation
-
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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
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
-
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556366d49d23d3ad8417a90b6bc2e6ab
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
March on Democratic Convention
Description
An account of the resource
In August 1980, the Coalition For A People’s Alternative organized a march on the Democratic National Convention in New York City, addressing police brutality, gay liberation, and antiracism.
Creator
An entity primarily responsible for making the resource
Coalition For A People’s Alternative
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Electoral Politics
Coalition For A People’s Alternative
Democratic Party
electoral politics
New York
-
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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
Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
Why We Strike
Subject
The topic of the resource
Anti-Vietnam War Movement
Creator
An entity primarily responsible for making the resource
Columbia Strike 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
1968
Format
The file format, physical medium, or dimensions of the resource
pamphlet
Description
An account of the resource
The “Siege at Columbia,” as some called it, refers to the 1968 take-over of two buildings at Columbia University by white and black student radicals. It was a part of the broader global student revolt of that year.
In early March of 1967, Columbia SDS activist, Bob Feldman, uncovered documents that linked the university to U.S. military involvement in Vietnam, sparking a year of anti-war protests on campus. Around the same time, opposition grew to a plan by Columbia to construct the Morningside Park gymnasium. Some were critical of the university’s appropriation of public park land in Harlem to build the new facility, while others labelled a proposal to create a separate “back-door” entrance for local community members, most of whom were African American and Puerto Rican, “Gym Crow,” claiming it was segregationist and discriminatory. Columbia, a major land-owner in the area, had a decades-long history of displacing local black and brown residents and applying stricter scrutiny to community members who used their facilities.
On March 27, 1968, student anti-war activists staged a peaceful demonstration inside Low Library. In response, university administration placed six activists on probation for violating a Columbia ban on indoor protests. Tensions grew between university administrators and student activists. On April 12, Columbia University president, Grayson Kirk, stated, “Our young people, in disturbing numbers, appear to reject all forms of authority, from whatever source derived, and they have taken refuge in a turbulent and inchoate nihilism whose sole objectives are destruction. I know of no time in our history when the gap between the generations has been wider or more potentially dangerous.” On April 22, Columbia SDS leader, Mark Rudd, replied, “Dear Grayson, . . . You call for order and respect for authority; we call for justice, freedom, and socialism. There is only one thing left to say. It may sound nihilistic to you, since it is the opening shot in a war of liberation. I’ll use the words of LeRoi Jones, whom I’m sure you don’t like a whole lot: “Up against the wall, motherfucker, this is a stick-up.”
On April 23, members of SDS and Columbia’s Student Afro Society (SAS) led a second attempt to protest inside Low Library, but were prevented by university police. Following the campus confrontation, activists marched to the gymnasium construction site and attempted to block work there, resulting in scuffles with local police and some arrests. SDS and SAS members then returned to campus, where they occupied Hamilton Hall, which housed classroom, as well as administrative offices. Activists detained Dean Henry Coleman (and released him 24 hours later) and issued six demands:
1) Disciplinary actions against the six originally charged must be lifted and no reprisals taken against anyone in this demonstration.
2) Construction of the Columbia gym on Harlem land must stop NOW.
3) The University must use its good offices to see that all charges against persons arrested at the gym site be dropped.
4) All relations with IDA must be severed, including President Kirk’s and Trustee William Burden’s membership on the Executive Board.
5) President Kirk’s edict on indoor demonstrations must be dropped.
6) All judicial decisions should be made in an open hearing with due process judged by a bipartite committee of students and faculty.
Soon after the occupation began, though, racial friction among the activists emerged. Black student activists requested that white radicals separate themselves from African American demonstrators. Black militants wanted to maintain a single focus on the construction of the new gymnasium, whereas white student activists also wanted to protest the broader issue of the university’s links to the war effort. In addition, members of SAS opposed the destruction of property, whereas SDS members did not. African American militants were concerned that destruction of property would play into long-standing racial stereotypes about black people. Ultimately, the two groups came to an agreement with white activists retreating from Hamilton Hall and occupying, instead, the President’s office in Low Library, along with three other buildings on campus. The siege at Columbia attracted significant national and even international attention, as well as the participation of community members, students from other campuses, and other activists, like SDS founder, Tom Hayden. On Friday, April 26, Black Power leaders, Stokely Carmichael and H. Rap Brown arrived on campus.
The stand-off between occupying student activists and the administration continued for a week, with wrangling over terms of a possible resolution. An Ad Hoc facultuy committee desperately tried to broker a deal, but student activists, administrators and local politicians consistently rejected their efforts. Despite a majority of students and local community seeming to support the occupying students, a groups of student athletes and conservative students formed what they called the “Majority Coalition” and formed a cordon around the occupied buildings in an effort to block food and water from entering the buildings to “starve out” the activists. In response, supportive faculty created a buffer between the Majority coalition and the buildings.
On Tuesday, April 30, an estimated 1,000 police entered campus to clear the occupied buildings. Fearful of a race riot in Harlem just a few weeks after civil disorder had hit the community in the wake of Dr. King’s murder, a contingent of African American law enforcement dealt gingerly with SAS activists. As SAS leader, Raymond Brown recalled, “They must have had half the black senior officers in New York on-site at Hamilton Hall, led by Assistant Chief Inspector Waithe. I think there was a great determination that they were not going to kick any black students in their butts.” Barnard SAS member, Karla Spurlock-Evans said, “The police came into Hamilton Hall and handled us very gently—not at all characteristic of police officers in general. They loaded us onto buses and took us downtown to the Tombs.” By contrast, police stormed the buildings controlled by white radicals with clubs swinging indiscriminately. According to Columbia faculty member, Michael Rosenthal, “They started beating the shit out of people. No one was resisting. I was standing next to the 64-year-old English professor Fred Dupee when he was punched in the face.” Future New York governor, Goerge Pataki, who was a Columbia law student at the time and member of the “Majority Coalition,” remembered, “From around the back of Low library comes this wave of T.P.F. guys just clubbing everybody in sight. I guess their orders were to clear the campus, which was incredibly stupid and counterproductive because many of the people outside the buildings were the anti-radicals—the pro-cop people. The radicals were all inside the buildings.” Nancy Biberman, a Barnard SDS member, stated, “I saw the university rabbi being beaten by police, and I saw random students who were beaten for just being outside on campus. These cops had been sitting on the perimeter of campus all week, pent up, waiting and waiting. As soon as they were allowed on campus, there was a mêlée. It was called a police riot, and I believe it. It was terrifying.” Police officer, Gary Beamer, agreed, saying, “The police were forced to stand outside the campus for several days and watch crimes being committed—assaults, destruction of property, and preventing students who wanted to get an education from going to class. It didn’t sit well with most of the police. So naturally, when the green light finally came for the police to go in and restore order, they were pretty eager to do it.” And Columbia student, Hilton Obenzinger, told reporters years later, “I remember vividly a cop with a frozen grin on his face going up to a girl, a Barnard student. He lifted up his very long utility flashlight and slammed it on her head. And it wasn’t just once—it was again, and again, and again. She fell down and he kept beating her.” Conflict between students and police continued into the next day. In the end, 132 students, 4 faculty members and 12 police officers were injured and roughly 700 arrested. An estimated 30 students were suspended. After another round of campus protests between May 17-22, police beat 51 and arrested 177 more students.. Following the spring demonstrations, Columbia university did scrap the Morningside Park gymnasium and severed some of their ties to the military-industrial complex.
This pamphlet, written by the Columbia Strike Committee, to “help explain and clarify the position of the striking students at Columbia.”
Anti-War
Barnard College
Bob Feldman
Columbia Strike Committee
Columbia University
Fred Dupee
Gary Beamer
George Pataki
Grayson Kirk
Gym Crow
H. Rap Brown
Hamilton Hall
Harlem
Henry Coleman
Hilton Obenzinger
Karla Spurlock-Evans
LeRoi Jones
Low Library
Majority Coalition
Mark Rudd
Michael Rosenthal
Morningside Park gymnasium
Nancy Biberman
New Left
New York
occupation
radicalism
Raymond Brown
SAS
SDS
Siege at Columbia
Stokely Carmichael
Student Afro Society
Students for a Democratic Society
Tom Hayden
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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Cornell Daily Sun, Thursday, April 21, 1969
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Cornell Daily Sun
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
April 21, 1969
Description
An account of the resource
The Cornell Daily Sun is an independent newspaper published by Cornell University students in Ithaca, New York. The newspaper was established in 1880 by William Ballard Hoyt to challenge the weekly Cornell Era. Of particular note in this issue is coverage of the end of the occupation of Willard Straight Hall by members of the Afro-American Society after university administrators acceded to their demands. The take-over was part of a larger wave of campus protest that led to the establishment of Black Studies.
Type
The nature or genre of the resource
independent media
Afro-American Society
Black Power
Black Studies
Cornell Daily Sun
Cornell Era
Cornell University
Ithaca
New Left
New York
occupation
SDS
Students for a Democratic Society
Willard Straight Hall
William Ballard Hoyt
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Cornell Daily Sun, Tuesday, May 6, 1969
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Cornell Daily Sun
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
May 6, 1969
Description
An account of the resource
The Cornell Daily Sun is an independent newspaper published by Cornell University students in Ithaca, New York. The newspaper was established in 1880 by William Ballard Hoyt to challenge the weekly Cornell Era. Of particular note in this issue is coverage of the arraignment of eight SDS members – Henry Mendell, Michael Goldberg, Jonathan Miller, Stephen Parsons, Charles “Chip” Marshall, Paul Kaye, Andrew Griggs and Jeffrey Dowd – who led a protest against ROTC on campus. SDS members issued three demands from the university: 1) End ROTC on campus, 2) drop charges against all ten students arrested in connection with the protest, and 3) grant a leave of absence to Rev. Daniel Berrigan, associate director of the Cornell University United Religious Work (CURW), if jailed. Another article focuses on continuing campus demonstrations nationwide, damages to Straight Hall after black student occupation, and an editorial on the pill.
Type
The nature or genre of the resource
independent media
Andrew Griggs
Charles “Chip” Marshall
Cornell Daily Sun
Cornell Era
Cornell University
Daniel Berrigan
feminism
Henry Mendell
Ithaca
Jeffrey Dowd
Jonathan Miller
Michael Goldberg
New Left
New York
Paul Kaye
ROTC
SDS
Stephen Parsons
Students for a Democratic Society
the pill
Willard Straight Hall
Women's Liberation
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Cornell Daily Sun, Friday, May 2, 1969
Subject
The topic of the resource
New Left
Description
An account of the resource
The Cornell Daily Sun is an independent newspaper published by Cornell University students in Ithaca, New York. The newspaper was established in 1880 by William Ballard Hoyt to challenge the weekly Cornell Era. Of particular note in this issue is coverage of the Cornell SDS ROTC protest. Members of SDS and their supporters “broke into a restricted area of Barton Hall” and “painted slogans on a Naval Reserve Officers Training Corps practice deck gun.” This protest was a part of a larger wave of protest against ROTC on campuses across the country during this period. Other articles focus on a Cornell Trustee meeting in the wake of campus protests; demonstrations on other campuses nationwide. Also, this issue includes advertisements for a film screening of The Beatles new film, “Magical Mystery Tour,” an upcoming concert at Cornell by Janis Joplin, an upcoming concert on campus by the Pharoah Sander Quintet and an upcoming concert at Syracuse by Jimi Hendrix.
Creator
An entity primarily responsible for making the resource
Cornell Daily Sun
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
May 2, 1969
Type
The nature or genre of the resource
independent media
Barton Hall
Beatles
Cornell Daily Sun
Cornell Era
Cornell University
counterculture
film
Ithaca
Janis Joplin
Jimi Hendrix
Magical Mystery Tour
Music
New Left
New York
Pharaoh Sanders Quintet
ROTC
SDS
Students for a Democratic Society
Syracuse
William Ballard Hoyt
-
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Cornell Daily Sun, Thursday, May 1, 1969
Subject
The topic of the resource
New Left
Description
An account of the resource
The Cornell Daily Sun is an independent newspaper published by Cornell University students in Ithaca, New York. The newspaper was established in 1880 by William Ballard Hoyt to challenge the weekly Cornell Era. Of particular note in this issue is coverage of the take-over of two buildings at Columbia University by members of the Students for a Democratic Society (SDS). Other articles focus on shared governance at Cornell; the withdrawal of financial support by some alumni in the wake of the occupation by black students at Cornell; a task force on racism.
Creator
An entity primarily responsible for making the resource
Cornell Daily Sun
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
May 1, 1969
Type
The nature or genre of the resource
independent media
Afro-American Society
Black Power
Black Studies
Columbia University
Cornell Daily Sun
Cornell Era
Cornell University
education
Ithaca
New Left
New York
SDS
shared governance
Students for a Democratic Society
Willard Straight Hall
William Ballard Hoyt
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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
Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
We Are Attica: Interviews with Prisoners from Attica
Subject
The topic of the resource
Prisoner's Rights Movement
Creator
An entity primarily responsible for making the resource
created by Attica Defense Committee and published Great Jones Printing 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
ca. early-1970s
Format
The file format, physical medium, or dimensions of the resource
pamphlet
Description
An account of the resource
The Attica Prison uprising, which took place in upstate New York in September of 1971, was the largest prison rebellion since the Civil War. During the late-1960s and early-1970s, a prisoner’s rights movement emerged across the U.S. At the Attica Correctional Facility near Buffalo, prisoners complained about chronic overcrowding, censorship of letters, poor living conditions that limited them to one shower per week and one roll of toilet paper each month. Puerto Rican and African American prisoners, who made up a majority of the inmate population received especially harsh and discriminatory treatment, including the lowest-paying jobs, racial harassment and violence from the primarily white guards. Emboldened by the spirit of the Black Power movement and radical ideology, some inmates saw themselves as “political prisoners.”
As their demands continued to go unmet, the situation at Attica became increasingly volatile. On the morning of September 9, 1971, a small group of prisoners overpowered guards, spurring a more wide-spread uprising at the prison. In the initial chaos, Correction Officer, William Quinn, was badly beaten and thrown out a second floor window, which resulted in his death a few days later. Ultimately, a group of inmate leaders restored order within the prison and began negotiating with outside authorities, including Governor Nelson Rockefeller, through intermediaries that included noted civil rights attorney, William Kunstler, and New York Times columnist, Tom Wicker. Prisoners also requested Louis Farrakhan, from the Nation of Islam, but he refused. One leader of the prisoners, 21-year old, L.D. Barkley, famously said in an early statement, “We are men! We are not beasts and we do not intend to be beaten or driven as such. The entire prison populace, that means each and every one of us here, have set forth to change forever the ruthless brutalization and disregard for the lives of the prisoners here and throughout the United States. What has happened here is but the sound before the fury of those who are oppressed. We will not compromise on any terms except those terms that are agreeable to us. We’ve called upon all the conscientious citizens of America to assist us in putting an end to this situation that threatens the lives of not only us, but of each and every one of you, as well.” Prisoners issued a list of demands, such as better education and food quality, fair visitation rights, improved medical treatment and sanitation, less mail censorship, more religious freedom, fairer disciplinary and parole processes, an end to brutality from guards and, most controversially, amnesty for crimes committed in the course of the riot itself.
Gov. Nelson A Rockefeller refused to visit the prison during the take-over, instead breaking off negotiations and ordering state troopers and guards to retake Attica by force. During the siege, law enforcement shot indiscriminately, killing 9 of 42 hostages, as well as 33 prisoners. Retaliation against inmates by prison authorities was pervasive, including beatings, torture, burning, and sexual abuse. Evidence suggests Barkley initially surrendered along with other prisoners, but that officers searched him out then shot him in the back.
The New York State Special Commission on Attica later wrote, "With the exception of Indian massacres in the late 19th century, the State Police assault which ended the four-day prison uprising was the bloodiest one-day encounter between Americans since the Civil War." The rebellion at Attica did ultimately result in some modest prison reform, including a grievance procedure and more regular communication between prison authorities and prisoner representatives. In addition, lawyers successfully defended the prisoners who were indicted after the uprising and many years later obtained $8 million from the state for some of the survivors and the families of the dead. Similarly, the State of New York agreed to a $12 million settlement with the families of slain prison employees.
In the decades since, the Attica uprising has continued to carry political and cultural currency, referenced in books, film, television, music and poetry. According to Heather Ann Thompson, author of the Pulitzer Prize-winning 2016 book, Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy, the tragedy at Attica “shows the nation that even the most marginalized citizens will never stop fighting to be treated as human beings. It testifies to this irrepressible demand for justice. This is Attica’s legacy.”
This pamphlet includes a chronology of events and a series of interviews with prisoners from Attica, including Roger Champen, Frank Lott, Donald Noble, Jerome Rosenberg, George Nieves, Carl Jones-El and Frank Smith.
Attica Defense Committee
Attica Prison
Attica Prison Riot
Black Power
Carl Jones-El
Donald Noble
Frank Lott
Frank Smith
George Nieves
identity politics
Jerome Rosenberg
L.D. Barkley
Liberated Guardian
Louis Farrakhan
Nelson Rockefeller
New York
New York State Special Commission on Attica
New York Times
Prisoner's Rights Movement
Puerto Rican Nationalism
Roger Champen
Tom Wicker
William Kunstler
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
Rising Up Crazy
Description
An account of the resource
This publication was created by a variety of former mental health patients about the challenges and discrimination they faced with the mental health care system.
Creator
An entity primarily responsible for making the resource
created by former mental health patients and published Come/Unity Press in New York City
Source
A related resource from which the described resource is derived
Roz Payne
Subject
The topic of the resource
Mental Health
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
Type
The nature or genre of the resource
underground press
Come/Unity Press
Health Care
MentalHealth
New York
Psychiatry
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
University Review - November 1973
Subject
The topic of the resource
New Left
Description
An account of the resource
University Review was ;published was published by Entelechy Press in New York City. “Entelechy” is a term coined by Aristotle that has come to mean a force propelling one to self-fulfillment. According to the magazine front-matter, "UR. Universal Ragout. Ultimate Repast. Worldly in taste, stellar in ingredients, intergalactic in appeal... Food for thought. Month after month. Whet your appetite." This issue includes a media briefs; an interview with George Lucas; reviews of books on women in prison, Kent State, Timothy Leary and the Rosenbergs; munis reviews of John Coltrane and McCoy Tyner; and the Isley Brothers.
Creator
An entity primarily responsible for making the resource
Entelechy Press
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
November 1973
Format
The file format, physical medium, or dimensions of the resource
newspaper
books
Entelechy Press
George Lucas
Isley Brothers
John Coltrane
Kent State
McCoy Tyner
Music
New Left
New York
prison
Rosenbergs
Timothy Leary
Underground Press
University Review
UR
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
University Review, December 1974, no. 41
Subject
The topic of the resource
New Left
Description
An account of the resource
University Review was ;published was published by Entelechy Press in New York City. “Entelechy” is a term coined by Aristotle that has come to mean a force propelling one to self-fulfillment. According to the magazine front-matter, "UR. Universal Ragout. Ultimate Repast. Worldly in taste, stellar in ingredients, intergalactic in appeal... Food for thought. Month after month. Whet your appetite." This issue includes articles on the media; the trial of Inez Garcia; left politics in Portugal; William Kunstler on the trial of James Richardson; the poetry of Charles Caldwell; concert, music, film and book reviews.
Creator
An entity primarily responsible for making the resource
Entelechy Press
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
December 1974
Format
The file format, physical medium, or dimensions of the resource
newspaper
books
Bruce Springsteen
Charles Caldwell
CIA
Entelechy Press
film
Inez Garcia
James Richardson
John Coltrane
Music
New York
North Carolina
poetry
Portugal
T.J. Reddy
Underground Press
University Review
UR
Vietnam
Weather Report
William Kunstler
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
University Review, 1972, no. 22
Subject
The topic of the resource
New Left
Description
An account of the resource
University Review was ;published was published by Entelechy Press in New York City. “Entelechy” is a term coined by Aristotle that has come to mean a force propelling one to self-fulfillment. This issue includes a special section on technology and revolution; poems by Marge Piercy; a profile of Sam Mellville by Jane Alpert; a reflection on the late-1960s by Stew Albert; a political review of A Clockwork Orange and Straw Dogs; a reflection by Gus Reichbach on doing legal work in Attica; an interview with Brigitte Bardot; and book reviews on Quebec, Chile and Henry Miller.
Creator
An entity primarily responsible for making the resource
Entelechy Press
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
newspaper
A Clockwork Orange
Attica Prison Riot
Brigitte Bardot
Chile
Entelechy Press
film
Francis Ford Coppola
Gus Reichbach
Henry Miller
Jane Alpert
Marge Piercy
New York
Sam Melville
Stanley Kubrick
Stew Albert
Straw Dogs
tarot
technology
Underground Press
University Review
UR
-
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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
Free the Universities
Description
An account of the resource
This button underscores the campus-based student movement of the 1960s-era.
Creator
An entity primarily responsible for making the resource
F.U.N.Y.
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
Student Movement
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
campus radicalism
New York
student movement
-
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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
Anti-War Referendum
Description
An account of the resource
During the mid-1960s, the Fifth Avenue Vietnam Peace Parade organized dozens of peace and anti-war groups in a series of anti-war parades, “peace-ins,” an anti-war referendum, and other events. Like many organizations during this period, the group targeted university and college campuses in order to rally support against the Vietnam War. Dave Dellinger, who would later gain notoriety as a member of the Chicago 7 during the 1968 Democratic Party Convention in Chicago, and Norma Becker, who worked for the War Resisters League, led the group.
Creator
An entity primarily responsible for making the resource
Fifth Ave. Vietnam Peace Parade Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Anti-War
Anti-War Referendum
Chicago '68
Chicago 7
Dave Dellinger
Fifth Avenue Vietnam Peace Parade Committee
New Left
New York
Norma Becker
parade
protest
Vietnam War
War Resisters Leagu
-
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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
Fifth Avenue Vietnam Peace Parade Committee
Description
An account of the resource
During the mid-1960s, the Fifth Avenue Vietnam Peace Parade organized dozens of local peace and anti-war groups in a series of anti-war parades, “peace-ins” and other events. Dave Dellinger, who would later gain notoriety as a member of the Chicago 7 during the 1968 Democratic Party Convention in Chicago, and Norma Becker, who worked for the War Resisters League, led the group.
Creator
An entity primarily responsible for making the resource
Fifth Ave. Vietnam Peace Parade Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
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
Anti-War Movement
Anti-War
Dave Dellinger
Fifth Avenue Vietnam Peace Parade Committee
New York
Norma Becker
parade
protest
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
Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
"Prisoners of War: The Case of the New York Three"
Subject
The topic of the resource
Black Panther Party and Prisoner's Rights Movement
Description
An account of the resource
On May 21, 1971, two New York police officers, Waverly Jones and Joseph Piagentini, were shot and killed in a Harlem housing project. The killings took place within the broader context of growing black militancy and governmental repression against the Black Panther Party. Initially, five men were arrested and charged with the crime, Anthony (Jalil Muntaqim) Bottom, Albert (Nuh) Washington, Herman Bell, Gabriel and Francisco Torres. Charges were later dismissed against the Torres brothers. Bell, Bottom and Washington were members of the the Black Panther Party and Black Liberation Army and all targets of FBI COINTELPRO operations. The Black Liberation Army was an underground wing of the Black Panther Party. The group's program was to wage war against the United States Government. Its stated goal was to "take up arms for the liberation and self-determination of black people in the United States." Some believed the killings of the two police officers was retaliation for the killing of George Jackson during an attempted break-out from Attica Prison a few weeks earlier. Richard Nixon and other members of his administration, along with J. Edgar Hoover and other members of the FBI worked with New York Police in a special operation, called, "Newkill," to apprehend the perpetrators of these killings. The trial was controversial and included a number of questionable practices by local and federal law enforcement. All three were convicted and sentenced to long prison sentences. In 2012, Herman Bell admitted to the New York Parole Board that he played a part in the killings. He was released in April 2018. Washington died of cancer while still imprisoned in 2000. Bottom remains incarcerated.
This pamphlet, published by Friends of the New York Three, provides an overview of the case and broader context on COINTELPRO.
Creator
An entity primarily responsible for making the resource
Friends of the New York Three
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. mid-1970s
Format
The file format, physical medium, or dimensions of the resource
pamphlet
Albert Washington
Anthony Bottom
Assata Shakur
Black Panther Party
Black Power
COINTELPRO
FBI
George Jackson
Herbert Hoover
Herman Bell
identity politics
Joseph Piaggentini
Malcolm X
New York
New York Police
New York Three
Newkill
radicalism
repression
Richard Nixon
Waverly Jones
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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
Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
The GAA Alternative
Subject
The topic of the resource
Gay Liberation
Description
An account of the resource
The Gay Activist Alliance was founded in 1969 in New York City by gay rights activists who broke away from the Gay Liberation Front, which had allied itself with the Black Panther Party, was active in the movement against the war in Vietnam, and preached a radical political agenda, including the overthrow of capitalism. Founding members of the GAA included, Jim Owles (the group’s first president), Marty Robinson, Tom Doerr, Kay Lahusen, Arthur Bell, Arthur Evans, Bill Bahlman, Vito Russo, Sylvia Rivera, Marsha P. Johnson, Jim Coles, Brenda Howard, David Thorstad, Michael Giammetta and Morty Manford. The GAA, which was formed about 6 months after the Stonewall revolt, was most active from 1970-1974, though it remained in existence through 1981. Organizers of the group aimed to create a single-issue, “politically neutral” organization that worked through the political system to "secure basic human rights, dignity and freedom for all gay people." The GAA sought to abolish discriminatory sex laws, promoting gay and lesbian civil rights, and challenging politicians and candidates to state their views on gay rights issues. The political tactics of the GAA included "zaps"--public confrontations with officials that sought to draw media attention.
The GAA published the Gay Activist newsletter until 1980. In this October 1971 edition of the GAA newsletter, the organization addresses the Intro 475 Bill, which would end discrimination against homosexuals in housing, employment, and public accommodations in New York City. The GAA had been trying to get access to a public hearing of the bill for nine months. Throughout the newsletter there is a narrative given explaining how activists had been met with discrimination and no action. The newsletter also offers membership guidelines for the GAA and a list of other gay organizations in New York City, as well as articles regarding the National Organization of Women.
This documents the founding and basic strategy of the GAA.
Creator
An entity primarily responsible for making the resource
Gay Activist 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
ca. 1969
Format
The file format, physical medium, or dimensions of the resource
newsletter
Arthur Bell
Arthur Evans
Bill Bahlman
Brenda Howard
David Thorstad
Gay Activists Alliance
Gay Liberation
Jim Coles
Jim Owles
Kay Lahusen
Marsha P. Johnson
Marty Robinson
Michael Giammetta
Morty Manford
New York
Stonewall
Sylvia Rivera
Tom Doerr
Vito Russo
zaps
-
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newsletter
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
Gay Activist
Description
An account of the resource
The Gay Activist Alliance was founded in 1969 in New York City by gay rights activists who broke away from the Gay Liberation Front, which had allied itself with the Black Panther Party, was active in the movement against the war in Vietnam, and preached a radical political agenda, including the overthrow of capitalism. Founding members of the GAA included, Jim Owles (the group’s first president), Marty Robinson, Tom Doerr, Kay Lahusen, Arthur Bell, Arthur Evans, Bill Bahlman, Vito Russo, Sylvia Rivera, Marsha P. Johnson, Jim Coles, Brenda Howard, David Thorstad, Michael Giammetta and Morty Manford. The GAA, which was formed about 6 months after the Stonewall revolt, was most active from 1970-1974, though it remained in existence through 1981. Organizers of the group aimed to create a single-issue, “politically neutral” organization that worked through the political system to "secure basic human rights, dignity and freedom for all gay people." The GAA sought to abolish discriminatory sex laws, promoting gay and lesbian civil rights, and challenging politicians and candidates to state their views on gay rights issues. The political tactics of the GAA included "zaps"--public confrontations with officials that sought to draw media attention.
The GAA published the Gay Activist newsletter until 1980. In this October 1971 edition of the GAA newsletter, the organization addresses the Intro 475 Bill, which would end discrimination against homosexuals in housing, employment, and public accommodations in New York City. The GAA had been trying to get access to a public hearing of the bill for nine months. Throughout the newsletter there is a narrative given explaining how activists had been met with discrimination and no action. The newsletter also offers membership guidelines for the GAA and a list of other gay organizations in New York City, as well as articles regarding the National Organization of Women.
Creator
An entity primarily responsible for making the resource
Gay Activists 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
October 1971
Type
The nature or genre of the resource
underground press
Subject
The topic of the resource
Gay Liberation Movement
Arthur Bell
Arthur Evans
Bill Bahlman
Brenda Howard
David Thorstad
employment
Fair Housing
Gay Activist
Gay Activists Alliance
Gay Liberation
Gay Liberation Front
Housing
Intro 475
Jim Coles
Jim Owles
Kay Lahusen
Marsha P. Johnson
Marty Robinson
Michael Giammetta
Morty Manford
National Organization of Women
New York
public accommodations
Sylvia Rivera
Tom Doerr
Urban
Vito Russo
zaps
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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
Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
"Gay Liberation: 15 articles, plus documents, poems, photos and drawings"
Subject
The topic of the resource
Gay Liberation
Description
An account of the resource
This pamphlet gathers together a variety of influential articles, poems and images from the early gay liberation movement, including, ""Gay is Good"; "The Woman Identified Woman"; "What's Wrong With Sucking?"; "Gay Consciousness"; "Born to Love"; "My Gay Soul"; "A Letter from Mary"; "Gay Liberation Meets the Shrinks"; "A Letter from Huey to the Revolutionary Brothers and Sisters About the Women's Liberation and Gay Liberation Movements"; "statement by Third World Gay Revolution"; "Hey, man"; "From the Men: Games Male Chauvinists Play"; "A Gay Manifesto"; "Revolutionary Love"; "The Flaming Faggots"; "Phoenix of New Youth"; "Bring the Beautiful Boys Home";
Creator
An entity primarily responsible for making the resource
Gay Flames
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. ear;y-1970s
Format
The file format, physical medium, or dimensions of the resource
pamphlet
Gay Flame
Gay Liberation
homosexuality
identity politics
New York
-
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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
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
-
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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
-
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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
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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
Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
"The Farmworker's Movement: A People's Fight Against Corporate Exploitation"
Subject
The topic of the resource
Farmworker's Movement
Description
An account of the resource
This issue of the Joint Strategy and Action Committee, Inc.'s newsletter, "Grapevine," attempts to pull together the farmworker's union "history, philosophy, tactics, program, church support."
Creator
An entity primarily responsible for making the resource
Joint Strategy and Action Committee, Inc.
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
January 1972
Format
The file format, physical medium, or dimensions of the resource
newsletter
California
Chicano movement
Grapevine
identity politics
Joint Strategy and Action Committee
labor movement
New York
United Farm Workers of America
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Leviathan, vol. 1, no. 7, December 1969
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Leviathan Publications, Inc.
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
December 1969
Description
An account of the resource
Leviathan was a radical New Left newspaper loosely aligned with Student for a Democratic Society, published in 1969 and 1970. Early editorial leaders of the periodical included Carol Brightman, Beverly Leman, Kathy McAfee, Marge Piercy and Sol Yurick in New York, as well as Peter Booth Wiley, Carole Deutch, Danny Beagle, Matthew Steen, Bob Gavriner, Al Haber, Bruce Nelson, Todd Gitlin, and David Wellman in San Francisco. The paper, which took a generally serious, intellectual-minded approach to radical organizing, as opposed to the more irreverent tone of the counterculture, ceased publication in the Fall of 1970 in the wake of SDS factionalization. This issue includes articles on U.S. policy in Vietnam since 1969; contradictory developments in the anti-war movement; poetry; a defense of the Weather Underground; a review of the Beatles Abbey Road; corporatization, inflation and labor unions; capitalism’s investment cycle; monetary policy; letter to the editor.
Type
The nature or genre of the resource
underground press
Abbey Road
Al Haber
Anti-War
Beatles
Beverly Leman
Bob Gavriner
Bruce Nelson
Carol Brightman
Carole Deutch
corporatization
Danny Beagle
David Wellman
factionalization
inflation
investment cycle
Kathy McAfee
labor unions
Marge Piercy
Matthew Steen
monetary policy
New Left
New York
Peter Booth Wiley
poetry
San Francisco
SDS
Sol Yurick
Students for a Democratic Society
Todd Gitlin
Vietnam War
Weather Underground
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
Leviathan, vol. 2, no. 1, May 1970
Subject
The topic of the resource
New Left and Women's Liberation
Description
An account of the resource
Leviathan was a radical New Left newspaper loosely aligned with Student for a Democratic Society, published in 1969 and 1970. Early editorial leaders of the periodical included Carol Brightman, Beverly Leman, Kathy McAfee, Marge Piercy and Sol Yurick in New York, as well as Peter Booth Wiley, Carole Deutch, Danny Beagle, Matthew Steen, Bob Gavriner, Al Haber, Bruce Nelson, Todd Gitlin, David Wellman in San Francisco. The paper, which took a generally serious, intellectual-minded approach to radical organizing, as opposed to the more irreverent tone of the counterculture, ceased publication in the Fall of 1970 in the wake of SDS factionalization. This issue is dedicated to the women’s liberation movement and includes articles focus on the women’s suffrage movement; the future of women’s liberation; class and the women’s movement; women in the male-dominated movement; small groups and women’s liberation; child care; women, family and capitalism; women’s liberation in England; Cuban women; a poem on the Black Panthers; a short play.
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
May 1970
Creator
An entity primarily responsible for making the resource
Leviathan Publications, Inc.
Type
The nature or genre of the resource
underground press
Al Haber
Beverly Leman
Black Panther Party
Bob Gavriner
Bruce Nelson
California
capitalism
Carol Brightman
Carole Deutch
class
Cuba
Danny Beagle
David Wellman
day care
England
factionalization
family
feminism
Kathy McAfee
Leviathan
Marge Piercy
Matthew Steen
New Left
New York
Peter Booth Wiley
San Francisco
SDS
Sol Yurick
Student for a Democratic Society
Todd Gitlin
Women's Liberation
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Leviathan, vol. 1, no. 6, October and November 1969
Subject
The topic of the resource
New Left
Description
An account of the resource
Leviathan was a radical New Left newspaper loosely aligned with Student for a Democratic Society, published in 1969 and 1970. Early editorial leaders of the periodical included Carol Brightman, Beverly Leman, Kathy McAfee, Marge Piercy and Sol Yurick in New York, as well as Peter Booth Wiley, Carole Deutch, Danny Beagle, Matthew Steen, Bob Gavriner, Al Haber, Bruce Nelson, Todd Gitlin, and David Wellman in San Francisco. The paper, which took a generally serious, intellectual-minded approach to radical organizing, as opposed to the more irreverent tone of the counterculture, ceased publication in the Fall of 1970 in the wake of SDS factionalization. In this issue, articles focus on the New Left and Lenin; the role of the vanguard; a feminist critique of the economy of the movement; legal repression in the U.S. and Europe; revolutionary propaganda; international media; poems.
Creator
An entity primarily responsible for making the resource
Leviathan Publications, Inc.
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
October and November 1969
Type
The nature or genre of the resource
underground press
Al Haber
Beverly Leman
Bob Gavriner
Bruce Nelson
California
Carol Brightman
Carole Deutch
Danny Beagle
David Wellman
factionalization
feminism
Germany
Kathy McAfee
Lenin
Leviathan
Marge Piercy
Matthew Steen
media
New Left
New York
Peter Booth Wiley
poetry
police repression
radicalism
revolutionary propaganda
San Francisco
SDS
Sol Yurick
Students for a Democratic Society
Todd Gitlin
Weather Underground
Women's Liberation
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Liberated Guardian Supplement, April 15, 1971
Description
An account of the resource
The National Guardian was a radical, left newsweekly published out of New York City from 1948-1992. The paper was established by James Aronson, Cedric Belfrage, who were committed activists for the Progressive Party and Henry Wallace presidential campaign, as well as John McManus and Josiah Gitt, both liberal newspaper men, though Gitt quickly dropped out. In addition to the Progressive Party, the newspaper also held ties with American communists and the labor movement. The Cold War took a toll on the newspaper, with the decline of the Progressive Party and the rise of McCarthyism in the U.S. During the post-WWII era, the newspaper focused coverage on opposition to the Cold War and militarism, support for emerging anti-colonial struggles around the world, defense of those targeted by McCarthyism, advocacy for the black freedom movement. The newspaper continued to hold a cozy relationship with the Communist Party U.S.A., though it did break with the group over some issues, particularly support for independent political action beyond party control. The 1960s-era brought a new period of political rancor within the editorial ranks of the newspaper. In the end, the periodical changed leadership and renamed itself The Guardian. The Guardian took an increasingly Maoist line, supporting armed struggles against colonialism. During this period, the newspaper attempted to forge ties with SDS and SNCC, writing that "The duty of a radical newspaper is to build a radical movement.” "We are movement people acting as journalists," the Guardian′s staff now proudly declared. The Liberated Guardian formed out of a workers strike at The Guardian newspaper in New York City in the Spring of 1970. The Liberated Guardian was notable for it strong stand in favor of armed struggle. An ideological and political split within the ranks of the Liberated Guardian staff led to the newspaper’s demise in late-1973. The original Guardian pressed on and took on a more hard-line Marxist-Leninist ideology in the late-1970s, eroding that newspaper’s reputation for investigative journalism. Readership and support for The Guardian declined through the 1980s and the paper ceased publication in 1992.
These pages are from an 8-page supplement focused on revolutionary art, COINTELPRO and FBI files, and debate within the anti-war movement over strategy.
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
April 15, 1971
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Liberated Guardian
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Type
The nature or genre of the resource
underground press
anti-communism
Anti-War
Cedric Belfrage
COINTELPRO
Cold War
Communist Party
CPUSA
FBI
Gay Liberation
Guardian
Henry Wallace
James Aronson
John McManus
Josiah Gitt
Leavenworth
Liberated Guardian
Maoism
Marxist-Leninism
McCarthyism
National Guardian
New York
Political Prisoners
Progressive Party
prostitution
Revolutionary Art
Rosenbergs
SDS
SNCC
Student for a Democratic Society
Student Nonviolent Coordinating Committee
Underground Press
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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Liberated Guardian, November 25, 1970
Subject
The topic of the resource
New Left
Description
An account of the resource
The National Guardian was a radical, left newsweekly published out of New York City from 1948-1992. The paper was established by James Aronson, Cedric Belfrage, who were committed activists for the Progressive Party and Henry Wallace presidential campaign, as well as John McManus and Josiah Gitt, both liberal newspaper men, though Gitt quickly dropped out. In addition to the Progressive Party, the newspaper also held ties with American communists and the labor movement. The Cold War took a toll on the newspaper, with the decline of the Progressive Party and the rise of McCarthyism in the U.S. During the post-WWII era, the newspaper focused coverage on opposition to the Cold War and militarism, support for emerging anti-colonial struggles around the world, defense of those targeted by McCarthyism, advocacy for the black freedom movement. The newspaper continued to hold a cozy relationship with the Communist Party U.S.A., though it did break with the group over some issues, particularly support for independent political action beyond party control. The 1960s-era brought a new period of political rancor within the editorial ranks of the newspaper. In the end, the periodical changed leadership and renamed itself The Guardian. The Guardian took an increasingly Maoist line, supporting armed struggles against colonialism. During this period, the newspaper attempted to forge ties with SDS and SNCC, writing that "The duty of a radical newspaper is to build a radical movement.” "We are movement people acting as journalists," the Guardian′s staff now proudly declared. The Liberated Guardian formed out of a workers strike at The Guardian newspaper in New York City in the Spring of 1970. The Liberated Guardian was notable for it strong stand in favor of armed struggle. An ideological and political split within the ranks of the Liberated Guardian staff led to the newspaper’s demise in late-1973. The original Guardian pressed on and took on a more hard-line Marxist-Leninist ideology in the late-1970s, eroding that newspaper’s reputation for investigative journalism. Readership and support for The Guardian declined through the 1980s and the paper ceased publication in 1992.
In this issue, articles focus on Malcolm X’s assassination; Black Panther Party; Timothy Leary and armed struggle; the privatization of imperial intervention; local short reports on revolutionary struggle in the U.S.; liberation struggle in Uruguay; draft counseling; the Seattle Liberation Front; the War Measures Act in Canada; Quebec independence movement; police repression in Canada; Palestinian liberation; lessons from the Jordan wars; the CIA in Israel; review of the film Finally Got the News, on the League of Revolutionary Black Workers; labor strike at Fiat in Italy; black workers in the auto industry; corporations that make antipersonnel munitions; report on peace talks in Paris; tenants rights; local briefs; indigenous people in Columbia and armed struggle; letters to the editor.
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
November 25, 1970
Creator
An entity primarily responsible for making the resource
Liberated Guardian Worker's Collective
Type
The nature or genre of the resource
underground newspaper
anti-imperialism
Anti-War
armed struggle
assassination
auto industry
Black Panther Party
Black Power
black workers
Canada
Cedric Belfrage
CIA
Columbia
corporatization
draft counseling
DRUM
Fiat
film
Finally Got the News
France
Guardian
Henry Wallace
imperialism
Israel
Italy
James Aronson
John McManus
Jordan
Josiah Gitt
labor movement
League of Revolutionary Black Workers
Liberated Guardian
Malcolm X
Marxist-Leninism
militarism
New Left
New York
Palestine
Panther 21
Paris
Paris Peace Accords
police repression
Progressive Party
Quebec nationalism
revolution
Rosenbergs
Seattle Liberation Front
tenant's rights
the War Measures Act
Timothy Leary
Uruguay
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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Liberated Guardian, vol. II, no. 5, September 1971
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Liberated Guardian Worker's 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
September 1971
Description
An account of the resource
The National Guardian was a radical, left newsweekly published out of New York City from 1948-1992. The paper was established by James Aronson, Cedric Belfrage, who were committed activists for the Progressive Party and Henry Wallace presidential campaign, as well as John McManus and Josiah Gitt, both liberal newspaper men, though Gitt quickly dropped out. In addition to the Progressive Party, the newspaper also held ties with American communists and the labor movement. The Cold War took a toll on the newspaper, with the decline of the Progressive Party and the rise of McCarthyism in the U.S. During the post-WWII era, the newspaper focused coverage on opposition to the Cold War and militarism, support for emerging anti-colonial struggles around the world, defense of those targeted by McCarthyism, advocacy for the black freedom movement. The newspaper continued to hold a cozy relationship with the Communist Party U.S.A., though it did break with the group over some issues, particularly support for independent political action beyond party control. The 1960s-era brought a new period of political rancor within the editorial ranks of the newspaper. In the end, the periodical changed leadership and renamed itself The Guardian. The Guardian took an increasingly Maoist line, supporting armed struggles against colonialism. During this period, the newspaper attempted to forge ties with SDS and SNCC, writing that "The duty of a radical newspaper is to build a radical movement.” "We are movement people acting as journalists," the Guardian′s staff now proudly declared. The Liberated Guardian formed out of a workers strike at The Guardian newspaper in New York City in the Spring of 1970. The Liberated Guardian was notable for it strong stand in favor of armed struggle. An ideological and political split within the ranks of the Liberated Guardian staff led to the newspaper’s demise in late-1973. The original Guardian pressed on and took on a more hard-line Marxist-Leninist ideology in the late-1970s, eroding that newspaper’s reputation for investigative journalism. Readership and support for The Guardian declined through the 1980s and the paper ceased publication in 1992.
This special issue of the Liberated Guardian includes a variety of articles that explore the murder of George Jackson and the circumstances surrounding his killing.
Type
The nature or genre of the resource
underground press
anti-communism
armed struggle
August 7 Movement
Black Panther Party
California
Cedric Belfrage
Cold War
Communist Party
CPUSA
George Jackson
Guardian
Henry Wallace
James Aronson
John McManus
Josiah Gitt
labor movement
Liberated Guardian
Maoism
Marxist-Leninism
McCarthyism
National Guardian
New Left
New York
Prison Reform
Prisoner's Rights Movement
Progressive Party
Rosenbergs
San Francisco
San Quentin
SDS
SNCC
Student for a Democratic Society
Student Nonviolent Coordinating Committee
Underground Press
Weather Underground
-
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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.
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
photo card
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
Season's Greetings!
Subject
The topic of the resource
Columbia Revolt
Description
An account of the resource
This object was photographer Maury Englander's holiday card from the late-1960s. The iconic image on the artifact is from the student revolt at Columbia University in 1968, which Englander took. The image was also featured prominently on a pamphlet that SDS put out on the protest.
Creator
An entity primarily responsible for making the resource
Maury Englander
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. 1968
Format
The file format, physical medium, or dimensions of the resource
printed card
campus radicalism
Columbia University
Maury Englander
New York
Revolt at Columbia
SDS
student movement
-
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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
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
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
newspaper
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
Akwesasne Notes, vol. 5, no. 2, Early Spring (April) 1973
Subject
The topic of the resource
American Indian Movement
Creator
An entity primarily responsible for making the resource
Mohawk Nation of Akwesasne
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
Early Spring (April) 1973
Description
An account of the resource
Akwesasne Notes was a newspaper founded in 1969, amid a surge in Native American activism, by Ernest Benedict of the Mohawk Nation at Akwesasne, which straddles the U.S. and Canadian border along the St. Lawrence River. The paper, which continued publication through the mid-1990s, became the largest and most influential Native American newspaper in the world. Editors explained the purpose of the newspaper: "Akwesasne Notes supports the efforts of people to re-investigate their own processes of survival - their culture. We are advocates of social justice processes which focus on reuniting people with their community and their land base, and which attempts to resist the exploitation of land, animal, water, and human beings." (volume 16, number 4)
This issue of Akwesasne Notes focuses on the first month of the occupation of Wounded Knee. In February of 1973, more than 200 Native American activists, many members of the Oglala Sioux people, led by members of the American Indian Movement, including Russell Means (Oglala Sioux) and Carter Camp (Ponca), began an occupation of Wounded Knee, a town on the Pine Ridge Reservation in South Dakota. The group opposed the tribal administration of Richard Wilson and protested the failure of the U.S. government to live up to its treaty obligations. Wounded Knee also had tremendous symbolic importance, as it was the site of an 1890 massacre of 150-300 Native Americans by U.S. military forces. The activists occupied Wounded Knee for 71 days, exchanging regular gunfire with U.S. Marshalls, FBI agents and other law enforcement. The occupation attracted international media attention, as well as broad support from other New Left activists and organizations, brought the struggles of Native people to a wider popular audience and helped spur further activism among indigenous people. A.I.M. leaders, Dennis Banks and Russell Means were indicted on criminal charges related to the occupation, but, ultimately, those charges were dismissed in a federal court, citing prosecutorial misconduct.
Articles include first-hand reports from the occupation, broader historical context related to Wounded Knee and the Pine Ridge Reservation and reprints of editorials about the occupation. In addition, articles explore police harassment, intimidation and violence against Native American and Chicano activists participating in a unity conference in Scottsbluff, Nebraska, as well as conflict between indigenous activists and law enforcement outside the Custer, South Dakota Court House and conflict in Rapid City, South Dakota.
Type
The nature or genre of the resource
underground press
A.I.M.
Akwesasne Notes
American Indian Movement
Anti-War
Canada
Carter Camp
Chicano movement
Custer
Dennis Banks
FBI
Mohawk
Native American rights
Nebraska
New Left
New York
occupation
Oglala Sioux
Pine Ridge Reservation
Ponca
Rapid City
Richard Wilson
Russell Means
Scottsbluff
South Dakota
St. Lawrence River
U.S. Marshalls
Vietnam War
Vine Deloria
Wounded Knee
-
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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
Mobilize to End the War in Vietnam
Description
An account of the resource
On April 15, 1967, the National Mobilization Committee organized a protest march against the Vietnam War from Central Park to the United Nations. One of the largest demonstrations of the Vietnam War era, an estimated 100,000 to 400,000 participated, including a range of anti-war and civil rights organizations. The march was peaceful, with five arrests, all of people who opposed the demonstration. During the event, Martin Luther King, Jr. Floyd McKissick, Stokely Carmichael and Dr. Benjamin Spock all gave speeches in front of the United Nations critiquing U.S. involvement in the war as well as the socioeconomic politics of the draft. Prior to the march, nearly 200 draft cards were burned by youths in Central Park. In San Francisco, Black nationalists led a march an estimated 20,000 mostly white demonstrators in San Francisco on the same day.
Here is a news footage of the march in New York:
https://www.youtube.com/watch?time_continue=18&v=40m5gBgwjQE
Creator
An entity primarily responsible for making the resource
National Mobilization Committee to End the War
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
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Anti-War Movement
Anti-War
Benjamin Spock
Central Park
demonstration
Jr. Floyd McKissick
Martin Luther King Jr.
National Mobilization Committee
New York
San Francisco
Stokely Carmichael
United Nations
Vietnam War
-
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b4b64441c52840dc23bfea1acc2d036e
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
Dove and Money Sign
Description
An account of the resource
This button, created by the National Mobilization Committee to End the War in Vietnam, or MOBE, depicts a white dove, symbolizing peace, and a dollar sign, suggesting that the greatest obstacle to peace is the American military-industrial complex. The button was designed for the April 15, 1967 anti-war demonstration in New York City.
Creator
An entity primarily responsible for making the resource
National Mobilization Committee to End the War
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
Button
Language
A language of the resource
en-US
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Anti-Vietnam War Movement
Anti-War
demonstration
dove
military-industrial complex
MOBE
National Mobilization Committee to End the War in Vietnam
New York
Vietnam War
-
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47a4734df88fc5e3906ecd170d3139c6
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
End Mass Murder in Vietnam
Description
An account of the resource
On April 15, 1967, the National Mobilization Committee organized a protest march against the Vietnam War from Central Park to the United Nations. One of the largest demonstrations of the Vietnam War era, an estimated 100,000 to 400,000 participated, including a range of anti-war and civil rights organizations. The march was peaceful, with five arrests, all of people who opposed the demonstration. During the event, Martin Luther King, Jr. Floyd McKissick, Stokely Carmichael and Dr. Benjamin Spock all gave speeches in front of the United Nations critiquing U.S. involvement in the war as well as the socioeconomic politics of the draft. Prior to the march, nearly 200 draft cards were burned by youths in Central Park. In San Francisco, Black nationalists led a march an estimated 20,000 mostly white demonstrators in San Francisco on the same day.
Here is a news footage of the march in New York:
https://www.youtube.com/watch?time_continue=18&v=40m5gBgwjQE
The influence of the counterculture is evident in the design of this button.
Creator
An entity primarily responsible for making the resource
National Mobilization Committee to End the War
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
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Anti-Vietnam War Movement
Benjamin Spock
black nationalism
California
Central Park
demonstration
Floyd McKissick
Martin Luther King Jr.
National Mobilization Committee to End the War
New Left
New York
San Francisco
Stokely Carmichael
United Nations
-
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1cc2247f6e034f725a36746a8611f9e8
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
Anti-draft Week
Description
An account of the resource
During the summer of 1966, the Inter-University Committee for Debate on Foreign Policy held a national conference for opponents of the War in Vietnam in Cleveland, Ohio. Activists at that meeting formed the November 8th Mobilization Committee to raise awareness about the increasingly brutal war in Southeast Asia during the fall election cycle and cultivate a broad-based national antiwar coalition that could mobilize large-scale anti-war demonstration in the U.S. Longtime pacifist and anti-war activist, A.J. Muste, was elected founding chairman of the group, while other notable anti-war figures also played leadership roles, including Dave Dellinger, the editor of Liberation magazine, and Robert Greenblatt, a professor at Cornell University. According to the organization’s newspaper, The Mobilizer, Muste was chosen because he “earned the respect of virtually every sector of the social protest movements in this country, displaying leadership in his work as a pacifist, radical, labor and civil rights [activist.]” Muste was particularly adept at synthesizing the competing philosophical and strategic approaches of individual groups within the broader coalition.
Following the November 1966 elections, the organization changed its name to the Spring Mobilization Committee to End the War in Vietnam, often referred to as “The MOBE.” The Spring Mobilization Committee was a broad anti-war coalition made up of students, unionists, progressive religious leaders, civil rights and black power groups, women’s organizations, Third World communities, and other members of “oppressed” constituencies, and was tasked with organizing massive demonstrations in New York City and San Francisco on April 15, 1967. Civil Rights and anti-war leader, Rev. James Bevel, now led the organization following the death of A.J. Muste in February of 1967. The April 15 protests attracted an estimated 500,000 participants (400,000+ in New York and 75-100,000 in San Francisco), marking the event as one of the largest days of anti-war protest of the Vietnam War era. The organizers of the Spring Mobilization Committee sought to combine mass action with local community organizing. Each participating group had distinct interests, spurring a variety of internal challenges and sometimes conflicts, which reveal many of the important fault lines within the New Left of the late-1960s.
The April demonstrations were peaceful, with only five recorded arrests, all of people who opposed the demonstration. During the event in New York, Martin Luther King, Jr. Floyd McKissick, Stokely Carmichael and Dr. Benjamin Spock all gave speeches in front of the United Nations critiquing U.S. involvement in the war as well as the socioeconomic politics of the draft. Prior to the march, young men burned nearly 200 draft cards in Central Park. At the San Francisco event, Black nationalists led a march of mostly white demonstrators.
At a conference in the wake of the April demonstrations, the group again changed its name, this time to the National Mobilization Committee to End the War in Vietnam, which functioned as a permanent national organizing committee to bring together existing anti-war groups, spur the creation of new ones and develop strategies to promote the anti-war movement among everyday Americans. The National Mobe, which adhered to a non-violent philosophy at a time when a growing number of other anti-war groups were questioning the effectiveness of non-violence, had headquarters in New York and San Francisco, as well as an office in Los Angeles.
Between 1967 and 1969, The MOBE continued to play a central role organizing and participating in several important anti-war actions. In October of 1967, MOBE participated in a protest at the Pentagon, which attracted more than 150,000 people and resulted in more than 700 arrests and numerous claims of police brutality. This effort to “confront the warmakers” was notable for the presence of anti-war activists and counter-culturalists, particularly the Yippies, who sought to “levitate” the Pentagon. In April 1968, MOBE supported SDS’s “Ten Days of Protest” and that August, MOBE had a significant presence at the anti-war protests that rocked the Democratic National Convention in Chicago. In January of 1969, the organization, now called the New Mobilization Committee to End the War, or New MOBE, participated in the anti-Nixon demonstrations that took place during his inauguration in in Washington, D.C. And on October 15 and November 15, 1969, MOBE organized the Moratorium to End the War in Vietnam. The October event attracted hundreds of thousands of participants to demonstrations and “teach-ins” in cities across the country and beyond, with the largest gathering taking place in Boston, where more than 100,000 listened to anti-war Senator George McGovern. The November event drew more than 500,000 anti-war supporters to Washington, D.C., including a number of celebrities and performers. MOBE also coordinated a national anti-draft week between March 16 and March 22, 1970, but by that time, the group had begun to lose strength and ultimately dissolved, with some members drifting into the People’s Coalition for Peace and other joining the National Peace Coalition.
Creator
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New Mobe
Source
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Roz Payne
Publisher
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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
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Button
Type
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Physical Object
Subject
The topic of the resource
Anti-Vietnam War Movement
A.J. Muste
Anti-Draft Week
Anti-War
Benjamin Spock
Boston
California
Central Park
Chicago '68
Cleveland
Cornell University
Dave Dellinger
Floyd McKissick
George McGovern
Inter-University Committee for Debate on Foreign Policy
James Bevel
Los Angeles
Martin Luther King Jr.
Massachusetts
MLK
MOBE
Moratorium to End the War in Vietnam
National Mobilization Committee to End the War in Vietnam
National Peace Coalition
New Left
New Mobilization Committee to End the War in Vietnam
New York
Ohio
Pentagon
People’s Coalition for Peace
Richard Nixon
Robert Greenblatt
San Francisco
Spring Mobilization Committee to End the War in Vietnam
Stokely Carmichael
teach-in
Ten Days of Protest
The Mobilizer
United Nations
Vietnam War
Washington D.C.
Yippies
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Dublin Core
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Title
A name given to the resource
Small Press Publications
Description
An account of the resource
During the 1960s, numerous radical and independent small presses were created to publish longer essays, manifestos, philosophical tracts, treatises and poetry related to the movements of the New Left. These independent presses filled a niche that mainstream and commercial presses largely ignored. Small press publications were particularly vibrant in the women's liberation movement. While many of these independent publishers of the Sixties were short-lived, others have continued into the present.
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
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New York Committee in Support of Vieques
Subject
The topic of the resource
Puerto Rican Nationalism
Description
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This pamphlet, written in Spanish and English, is sharply critical of the U.S. military presence on the Puerto Rican island of Vieques.
Creator
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New York Committee in Support of Vieques
Source
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Roz Payne
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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ca. 1980
Format
The file format, physical medium, or dimensions of the resource
pamphlet
anti-colonialism
military-industrial complex
New York
New York Committee in Support of Vieques
Puerto Rican Nationalism
Vieques
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Title
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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.
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“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
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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
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Newsreel Films
Creator
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Newsreel Films
Source
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Newsreel Films on YouTube
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. 1960s and 1970s
Format
The file format, physical medium, or dimensions of the resource
film
Description
An account of the resource
Roz Payne was involved in Newsreel Films from the group's inception in New York in 1967. Newsreel created a series of short films documenting various aspects of 1960s-era activism. The items in this collection provide links to each of the Newsreel Films that are currently available to view free on the web.
________
Roz Payne offered the following brief reflection on Newsreel Films in 2002:
"In 1967 a group of independent filmmakers, photographers, and media workers formed a collective to make politically relevant films sharing our resources, skills, and equipment. As individuals we had been covering many of the events that we considered news, demonstrations, acts of resistance, and countless inequities and abuses. Sometimes films were made and sometimes not. Most often they were made too late and did not go to the people who could use them best.
We met in a basement in the lower eastside of New York and later at the alternate U, then more basements until we got an office. The only news we saw was on TV and we knew who owned the stations. We decided to make films that would show another side to the news. It was clear to us that the established forms of media were not going to approach those subjects which threaten their very existence.
I was a school teacher in New Jersey who shot photos. My marriage with Arnold Payne, Mr. Muscle Beach Jr. had broken up, I left a little house on the Palisades, overlooking the boats on the Hudson River right over the Spry sign across from 96th Street. I would sit looking at the burning windows of the NYC skyline as the sun set. That fire and the fire from a GI's Zippo lighter on the straw of a Vietnamese hut helped ignite me. I moved to New York City.
Walking down Second Ave and 10th Street with my camera one afternoon Melvin Margolis , a wild looking hippie stopped me and said, ‘Hey, your a photographer and there's a meeting tonight of all the political film people. You have to go. It is very important. Make sure that you go. I'm not kidding.’ I showed up that night, to the first meeting of Newsreel.
About 30 people met weekly to talk about films, equipment, and politics. I think we were great because we came from various political backgrounds and had different interests. We never all agreed on a political line. We broke down into smaller groups to work on the films. The working groups included anti-Vietnam-war, anti-imperialist, high school, students, women, workers, Yippies, Third World, and the infamous sex, drugs and party committee.
We wanted to make two films a month and get 12 prints of each film out to groups across the country. We wanted to spark the creation of similar news-film groups in other major cities of the United States so that they would distribute our films and would cover and shoot the events in their area.
The first film I worked on was the 1968 student take-over of Columbia University. The students had taken over 5 buildings. We had a film team in each building. We were shooting from the inside while the rest of the press were outside. We participated in the political negotiations and discussions. Our cameras were used as weapons as well as recording the events. Melvin had a W.W.II cast iron steel Bell and Howell camera that could take the shock of breaking plate glass windows.
Newsreel worked to expand the awareness of events and situations relevant to shaping the movement. Our films tried to analyze, not just cover; they explored the realities that the media, as part of the system, always ignores.
In 1967 the FBI started the Counter-intelligence program to try to destroy African Americans, especially the Black Panther Party and the New Left. We worked with Third World groups. We produced various films that these groups could use to tell their stories and to use in organizing in their own communities and workplaces, hopefully serving as catalysts for social change.
Newsreel not only made films but we were among the first to distribute films made in Cuba, Vietnam, Africa, and the Middle East.
As Newsreel grew, we spread out, opened offices and distribution centers across the country. We had offices in San Francisco, Detroit, Boston, Kansas, Los Angeles, Vermont, and Atlanta. We made films and distributed our films in the hope that the audiences who saw them would respond to the issues they raised. We wanted people to work with our films as catalysts for political discussions about social change in America and to relate the questions in the films to issues in their own communities.
We had many struggles in Newsreel around class, women, political education, cultural and worker politics, the haves and have nots. It was hard to hold to the correct political line. Little by little the groups changed from film-maker control to worker control, to women control, to third world control. Today, Third World Newsreel is in New York, California Newsreel is in San Francisco, and there is a Vermont Newsreel Archives.
In 1972, myself and others moved to Vermont. We continue to distribute Newsreel films, shoot videos, use computer graphics, and maintain a film, photo, and document archive. With the easy accessibility of video cameras thousands of people are making their own documents to tell the stories of what is happening around them. I am shooting history of retired FBI agents that worked on COINTELPRO against Don Cox, an exiled Black Panther and the white women who helped him. I teach History of the Sixties, Civil Rights Movement, Women, and Mycology at Burlington College."
In 2019, another original Newsreel Film member, Marvin Fishman, remembered a slightly different version of some of the events Roz related above:
“Roz invariably reminded me that it was her chance encounter with me on 14th Street that led to her attending that meeting [rather than Melvin Margolis]. Melvin, Marvin . . . I always nodded in agreement with her when she reminded me of that, but honestly, my memory is vague on that street encounter, though I always accepted it as true because she seemed so certain. I leave open the possibility that she indeed met Melvin earlier in the day, and that our meeting on 14th Street happened later on, when she was searching for the meeting address. But I do remember bringing her upstairs to the Free School, the site of the meeting.”
Fishman went on, “Also omitted [from Roz’s narrative] is the earlier, actual very first meeting, which was held on December 22, 1967, in Jonas Mekas’ Filmmakers Cinematheque. This is the date and place of what I consider the beginning of the collaborative undertaking among filmmakers. More than 30 people attended. Coincidentally, if I remember correctly, this is the date that Universal Newsreel, a service of Hollywood’s Universal Pictures, closed down.
Perhaps more important for Newsreel’s history, is that the narrative on the website does not mention why the meetings at the Cinematheque and then at the Free School were held. That is, what brought all the filmmakers together to that meeting which led to the formation of Newsreel? In fact, the catalyst for that meeting was the Pentagon Demonstration. To omit this fact is to omit the precipitating event, the traumatic historic milestone which led a disparate bunch of filmmakers and others to unite.”
According to filmmaker and activist, Danny Schechter, “Working in decentralized film collectives in several cities, [Newsreel] produced many, many films, mostly shot on 16 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.
These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the ‘intellectual property’ everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system.”
The UCLA Film & Television Archive adds, “Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verité and poster art. The student movement (Columbia Revolt), racism (Black Panther) and Vietnam (No Game; People's War) were among the subjects Newsreel addressed. Feminist consciousness-raising efforts were documented in films such as The Woman's Film, produced collectively by women, and Makeout. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and Now omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.”
Among the items in this collection is also a 7-page journal article, "Newsreel: Film and Revolution," written by Bill Nichols for Cinéaste in 1973. The article provides a different introduction to Newsreel Films. Nichols also completed an M.A. Thesis by the same title at UCLA in Theater Arts in 1972. That thesis runs more than 300-pages and can be found online for those interested in a much more in-depth exploration of the history of Newsreel:
https://billnichols99.files.wordpress.com/2014/05/newsreel-film-and-revolution.pdf
_________
The following is a list of Newsreel films made and/or distributed by the group during the 1960s-era with a brief description after each one written by Roz Payne. It is reprinted from Roz Payne's website:
Amerika
Against the background of the November 1969 Anti-Vietnam War demonstration in Washington DC., footage from all over the world.
1969 - 45 minutes
Army
US. imperialism needs massive military power capable of maintaining its markets overseas and quelling rebellions at home. This film records the training and indoctrination given to G.I.s to produce this force. The men themselves talk about who the army really serves, and the effect the indoctrination has on them, and the beginnings of resistance to the army and against the war.
Off the Pig (Black Panther)
This is one of the first films made about the Panthers. It contains interviews with Party leaders Huey Newton and Eldridge Cleaver describing why the Party was formed and what its goals are. It also includes footage of Panther recruitment, training and the Party's original 10 Point Program laid out by Chairman Bobby Seale.
1968 - 20 minutes
El Caso Contra Lincoln Center
La Renovacion Urban destruyo los hogares de 35,000 familias puertoriquenasde la ciudad de Nueva York para construir Lincoln Center, una vitrina cultural para las clase dominante de la ciudad. La pelicula explica la coneccion entre esta accion cotidiana y es imperlialismo corporativo norteamericano.
12 minutes
To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families moved into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents.
11 minutes
Columbia Revolt
In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings.
1968 - 50 minutes
The Earth Belongs to the People
An analysis of the ecology crisis, this film dispels the myths that big business and big government have been telling the people about the world-wide ecological crisis. Is there really over-population in the world, or is there an unequal distribution of wealth and food? Do people or large industries ruin the environment? Will the earth survive for the people or for corporate profit????
1971 - 10 minutes
Garbage
Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike.
1968 - 10 minutes
High School Rising
High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today,)
1969 - 15 minutes
Los Siete de la Raza
This film is about the oppression of the Third World community in the Mission district of San Francisco. It deals specifically with seven Latino youths who were recruiting street kids into a college Brown Studies Program. They are accused of killing a plainclothesman. While they become victims of a press and police campaign to "clean-up" the Mission, their defense becomes the foundation of a revolutionary community organization called Los Siete
1969 - 30 minutes.
Available in Spanish and English. Spanish soundtrack is poor quality.
Make Out
The oppressive experience of making-out in a car...from the woman's point of view. Short and sweet. It can be shown a second time with the sound off and the male can make up his own sound track.
1969 - 5 minutes
Up Against the Wall Miss America
A now historical film about the disruption of the Miss America pageant of 1968. With raps, guerrilla theater, and original songs . Women stress the (mis)use of their sisters, by the pageant, as mindless sexual objects. Footage includes Attorney /activist Flo Kennedy.
6 minutes
Richmond Oil Strike
In January, 1969 oil workers in NorthernCalifornia struck. The local police and the Standard Oil goon squads attacked the strikers and their families, killing one and injuring others. The striking students from San Francisco State were asked to join the struggle. For the first time workers and students fight together against their common enemy.
Footage includes speeches of Bob Avakian.
People's Park
In the spring of 1969 , the Berkeley street community initiated a project to transform a barren and unused university-owned Lot into a park for the whole community to enjoy-a People's Park. Because the park threatened the control of the university and presented a challenge to the concept of private property, the police and National Guard were used to brutalize the people and destroy the People's Park.
25 minutes
This film was made by SF Newsreel and was originally rejected as not being political enough. It was too hippie dippy so the beginning five minute rap by Frank Barneke, a Peoples Park politico was added on in the beginning .
Por Primeria Vez (For the First Time)
The Cuban Film Institute sends mobile film units into the rural provinces-young and old delight on seeing movies "for the first time." Modern Times with Charlie Chaplin is shown in a rural village. An enchanting short that leaves you happy and smiling.
10 minutes (Available in Spanish)
Peoples' War
In the summer of 1969, Newsreel went to North Vietnam. From that trip came PEOPLES' WAR. This film moves beyond the perception of the North Vietnamese as victims to a portrait of how the North Vietnamese society is organized. It shows the relationship of the people to their government-how local tasks of a village are coordinated and its needs met. It deals with the reality of a nation that has been at war for twenty-five years, that is not only resisting US aggression and keeping alive under bombing, but that is also struggling to raise its standard of living and to overcome the underdevelopment of centuries of colonial rule. Amid much publicity, the footage was confiscated upon its return to the US. Despite this attempt at suppression, PEOPLE'S WAR has become one of the most sought-after films on Vietnam. Blue ribbon at U.S.A. film festival in Houston, Texas. and the Golden Bear Award, Moscow, USSR
1969 - 40 minutes
R.O.T.C.
The issue of ROTC is uppermost on many college campuses and is a major focus of anti-war activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed.
1969 - 20 minutes
Seventy-Nine Springs of Ho Chi Minh
This film on the life and death of Ho Chi Minh is a skillfully interwoven blend of old still photographs and Newsreel footage of the DRV's (Democratic Republic of Vietnam) founder, a man whose life spans three revolutions, three continents and three wars. It portrays his life: from militant student to revolutionary lead of this country; and his life-long work dedication to the Vietnamese people and their struggle for liberation. This eulogy was made by Cuba's renowned filmmaker, Santiago Alvarez. Musical soundtrack, Spanish titles. (Note: Understanding of the Spanish titles is not necessary for full enjoyment of the film.)
25 minutes
" . . . one of the most moving political films this reviewer has seen . . ." (Lenny Rubenstein, Cineaste)
She's Beautiful When She's Angry
In a skit presented at an abortion rally in New York City, a beauty contestant is pressured to fulfill certain roles in order to be the "ideal woman", a "winner". The skit shows how women, especially minority women, are used in this society for profit. The women who perform also discuss their personal lives and how their struggle as women is expressed in the skit. ( Note: Soundtrack is sometimes difficult to understand. )
1967 - 17 minutes
Strike City
Plantation workers in Mississippi having gone on strike against the extreme exploitation of the plantation system, and decide to form their own collective Their determination to stick together, rather than go back to the plantation or be forced out of the state, is their main resource. After a bitter winter, living in tents, they obtain partial support from private sources and begin building permanent housing. The poverty program backs down on its promise of support in response to Mississippi senators who fear the implications of collectives of back farmers in Mississippi.
1967 - 30 minutes
Summer '68
Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a GI. coffeehouse in Texas, Newsreel's take-over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project--the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities.
1968 - 60 minutes
BDRG: Boston Draft Resistance Group
This film detailed draft resistance organizing in Boston.
1968 - 15 minutes
Troublemakers
In 1965, a group of white organizers went into Newark's central ward to work with the black community, forming the Newark Community Union Project (NCUP). Traditional forms of protest--letters to city officials, demonstrations, electoral politics--were used as tactics for organizing. The film focuses on the action undertaken around three issues. The first is an attempt to get housing code enforcement; the second, to get a traffic light installed at a hazardous intersection. After many months of hallow promises, and inaction on the part of the city government an attempt was made to elect a third party candidate to the City Council. Lacking the resources of the two major parties, this was doomed to failure too The film is an absorbing, informative documentary of the frustrating failures of NCUP and the problem of getting even modest reform within the present political structure. But it goes beyond this--it shows clearly the contradictions in the concept of white groups organizing in black and other third world communities. A good study in some of the early New Left tactics--how and why they failed.
1966 - 53 minutes
The Woman's Film
The film was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself was written from preliminary interviews with the women in the film. Their participation, their criticism, and approval were sought at various stages of production.
"... What we see is not only natural and spontaneous, it is thoughtful and beautiful. It is a film which immediately evokes the sights and sounds and smells of working class kitchens, neighborhood streets, local supermarkets, factories, cramped living rooms, dinners cooking, diaper-washing, housecleaning, and all the other "points of production" and battlefronts where working class women in America daily confront the realities of their oppression. It is . . . a supremely optimistic statement, showing the sinews of struggle and capturing the essential energy and collective spirit of all working people-and especially that advanced consciousness which working class women bring to the common struggle." (Irwin Silber, Guardian)
1971 - 40 minutes
Yippie
Yippie is filmed farce, juxtaposing the brutal police riot at the 1968 Democratic Convention with the orgy scenes from D.W. Griffith's "Intolerance." A clear and energetic no-verbal statement of Yippie politics Hip jive.
1968 - 15 minutes
Young Puppeteers of South Vietnam
"A gift from the youth of South Vietnam to the youth of America." Teenagers in the NLF liberated areas of South Vietnam make beautiful, intricate puppets from scraps of US. war materials. Armed with these puppets, they travel through the liberated zones performing for the local children while our planes "search and destroy". A poignant film that gives a view of the war even more powerful than images of atrocities. English sound track.
25 minutes
Mayday (Black Panther)
On May 1, 1969 the Black Panther Party held a massive rally in San Francisco. Speakers Kathleen Cleaver, Bobby Seale, and Charles Garry present the rally's demands for the release of Huey Newton and all political prisoners. The film includes footage of the police raid on Panther headquarters in San Francisco a few days prior to the rally and the Panther's Breakfast for Children Program.
1969 - 15 minutes
Only the Beginning
For years the sentiment against the war in Vietnam has been growing. The latest polls show that 73% of the US. population want the troops out of Vietnam now G.I.'s are among the most active protesters against the war. In April, l971, thousands of G.I.'s-Marines and regular army, veterans and active duty personnel came to Washington, DC., to denounce their participation in that "dirty war," and to demand it be ended immediately. The film begins with the demonstration in Washington. In front of the Capitol, we see the veterans come before the crowd and throw their medals away. The film moves to Vietnam where the devastating effects of US. bombs are documented. ONLY THE BEGINNING is about the GI. movement to end the war.
1971 - 20 minutes color
Two Heroic Sisters of the Grassland
A cartoon version of a true story about two young sisters who risked their lives to save their commune's sheep heard during a sudden snowstorm. The film gives us a sense both of the values stressed in the new society, and the people's participation at every level in the transformation of China.
English track 42 minutes
El Pueblo Se Levanta (THE YOUNG LORDS FILM)
One-third of the Puerto Rican people live in the United States. Most have come in search for the better life promised them by US. propaganda. Instead they found slum housing, poor or miseducation, low-paying jobs, and constantly rising unemployment, in a society determined to destroy their cultural identity The film traces the growth of the Puerto Rican struggle by focusing on the development of the Young Lords Party. A Newsreel crew in New York City worked closely with the Lords for a year and a half-participating and recording the events and programs which the Young Lords are using to make significant advances in the Puerto Rican struggle. The film deals with the main problems in the Puerto Rican community-health, education, food, and housing. These problems become the focus of the Young Lords Party.
The Case Against Lincoln Center
Urban renewal removes 35,000 Puerto Rican families from New Your City's upper West Side to build Lincoln Center, a cultural show-case for the city's middle and ruling class. The film discusses the links between the problems of the city, and the forces of American corporate imperialism.
1968 - 12 minutes (available in Spanish)
No Game
October 21, 1967; The pentagon; 100,000 anti-war demonstrators who had not come prepared for a violent confrontation with the military police and Pentagon guards; for the tear gas, and rifle butts.
Considered the first collective Newsreel film. [According to Marvin Fishman, “This film was shot and edited before Newsreel officially came into existence and was then donated to Newsreel to get the newly formed organization’s distribution service off the ground.”]
1967 - 17 minutes
Pig Power
As student take to the streets in New York and Berkeley, the forces of order illustrate Mayor Daley's thesis that the police are there "to preserve disorder", and we must organize to challenge their control and preserve our lives as well as our life styles. A short impressionistic montage of music and images pointing up the disparity between their force and ours. The function of police repressing Black and white demonstrators alike is emphasized.
6 minutes
Community Control
The struggle for Community Control in Black and Puerto Rican communities in New York City. An examination of colonialism as it manifests itself in many American cities. In two so called experimental districts, police are constantly called in to enforce the political decisions of the state and city bureaucracy, and the striking teachers; union. All ofthis taking place against the legitimate demands of the community (Ocean Hill-Brownsville, and East Harlem). Filmed inside some of the schools involved in the conflict; contains interviews with Herman Ferguson, Minister of Education for the Republic of New Africa, and Les Campbell, director of The Afro-American Teachers Association.
50 minutes
Venceremos
A film shot in Cuba in l970-71 about two brigades of 500 Americans that went to Cuba illegally in order to show support by breaking the blockade and to help with the sugar harvest of ten million tons. They cut cane with brigades that were sent from Vietnam, North Korea, and Latin America. This is the story of their boat ride from St. Johns, Canada and their stay in Cuba.
20 minutes
High School
A film about high school students and how school becomes a prison.
20 minutes (muddled, poor editing)
You Don't Have to Buy the War
A speech by former Miss America, Bess Meyerson presented to the group Another Mother for Peace at a gathering in Beverly Hills. One of the strongest speeches ever given about who is making money out of the war in Vietnam. She gives excellent reasons to boycott many everyday products that women buy.
Open for Children
One of the first films ever made about the need for childcare.
Make It Real
This is what Newsreel considered an energy film. It contains great shots of street actions and hot music. These short films were made to show between our longer films that were "more serious" They were made to give youth a feeling that they could get up and become "street fighting men".
8 minutes
McDonnel-Douglas
A film about the McDonnel-Douglas company and its relationship to the war-machine.
Free Farm
A film made by Newsreel folks that went to live in Vermont. A story about a community free farm on land loaned by a small college. It tell the story of coming together to farm the land and to have Sunday community gatherings. The college calls the cops to kick people off the land in the fall before the harvest and local young men trash the farm. An interesting note is that posters are put up warning that a local cop named Paul Lawrence was setting up and beating up people. Ten years later he was busted for planting drugs and was known as the bad cop that went to jail. A true story of hippies with politics.
1971 - 18 minutes
Inciting to Riot
A quick montage flirtation with the idea of rural guerrilla struggle in the US returning repeatedly to the reality of pig power in the cities and space technology. A flashing image of a state of mind common among hip and political youth.
10 minutes
Don't Bank on America
This is the story of one of the first ecological political actions of the period, the burning of the Bank of America. (Newsreel distributed this film?)
Mighty Mouse and Little Eva
This is a 1930's racist cartoon, taking off on Uncles Tom Cabin. Distributed by Newsreel.
8 Minutes
Ice
A film made by Newsreel member Robert Kramer with a production team made up of Newsreel members. A story of a time in the future when the US is at war with Mexico and the Americans are living in a police state. The film includes a kidnapping, a murder, prison break, takeover of an apartment house for political education, sex, nudity, and violence. and much, much more. 150 Minutes
( a new description of this film will be available soon! although this was perhaps the description in an early NR catalogue, we hope to have more background on these old films. how they were made. the process and reflections of those who worked on them )
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This collection includes links to each of the Newsreel Films that is currently available to view on the web. If you find that any of the links are broken, please drop a note to the archive manager (see, Contact tab) and let us know!
Moving Image
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Original Format
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newsreel
Duration
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This excerpt is 7:40. The full film is 11 minutes long.
Dublin Core
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Title
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El Caso Contra Lincoln Center (The Case Against Lincoln Center)
Description
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"To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families move into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents." (Roz Payne Archives) <iframe width="560" height="315" src="https://www.youtube.com/embed/u7NjO8dl8v8" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Creator
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Newsreel Films
Source
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Prelinger Archives - YouTube
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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1968
Format
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film
Subject
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Urban Redevelopment
arts
Lincoln Center
Mellon
Morgan
New York
Poverty
Puerto Rican
Rockefeller
urban redevelopment
-
https://rozsixties.unl.edu/files/original/15b89d5b025670e217784879412dcb72.png
cfc0a74df2cbbdca1d219327967408cd
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
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Newsreel Films
Creator
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Newsreel Films
Source
A related resource from which the described resource is derived
Newsreel Films on YouTube
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. 1960s and 1970s
Format
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film
Description
An account of the resource
Roz Payne was involved in Newsreel Films from the group's inception in New York in 1967. Newsreel created a series of short films documenting various aspects of 1960s-era activism. The items in this collection provide links to each of the Newsreel Films that are currently available to view free on the web.
________
Roz Payne offered the following brief reflection on Newsreel Films in 2002:
"In 1967 a group of independent filmmakers, photographers, and media workers formed a collective to make politically relevant films sharing our resources, skills, and equipment. As individuals we had been covering many of the events that we considered news, demonstrations, acts of resistance, and countless inequities and abuses. Sometimes films were made and sometimes not. Most often they were made too late and did not go to the people who could use them best.
We met in a basement in the lower eastside of New York and later at the alternate U, then more basements until we got an office. The only news we saw was on TV and we knew who owned the stations. We decided to make films that would show another side to the news. It was clear to us that the established forms of media were not going to approach those subjects which threaten their very existence.
I was a school teacher in New Jersey who shot photos. My marriage with Arnold Payne, Mr. Muscle Beach Jr. had broken up, I left a little house on the Palisades, overlooking the boats on the Hudson River right over the Spry sign across from 96th Street. I would sit looking at the burning windows of the NYC skyline as the sun set. That fire and the fire from a GI's Zippo lighter on the straw of a Vietnamese hut helped ignite me. I moved to New York City.
Walking down Second Ave and 10th Street with my camera one afternoon Melvin Margolis , a wild looking hippie stopped me and said, ‘Hey, your a photographer and there's a meeting tonight of all the political film people. You have to go. It is very important. Make sure that you go. I'm not kidding.’ I showed up that night, to the first meeting of Newsreel.
About 30 people met weekly to talk about films, equipment, and politics. I think we were great because we came from various political backgrounds and had different interests. We never all agreed on a political line. We broke down into smaller groups to work on the films. The working groups included anti-Vietnam-war, anti-imperialist, high school, students, women, workers, Yippies, Third World, and the infamous sex, drugs and party committee.
We wanted to make two films a month and get 12 prints of each film out to groups across the country. We wanted to spark the creation of similar news-film groups in other major cities of the United States so that they would distribute our films and would cover and shoot the events in their area.
The first film I worked on was the 1968 student take-over of Columbia University. The students had taken over 5 buildings. We had a film team in each building. We were shooting from the inside while the rest of the press were outside. We participated in the political negotiations and discussions. Our cameras were used as weapons as well as recording the events. Melvin had a W.W.II cast iron steel Bell and Howell camera that could take the shock of breaking plate glass windows.
Newsreel worked to expand the awareness of events and situations relevant to shaping the movement. Our films tried to analyze, not just cover; they explored the realities that the media, as part of the system, always ignores.
In 1967 the FBI started the Counter-intelligence program to try to destroy African Americans, especially the Black Panther Party and the New Left. We worked with Third World groups. We produced various films that these groups could use to tell their stories and to use in organizing in their own communities and workplaces, hopefully serving as catalysts for social change.
Newsreel not only made films but we were among the first to distribute films made in Cuba, Vietnam, Africa, and the Middle East.
As Newsreel grew, we spread out, opened offices and distribution centers across the country. We had offices in San Francisco, Detroit, Boston, Kansas, Los Angeles, Vermont, and Atlanta. We made films and distributed our films in the hope that the audiences who saw them would respond to the issues they raised. We wanted people to work with our films as catalysts for political discussions about social change in America and to relate the questions in the films to issues in their own communities.
We had many struggles in Newsreel around class, women, political education, cultural and worker politics, the haves and have nots. It was hard to hold to the correct political line. Little by little the groups changed from film-maker control to worker control, to women control, to third world control. Today, Third World Newsreel is in New York, California Newsreel is in San Francisco, and there is a Vermont Newsreel Archives.
In 1972, myself and others moved to Vermont. We continue to distribute Newsreel films, shoot videos, use computer graphics, and maintain a film, photo, and document archive. With the easy accessibility of video cameras thousands of people are making their own documents to tell the stories of what is happening around them. I am shooting history of retired FBI agents that worked on COINTELPRO against Don Cox, an exiled Black Panther and the white women who helped him. I teach History of the Sixties, Civil Rights Movement, Women, and Mycology at Burlington College."
In 2019, another original Newsreel Film member, Marvin Fishman, remembered a slightly different version of some of the events Roz related above:
“Roz invariably reminded me that it was her chance encounter with me on 14th Street that led to her attending that meeting [rather than Melvin Margolis]. Melvin, Marvin . . . I always nodded in agreement with her when she reminded me of that, but honestly, my memory is vague on that street encounter, though I always accepted it as true because she seemed so certain. I leave open the possibility that she indeed met Melvin earlier in the day, and that our meeting on 14th Street happened later on, when she was searching for the meeting address. But I do remember bringing her upstairs to the Free School, the site of the meeting.”
Fishman went on, “Also omitted [from Roz’s narrative] is the earlier, actual very first meeting, which was held on December 22, 1967, in Jonas Mekas’ Filmmakers Cinematheque. This is the date and place of what I consider the beginning of the collaborative undertaking among filmmakers. More than 30 people attended. Coincidentally, if I remember correctly, this is the date that Universal Newsreel, a service of Hollywood’s Universal Pictures, closed down.
Perhaps more important for Newsreel’s history, is that the narrative on the website does not mention why the meetings at the Cinematheque and then at the Free School were held. That is, what brought all the filmmakers together to that meeting which led to the formation of Newsreel? In fact, the catalyst for that meeting was the Pentagon Demonstration. To omit this fact is to omit the precipitating event, the traumatic historic milestone which led a disparate bunch of filmmakers and others to unite.”
According to filmmaker and activist, Danny Schechter, “Working in decentralized film collectives in several cities, [Newsreel] produced many, many films, mostly shot on 16 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.
These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the ‘intellectual property’ everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system.”
The UCLA Film & Television Archive adds, “Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verité and poster art. The student movement (Columbia Revolt), racism (Black Panther) and Vietnam (No Game; People's War) were among the subjects Newsreel addressed. Feminist consciousness-raising efforts were documented in films such as The Woman's Film, produced collectively by women, and Makeout. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and Now omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.”
Among the items in this collection is also a 7-page journal article, "Newsreel: Film and Revolution," written by Bill Nichols for Cinéaste in 1973. The article provides a different introduction to Newsreel Films. Nichols also completed an M.A. Thesis by the same title at UCLA in Theater Arts in 1972. That thesis runs more than 300-pages and can be found online for those interested in a much more in-depth exploration of the history of Newsreel:
https://billnichols99.files.wordpress.com/2014/05/newsreel-film-and-revolution.pdf
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The following is a list of Newsreel films made and/or distributed by the group during the 1960s-era with a brief description after each one written by Roz Payne. It is reprinted from Roz Payne's website:
Amerika
Against the background of the November 1969 Anti-Vietnam War demonstration in Washington DC., footage from all over the world.
1969 - 45 minutes
Army
US. imperialism needs massive military power capable of maintaining its markets overseas and quelling rebellions at home. This film records the training and indoctrination given to G.I.s to produce this force. The men themselves talk about who the army really serves, and the effect the indoctrination has on them, and the beginnings of resistance to the army and against the war.
Off the Pig (Black Panther)
This is one of the first films made about the Panthers. It contains interviews with Party leaders Huey Newton and Eldridge Cleaver describing why the Party was formed and what its goals are. It also includes footage of Panther recruitment, training and the Party's original 10 Point Program laid out by Chairman Bobby Seale.
1968 - 20 minutes
El Caso Contra Lincoln Center
La Renovacion Urban destruyo los hogares de 35,000 familias puertoriquenasde la ciudad de Nueva York para construir Lincoln Center, una vitrina cultural para las clase dominante de la ciudad. La pelicula explica la coneccion entre esta accion cotidiana y es imperlialismo corporativo norteamericano.
12 minutes
To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families moved into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents.
11 minutes
Columbia Revolt
In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings.
1968 - 50 minutes
The Earth Belongs to the People
An analysis of the ecology crisis, this film dispels the myths that big business and big government have been telling the people about the world-wide ecological crisis. Is there really over-population in the world, or is there an unequal distribution of wealth and food? Do people or large industries ruin the environment? Will the earth survive for the people or for corporate profit????
1971 - 10 minutes
Garbage
Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike.
1968 - 10 minutes
High School Rising
High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today,)
1969 - 15 minutes
Los Siete de la Raza
This film is about the oppression of the Third World community in the Mission district of San Francisco. It deals specifically with seven Latino youths who were recruiting street kids into a college Brown Studies Program. They are accused of killing a plainclothesman. While they become victims of a press and police campaign to "clean-up" the Mission, their defense becomes the foundation of a revolutionary community organization called Los Siete
1969 - 30 minutes.
Available in Spanish and English. Spanish soundtrack is poor quality.
Make Out
The oppressive experience of making-out in a car...from the woman's point of view. Short and sweet. It can be shown a second time with the sound off and the male can make up his own sound track.
1969 - 5 minutes
Up Against the Wall Miss America
A now historical film about the disruption of the Miss America pageant of 1968. With raps, guerrilla theater, and original songs . Women stress the (mis)use of their sisters, by the pageant, as mindless sexual objects. Footage includes Attorney /activist Flo Kennedy.
6 minutes
Richmond Oil Strike
In January, 1969 oil workers in NorthernCalifornia struck. The local police and the Standard Oil goon squads attacked the strikers and their families, killing one and injuring others. The striking students from San Francisco State were asked to join the struggle. For the first time workers and students fight together against their common enemy.
Footage includes speeches of Bob Avakian.
People's Park
In the spring of 1969 , the Berkeley street community initiated a project to transform a barren and unused university-owned Lot into a park for the whole community to enjoy-a People's Park. Because the park threatened the control of the university and presented a challenge to the concept of private property, the police and National Guard were used to brutalize the people and destroy the People's Park.
25 minutes
This film was made by SF Newsreel and was originally rejected as not being political enough. It was too hippie dippy so the beginning five minute rap by Frank Barneke, a Peoples Park politico was added on in the beginning .
Por Primeria Vez (For the First Time)
The Cuban Film Institute sends mobile film units into the rural provinces-young and old delight on seeing movies "for the first time." Modern Times with Charlie Chaplin is shown in a rural village. An enchanting short that leaves you happy and smiling.
10 minutes (Available in Spanish)
Peoples' War
In the summer of 1969, Newsreel went to North Vietnam. From that trip came PEOPLES' WAR. This film moves beyond the perception of the North Vietnamese as victims to a portrait of how the North Vietnamese society is organized. It shows the relationship of the people to their government-how local tasks of a village are coordinated and its needs met. It deals with the reality of a nation that has been at war for twenty-five years, that is not only resisting US aggression and keeping alive under bombing, but that is also struggling to raise its standard of living and to overcome the underdevelopment of centuries of colonial rule. Amid much publicity, the footage was confiscated upon its return to the US. Despite this attempt at suppression, PEOPLE'S WAR has become one of the most sought-after films on Vietnam. Blue ribbon at U.S.A. film festival in Houston, Texas. and the Golden Bear Award, Moscow, USSR
1969 - 40 minutes
R.O.T.C.
The issue of ROTC is uppermost on many college campuses and is a major focus of anti-war activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed.
1969 - 20 minutes
Seventy-Nine Springs of Ho Chi Minh
This film on the life and death of Ho Chi Minh is a skillfully interwoven blend of old still photographs and Newsreel footage of the DRV's (Democratic Republic of Vietnam) founder, a man whose life spans three revolutions, three continents and three wars. It portrays his life: from militant student to revolutionary lead of this country; and his life-long work dedication to the Vietnamese people and their struggle for liberation. This eulogy was made by Cuba's renowned filmmaker, Santiago Alvarez. Musical soundtrack, Spanish titles. (Note: Understanding of the Spanish titles is not necessary for full enjoyment of the film.)
25 minutes
" . . . one of the most moving political films this reviewer has seen . . ." (Lenny Rubenstein, Cineaste)
She's Beautiful When She's Angry
In a skit presented at an abortion rally in New York City, a beauty contestant is pressured to fulfill certain roles in order to be the "ideal woman", a "winner". The skit shows how women, especially minority women, are used in this society for profit. The women who perform also discuss their personal lives and how their struggle as women is expressed in the skit. ( Note: Soundtrack is sometimes difficult to understand. )
1967 - 17 minutes
Strike City
Plantation workers in Mississippi having gone on strike against the extreme exploitation of the plantation system, and decide to form their own collective Their determination to stick together, rather than go back to the plantation or be forced out of the state, is their main resource. After a bitter winter, living in tents, they obtain partial support from private sources and begin building permanent housing. The poverty program backs down on its promise of support in response to Mississippi senators who fear the implications of collectives of back farmers in Mississippi.
1967 - 30 minutes
Summer '68
Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a GI. coffeehouse in Texas, Newsreel's take-over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project--the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities.
1968 - 60 minutes
BDRG: Boston Draft Resistance Group
This film detailed draft resistance organizing in Boston.
1968 - 15 minutes
Troublemakers
In 1965, a group of white organizers went into Newark's central ward to work with the black community, forming the Newark Community Union Project (NCUP). Traditional forms of protest--letters to city officials, demonstrations, electoral politics--were used as tactics for organizing. The film focuses on the action undertaken around three issues. The first is an attempt to get housing code enforcement; the second, to get a traffic light installed at a hazardous intersection. After many months of hallow promises, and inaction on the part of the city government an attempt was made to elect a third party candidate to the City Council. Lacking the resources of the two major parties, this was doomed to failure too The film is an absorbing, informative documentary of the frustrating failures of NCUP and the problem of getting even modest reform within the present political structure. But it goes beyond this--it shows clearly the contradictions in the concept of white groups organizing in black and other third world communities. A good study in some of the early New Left tactics--how and why they failed.
1966 - 53 minutes
The Woman's Film
The film was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself was written from preliminary interviews with the women in the film. Their participation, their criticism, and approval were sought at various stages of production.
"... What we see is not only natural and spontaneous, it is thoughtful and beautiful. It is a film which immediately evokes the sights and sounds and smells of working class kitchens, neighborhood streets, local supermarkets, factories, cramped living rooms, dinners cooking, diaper-washing, housecleaning, and all the other "points of production" and battlefronts where working class women in America daily confront the realities of their oppression. It is . . . a supremely optimistic statement, showing the sinews of struggle and capturing the essential energy and collective spirit of all working people-and especially that advanced consciousness which working class women bring to the common struggle." (Irwin Silber, Guardian)
1971 - 40 minutes
Yippie
Yippie is filmed farce, juxtaposing the brutal police riot at the 1968 Democratic Convention with the orgy scenes from D.W. Griffith's "Intolerance." A clear and energetic no-verbal statement of Yippie politics Hip jive.
1968 - 15 minutes
Young Puppeteers of South Vietnam
"A gift from the youth of South Vietnam to the youth of America." Teenagers in the NLF liberated areas of South Vietnam make beautiful, intricate puppets from scraps of US. war materials. Armed with these puppets, they travel through the liberated zones performing for the local children while our planes "search and destroy". A poignant film that gives a view of the war even more powerful than images of atrocities. English sound track.
25 minutes
Mayday (Black Panther)
On May 1, 1969 the Black Panther Party held a massive rally in San Francisco. Speakers Kathleen Cleaver, Bobby Seale, and Charles Garry present the rally's demands for the release of Huey Newton and all political prisoners. The film includes footage of the police raid on Panther headquarters in San Francisco a few days prior to the rally and the Panther's Breakfast for Children Program.
1969 - 15 minutes
Only the Beginning
For years the sentiment against the war in Vietnam has been growing. The latest polls show that 73% of the US. population want the troops out of Vietnam now G.I.'s are among the most active protesters against the war. In April, l971, thousands of G.I.'s-Marines and regular army, veterans and active duty personnel came to Washington, DC., to denounce their participation in that "dirty war," and to demand it be ended immediately. The film begins with the demonstration in Washington. In front of the Capitol, we see the veterans come before the crowd and throw their medals away. The film moves to Vietnam where the devastating effects of US. bombs are documented. ONLY THE BEGINNING is about the GI. movement to end the war.
1971 - 20 minutes color
Two Heroic Sisters of the Grassland
A cartoon version of a true story about two young sisters who risked their lives to save their commune's sheep heard during a sudden snowstorm. The film gives us a sense both of the values stressed in the new society, and the people's participation at every level in the transformation of China.
English track 42 minutes
El Pueblo Se Levanta (THE YOUNG LORDS FILM)
One-third of the Puerto Rican people live in the United States. Most have come in search for the better life promised them by US. propaganda. Instead they found slum housing, poor or miseducation, low-paying jobs, and constantly rising unemployment, in a society determined to destroy their cultural identity The film traces the growth of the Puerto Rican struggle by focusing on the development of the Young Lords Party. A Newsreel crew in New York City worked closely with the Lords for a year and a half-participating and recording the events and programs which the Young Lords are using to make significant advances in the Puerto Rican struggle. The film deals with the main problems in the Puerto Rican community-health, education, food, and housing. These problems become the focus of the Young Lords Party.
The Case Against Lincoln Center
Urban renewal removes 35,000 Puerto Rican families from New Your City's upper West Side to build Lincoln Center, a cultural show-case for the city's middle and ruling class. The film discusses the links between the problems of the city, and the forces of American corporate imperialism.
1968 - 12 minutes (available in Spanish)
No Game
October 21, 1967; The pentagon; 100,000 anti-war demonstrators who had not come prepared for a violent confrontation with the military police and Pentagon guards; for the tear gas, and rifle butts.
Considered the first collective Newsreel film. [According to Marvin Fishman, “This film was shot and edited before Newsreel officially came into existence and was then donated to Newsreel to get the newly formed organization’s distribution service off the ground.”]
1967 - 17 minutes
Pig Power
As student take to the streets in New York and Berkeley, the forces of order illustrate Mayor Daley's thesis that the police are there "to preserve disorder", and we must organize to challenge their control and preserve our lives as well as our life styles. A short impressionistic montage of music and images pointing up the disparity between their force and ours. The function of police repressing Black and white demonstrators alike is emphasized.
6 minutes
Community Control
The struggle for Community Control in Black and Puerto Rican communities in New York City. An examination of colonialism as it manifests itself in many American cities. In two so called experimental districts, police are constantly called in to enforce the political decisions of the state and city bureaucracy, and the striking teachers; union. All ofthis taking place against the legitimate demands of the community (Ocean Hill-Brownsville, and East Harlem). Filmed inside some of the schools involved in the conflict; contains interviews with Herman Ferguson, Minister of Education for the Republic of New Africa, and Les Campbell, director of The Afro-American Teachers Association.
50 minutes
Venceremos
A film shot in Cuba in l970-71 about two brigades of 500 Americans that went to Cuba illegally in order to show support by breaking the blockade and to help with the sugar harvest of ten million tons. They cut cane with brigades that were sent from Vietnam, North Korea, and Latin America. This is the story of their boat ride from St. Johns, Canada and their stay in Cuba.
20 minutes
High School
A film about high school students and how school becomes a prison.
20 minutes (muddled, poor editing)
You Don't Have to Buy the War
A speech by former Miss America, Bess Meyerson presented to the group Another Mother for Peace at a gathering in Beverly Hills. One of the strongest speeches ever given about who is making money out of the war in Vietnam. She gives excellent reasons to boycott many everyday products that women buy.
Open for Children
One of the first films ever made about the need for childcare.
Make It Real
This is what Newsreel considered an energy film. It contains great shots of street actions and hot music. These short films were made to show between our longer films that were "more serious" They were made to give youth a feeling that they could get up and become "street fighting men".
8 minutes
McDonnel-Douglas
A film about the McDonnel-Douglas company and its relationship to the war-machine.
Free Farm
A film made by Newsreel folks that went to live in Vermont. A story about a community free farm on land loaned by a small college. It tell the story of coming together to farm the land and to have Sunday community gatherings. The college calls the cops to kick people off the land in the fall before the harvest and local young men trash the farm. An interesting note is that posters are put up warning that a local cop named Paul Lawrence was setting up and beating up people. Ten years later he was busted for planting drugs and was known as the bad cop that went to jail. A true story of hippies with politics.
1971 - 18 minutes
Inciting to Riot
A quick montage flirtation with the idea of rural guerrilla struggle in the US returning repeatedly to the reality of pig power in the cities and space technology. A flashing image of a state of mind common among hip and political youth.
10 minutes
Don't Bank on America
This is the story of one of the first ecological political actions of the period, the burning of the Bank of America. (Newsreel distributed this film?)
Mighty Mouse and Little Eva
This is a 1930's racist cartoon, taking off on Uncles Tom Cabin. Distributed by Newsreel.
8 Minutes
Ice
A film made by Newsreel member Robert Kramer with a production team made up of Newsreel members. A story of a time in the future when the US is at war with Mexico and the Americans are living in a police state. The film includes a kidnapping, a murder, prison break, takeover of an apartment house for political education, sex, nudity, and violence. and much, much more. 150 Minutes
( a new description of this film will be available soon! although this was perhaps the description in an early NR catalogue, we hope to have more background on these old films. how they were made. the process and reflections of those who worked on them )
_________
This collection includes links to each of the Newsreel Films that is currently available to view on the web. If you find that any of the links are broken, please drop a note to the archive manager (see, Contact tab) and let us know!
Moving Image
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Original Format
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newsreel
Duration
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50 minutes
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
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Columbia Revolt
Subject
The topic of the resource
New Left
Description
An account of the resource
"In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings." (Roz Payne Archives) <iframe width="560" height="315" src="https://www.youtube.com/embed/BUcYLuGiL_s" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Creator
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Newsreel Films
Source
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Kit • Parker Films - YouTube
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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1968
Format
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film
Black Power
Columbia Strike Committee
Columbia University
H. Rap Brown
Harlem
Mark Rudd
Morningside Park gymnasium
New Left
New York
police
Police Brutality
police repression
SAS
SDS
Stokely Carmichael
strike
Student Afro Society
Students for a Democratic Society
-
https://rozsixties.unl.edu/files/original/175e49a73940a503d7e3ac0cec58bb3e.png
dc19c2ba34f8986856c0e592ebc2c710
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
Newsreel Films
Creator
An entity primarily responsible for making the resource
Newsreel Films
Source
A related resource from which the described resource is derived
Newsreel Films on YouTube
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. 1960s and 1970s
Format
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film
Description
An account of the resource
Roz Payne was involved in Newsreel Films from the group's inception in New York in 1967. Newsreel created a series of short films documenting various aspects of 1960s-era activism. The items in this collection provide links to each of the Newsreel Films that are currently available to view free on the web.
________
Roz Payne offered the following brief reflection on Newsreel Films in 2002:
"In 1967 a group of independent filmmakers, photographers, and media workers formed a collective to make politically relevant films sharing our resources, skills, and equipment. As individuals we had been covering many of the events that we considered news, demonstrations, acts of resistance, and countless inequities and abuses. Sometimes films were made and sometimes not. Most often they were made too late and did not go to the people who could use them best.
We met in a basement in the lower eastside of New York and later at the alternate U, then more basements until we got an office. The only news we saw was on TV and we knew who owned the stations. We decided to make films that would show another side to the news. It was clear to us that the established forms of media were not going to approach those subjects which threaten their very existence.
I was a school teacher in New Jersey who shot photos. My marriage with Arnold Payne, Mr. Muscle Beach Jr. had broken up, I left a little house on the Palisades, overlooking the boats on the Hudson River right over the Spry sign across from 96th Street. I would sit looking at the burning windows of the NYC skyline as the sun set. That fire and the fire from a GI's Zippo lighter on the straw of a Vietnamese hut helped ignite me. I moved to New York City.
Walking down Second Ave and 10th Street with my camera one afternoon Melvin Margolis , a wild looking hippie stopped me and said, ‘Hey, your a photographer and there's a meeting tonight of all the political film people. You have to go. It is very important. Make sure that you go. I'm not kidding.’ I showed up that night, to the first meeting of Newsreel.
About 30 people met weekly to talk about films, equipment, and politics. I think we were great because we came from various political backgrounds and had different interests. We never all agreed on a political line. We broke down into smaller groups to work on the films. The working groups included anti-Vietnam-war, anti-imperialist, high school, students, women, workers, Yippies, Third World, and the infamous sex, drugs and party committee.
We wanted to make two films a month and get 12 prints of each film out to groups across the country. We wanted to spark the creation of similar news-film groups in other major cities of the United States so that they would distribute our films and would cover and shoot the events in their area.
The first film I worked on was the 1968 student take-over of Columbia University. The students had taken over 5 buildings. We had a film team in each building. We were shooting from the inside while the rest of the press were outside. We participated in the political negotiations and discussions. Our cameras were used as weapons as well as recording the events. Melvin had a W.W.II cast iron steel Bell and Howell camera that could take the shock of breaking plate glass windows.
Newsreel worked to expand the awareness of events and situations relevant to shaping the movement. Our films tried to analyze, not just cover; they explored the realities that the media, as part of the system, always ignores.
In 1967 the FBI started the Counter-intelligence program to try to destroy African Americans, especially the Black Panther Party and the New Left. We worked with Third World groups. We produced various films that these groups could use to tell their stories and to use in organizing in their own communities and workplaces, hopefully serving as catalysts for social change.
Newsreel not only made films but we were among the first to distribute films made in Cuba, Vietnam, Africa, and the Middle East.
As Newsreel grew, we spread out, opened offices and distribution centers across the country. We had offices in San Francisco, Detroit, Boston, Kansas, Los Angeles, Vermont, and Atlanta. We made films and distributed our films in the hope that the audiences who saw them would respond to the issues they raised. We wanted people to work with our films as catalysts for political discussions about social change in America and to relate the questions in the films to issues in their own communities.
We had many struggles in Newsreel around class, women, political education, cultural and worker politics, the haves and have nots. It was hard to hold to the correct political line. Little by little the groups changed from film-maker control to worker control, to women control, to third world control. Today, Third World Newsreel is in New York, California Newsreel is in San Francisco, and there is a Vermont Newsreel Archives.
In 1972, myself and others moved to Vermont. We continue to distribute Newsreel films, shoot videos, use computer graphics, and maintain a film, photo, and document archive. With the easy accessibility of video cameras thousands of people are making their own documents to tell the stories of what is happening around them. I am shooting history of retired FBI agents that worked on COINTELPRO against Don Cox, an exiled Black Panther and the white women who helped him. I teach History of the Sixties, Civil Rights Movement, Women, and Mycology at Burlington College."
In 2019, another original Newsreel Film member, Marvin Fishman, remembered a slightly different version of some of the events Roz related above:
“Roz invariably reminded me that it was her chance encounter with me on 14th Street that led to her attending that meeting [rather than Melvin Margolis]. Melvin, Marvin . . . I always nodded in agreement with her when she reminded me of that, but honestly, my memory is vague on that street encounter, though I always accepted it as true because she seemed so certain. I leave open the possibility that she indeed met Melvin earlier in the day, and that our meeting on 14th Street happened later on, when she was searching for the meeting address. But I do remember bringing her upstairs to the Free School, the site of the meeting.”
Fishman went on, “Also omitted [from Roz’s narrative] is the earlier, actual very first meeting, which was held on December 22, 1967, in Jonas Mekas’ Filmmakers Cinematheque. This is the date and place of what I consider the beginning of the collaborative undertaking among filmmakers. More than 30 people attended. Coincidentally, if I remember correctly, this is the date that Universal Newsreel, a service of Hollywood’s Universal Pictures, closed down.
Perhaps more important for Newsreel’s history, is that the narrative on the website does not mention why the meetings at the Cinematheque and then at the Free School were held. That is, what brought all the filmmakers together to that meeting which led to the formation of Newsreel? In fact, the catalyst for that meeting was the Pentagon Demonstration. To omit this fact is to omit the precipitating event, the traumatic historic milestone which led a disparate bunch of filmmakers and others to unite.”
According to filmmaker and activist, Danny Schechter, “Working in decentralized film collectives in several cities, [Newsreel] produced many, many films, mostly shot on 16 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.
These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the ‘intellectual property’ everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system.”
The UCLA Film & Television Archive adds, “Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verité and poster art. The student movement (Columbia Revolt), racism (Black Panther) and Vietnam (No Game; People's War) were among the subjects Newsreel addressed. Feminist consciousness-raising efforts were documented in films such as The Woman's Film, produced collectively by women, and Makeout. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and Now omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.”
Among the items in this collection is also a 7-page journal article, "Newsreel: Film and Revolution," written by Bill Nichols for Cinéaste in 1973. The article provides a different introduction to Newsreel Films. Nichols also completed an M.A. Thesis by the same title at UCLA in Theater Arts in 1972. That thesis runs more than 300-pages and can be found online for those interested in a much more in-depth exploration of the history of Newsreel:
https://billnichols99.files.wordpress.com/2014/05/newsreel-film-and-revolution.pdf
_________
The following is a list of Newsreel films made and/or distributed by the group during the 1960s-era with a brief description after each one written by Roz Payne. It is reprinted from Roz Payne's website:
Amerika
Against the background of the November 1969 Anti-Vietnam War demonstration in Washington DC., footage from all over the world.
1969 - 45 minutes
Army
US. imperialism needs massive military power capable of maintaining its markets overseas and quelling rebellions at home. This film records the training and indoctrination given to G.I.s to produce this force. The men themselves talk about who the army really serves, and the effect the indoctrination has on them, and the beginnings of resistance to the army and against the war.
Off the Pig (Black Panther)
This is one of the first films made about the Panthers. It contains interviews with Party leaders Huey Newton and Eldridge Cleaver describing why the Party was formed and what its goals are. It also includes footage of Panther recruitment, training and the Party's original 10 Point Program laid out by Chairman Bobby Seale.
1968 - 20 minutes
El Caso Contra Lincoln Center
La Renovacion Urban destruyo los hogares de 35,000 familias puertoriquenasde la ciudad de Nueva York para construir Lincoln Center, una vitrina cultural para las clase dominante de la ciudad. La pelicula explica la coneccion entre esta accion cotidiana y es imperlialismo corporativo norteamericano.
12 minutes
To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families moved into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents.
11 minutes
Columbia Revolt
In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings.
1968 - 50 minutes
The Earth Belongs to the People
An analysis of the ecology crisis, this film dispels the myths that big business and big government have been telling the people about the world-wide ecological crisis. Is there really over-population in the world, or is there an unequal distribution of wealth and food? Do people or large industries ruin the environment? Will the earth survive for the people or for corporate profit????
1971 - 10 minutes
Garbage
Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike.
1968 - 10 minutes
High School Rising
High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today,)
1969 - 15 minutes
Los Siete de la Raza
This film is about the oppression of the Third World community in the Mission district of San Francisco. It deals specifically with seven Latino youths who were recruiting street kids into a college Brown Studies Program. They are accused of killing a plainclothesman. While they become victims of a press and police campaign to "clean-up" the Mission, their defense becomes the foundation of a revolutionary community organization called Los Siete
1969 - 30 minutes.
Available in Spanish and English. Spanish soundtrack is poor quality.
Make Out
The oppressive experience of making-out in a car...from the woman's point of view. Short and sweet. It can be shown a second time with the sound off and the male can make up his own sound track.
1969 - 5 minutes
Up Against the Wall Miss America
A now historical film about the disruption of the Miss America pageant of 1968. With raps, guerrilla theater, and original songs . Women stress the (mis)use of their sisters, by the pageant, as mindless sexual objects. Footage includes Attorney /activist Flo Kennedy.
6 minutes
Richmond Oil Strike
In January, 1969 oil workers in NorthernCalifornia struck. The local police and the Standard Oil goon squads attacked the strikers and their families, killing one and injuring others. The striking students from San Francisco State were asked to join the struggle. For the first time workers and students fight together against their common enemy.
Footage includes speeches of Bob Avakian.
People's Park
In the spring of 1969 , the Berkeley street community initiated a project to transform a barren and unused university-owned Lot into a park for the whole community to enjoy-a People's Park. Because the park threatened the control of the university and presented a challenge to the concept of private property, the police and National Guard were used to brutalize the people and destroy the People's Park.
25 minutes
This film was made by SF Newsreel and was originally rejected as not being political enough. It was too hippie dippy so the beginning five minute rap by Frank Barneke, a Peoples Park politico was added on in the beginning .
Por Primeria Vez (For the First Time)
The Cuban Film Institute sends mobile film units into the rural provinces-young and old delight on seeing movies "for the first time." Modern Times with Charlie Chaplin is shown in a rural village. An enchanting short that leaves you happy and smiling.
10 minutes (Available in Spanish)
Peoples' War
In the summer of 1969, Newsreel went to North Vietnam. From that trip came PEOPLES' WAR. This film moves beyond the perception of the North Vietnamese as victims to a portrait of how the North Vietnamese society is organized. It shows the relationship of the people to their government-how local tasks of a village are coordinated and its needs met. It deals with the reality of a nation that has been at war for twenty-five years, that is not only resisting US aggression and keeping alive under bombing, but that is also struggling to raise its standard of living and to overcome the underdevelopment of centuries of colonial rule. Amid much publicity, the footage was confiscated upon its return to the US. Despite this attempt at suppression, PEOPLE'S WAR has become one of the most sought-after films on Vietnam. Blue ribbon at U.S.A. film festival in Houston, Texas. and the Golden Bear Award, Moscow, USSR
1969 - 40 minutes
R.O.T.C.
The issue of ROTC is uppermost on many college campuses and is a major focus of anti-war activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed.
1969 - 20 minutes
Seventy-Nine Springs of Ho Chi Minh
This film on the life and death of Ho Chi Minh is a skillfully interwoven blend of old still photographs and Newsreel footage of the DRV's (Democratic Republic of Vietnam) founder, a man whose life spans three revolutions, three continents and three wars. It portrays his life: from militant student to revolutionary lead of this country; and his life-long work dedication to the Vietnamese people and their struggle for liberation. This eulogy was made by Cuba's renowned filmmaker, Santiago Alvarez. Musical soundtrack, Spanish titles. (Note: Understanding of the Spanish titles is not necessary for full enjoyment of the film.)
25 minutes
" . . . one of the most moving political films this reviewer has seen . . ." (Lenny Rubenstein, Cineaste)
She's Beautiful When She's Angry
In a skit presented at an abortion rally in New York City, a beauty contestant is pressured to fulfill certain roles in order to be the "ideal woman", a "winner". The skit shows how women, especially minority women, are used in this society for profit. The women who perform also discuss their personal lives and how their struggle as women is expressed in the skit. ( Note: Soundtrack is sometimes difficult to understand. )
1967 - 17 minutes
Strike City
Plantation workers in Mississippi having gone on strike against the extreme exploitation of the plantation system, and decide to form their own collective Their determination to stick together, rather than go back to the plantation or be forced out of the state, is their main resource. After a bitter winter, living in tents, they obtain partial support from private sources and begin building permanent housing. The poverty program backs down on its promise of support in response to Mississippi senators who fear the implications of collectives of back farmers in Mississippi.
1967 - 30 minutes
Summer '68
Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a GI. coffeehouse in Texas, Newsreel's take-over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project--the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities.
1968 - 60 minutes
BDRG: Boston Draft Resistance Group
This film detailed draft resistance organizing in Boston.
1968 - 15 minutes
Troublemakers
In 1965, a group of white organizers went into Newark's central ward to work with the black community, forming the Newark Community Union Project (NCUP). Traditional forms of protest--letters to city officials, demonstrations, electoral politics--were used as tactics for organizing. The film focuses on the action undertaken around three issues. The first is an attempt to get housing code enforcement; the second, to get a traffic light installed at a hazardous intersection. After many months of hallow promises, and inaction on the part of the city government an attempt was made to elect a third party candidate to the City Council. Lacking the resources of the two major parties, this was doomed to failure too The film is an absorbing, informative documentary of the frustrating failures of NCUP and the problem of getting even modest reform within the present political structure. But it goes beyond this--it shows clearly the contradictions in the concept of white groups organizing in black and other third world communities. A good study in some of the early New Left tactics--how and why they failed.
1966 - 53 minutes
The Woman's Film
The film was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself was written from preliminary interviews with the women in the film. Their participation, their criticism, and approval were sought at various stages of production.
"... What we see is not only natural and spontaneous, it is thoughtful and beautiful. It is a film which immediately evokes the sights and sounds and smells of working class kitchens, neighborhood streets, local supermarkets, factories, cramped living rooms, dinners cooking, diaper-washing, housecleaning, and all the other "points of production" and battlefronts where working class women in America daily confront the realities of their oppression. It is . . . a supremely optimistic statement, showing the sinews of struggle and capturing the essential energy and collective spirit of all working people-and especially that advanced consciousness which working class women bring to the common struggle." (Irwin Silber, Guardian)
1971 - 40 minutes
Yippie
Yippie is filmed farce, juxtaposing the brutal police riot at the 1968 Democratic Convention with the orgy scenes from D.W. Griffith's "Intolerance." A clear and energetic no-verbal statement of Yippie politics Hip jive.
1968 - 15 minutes
Young Puppeteers of South Vietnam
"A gift from the youth of South Vietnam to the youth of America." Teenagers in the NLF liberated areas of South Vietnam make beautiful, intricate puppets from scraps of US. war materials. Armed with these puppets, they travel through the liberated zones performing for the local children while our planes "search and destroy". A poignant film that gives a view of the war even more powerful than images of atrocities. English sound track.
25 minutes
Mayday (Black Panther)
On May 1, 1969 the Black Panther Party held a massive rally in San Francisco. Speakers Kathleen Cleaver, Bobby Seale, and Charles Garry present the rally's demands for the release of Huey Newton and all political prisoners. The film includes footage of the police raid on Panther headquarters in San Francisco a few days prior to the rally and the Panther's Breakfast for Children Program.
1969 - 15 minutes
Only the Beginning
For years the sentiment against the war in Vietnam has been growing. The latest polls show that 73% of the US. population want the troops out of Vietnam now G.I.'s are among the most active protesters against the war. In April, l971, thousands of G.I.'s-Marines and regular army, veterans and active duty personnel came to Washington, DC., to denounce their participation in that "dirty war," and to demand it be ended immediately. The film begins with the demonstration in Washington. In front of the Capitol, we see the veterans come before the crowd and throw their medals away. The film moves to Vietnam where the devastating effects of US. bombs are documented. ONLY THE BEGINNING is about the GI. movement to end the war.
1971 - 20 minutes color
Two Heroic Sisters of the Grassland
A cartoon version of a true story about two young sisters who risked their lives to save their commune's sheep heard during a sudden snowstorm. The film gives us a sense both of the values stressed in the new society, and the people's participation at every level in the transformation of China.
English track 42 minutes
El Pueblo Se Levanta (THE YOUNG LORDS FILM)
One-third of the Puerto Rican people live in the United States. Most have come in search for the better life promised them by US. propaganda. Instead they found slum housing, poor or miseducation, low-paying jobs, and constantly rising unemployment, in a society determined to destroy their cultural identity The film traces the growth of the Puerto Rican struggle by focusing on the development of the Young Lords Party. A Newsreel crew in New York City worked closely with the Lords for a year and a half-participating and recording the events and programs which the Young Lords are using to make significant advances in the Puerto Rican struggle. The film deals with the main problems in the Puerto Rican community-health, education, food, and housing. These problems become the focus of the Young Lords Party.
The Case Against Lincoln Center
Urban renewal removes 35,000 Puerto Rican families from New Your City's upper West Side to build Lincoln Center, a cultural show-case for the city's middle and ruling class. The film discusses the links between the problems of the city, and the forces of American corporate imperialism.
1968 - 12 minutes (available in Spanish)
No Game
October 21, 1967; The pentagon; 100,000 anti-war demonstrators who had not come prepared for a violent confrontation with the military police and Pentagon guards; for the tear gas, and rifle butts.
Considered the first collective Newsreel film. [According to Marvin Fishman, “This film was shot and edited before Newsreel officially came into existence and was then donated to Newsreel to get the newly formed organization’s distribution service off the ground.”]
1967 - 17 minutes
Pig Power
As student take to the streets in New York and Berkeley, the forces of order illustrate Mayor Daley's thesis that the police are there "to preserve disorder", and we must organize to challenge their control and preserve our lives as well as our life styles. A short impressionistic montage of music and images pointing up the disparity between their force and ours. The function of police repressing Black and white demonstrators alike is emphasized.
6 minutes
Community Control
The struggle for Community Control in Black and Puerto Rican communities in New York City. An examination of colonialism as it manifests itself in many American cities. In two so called experimental districts, police are constantly called in to enforce the political decisions of the state and city bureaucracy, and the striking teachers; union. All ofthis taking place against the legitimate demands of the community (Ocean Hill-Brownsville, and East Harlem). Filmed inside some of the schools involved in the conflict; contains interviews with Herman Ferguson, Minister of Education for the Republic of New Africa, and Les Campbell, director of The Afro-American Teachers Association.
50 minutes
Venceremos
A film shot in Cuba in l970-71 about two brigades of 500 Americans that went to Cuba illegally in order to show support by breaking the blockade and to help with the sugar harvest of ten million tons. They cut cane with brigades that were sent from Vietnam, North Korea, and Latin America. This is the story of their boat ride from St. Johns, Canada and their stay in Cuba.
20 minutes
High School
A film about high school students and how school becomes a prison.
20 minutes (muddled, poor editing)
You Don't Have to Buy the War
A speech by former Miss America, Bess Meyerson presented to the group Another Mother for Peace at a gathering in Beverly Hills. One of the strongest speeches ever given about who is making money out of the war in Vietnam. She gives excellent reasons to boycott many everyday products that women buy.
Open for Children
One of the first films ever made about the need for childcare.
Make It Real
This is what Newsreel considered an energy film. It contains great shots of street actions and hot music. These short films were made to show between our longer films that were "more serious" They were made to give youth a feeling that they could get up and become "street fighting men".
8 minutes
McDonnel-Douglas
A film about the McDonnel-Douglas company and its relationship to the war-machine.
Free Farm
A film made by Newsreel folks that went to live in Vermont. A story about a community free farm on land loaned by a small college. It tell the story of coming together to farm the land and to have Sunday community gatherings. The college calls the cops to kick people off the land in the fall before the harvest and local young men trash the farm. An interesting note is that posters are put up warning that a local cop named Paul Lawrence was setting up and beating up people. Ten years later he was busted for planting drugs and was known as the bad cop that went to jail. A true story of hippies with politics.
1971 - 18 minutes
Inciting to Riot
A quick montage flirtation with the idea of rural guerrilla struggle in the US returning repeatedly to the reality of pig power in the cities and space technology. A flashing image of a state of mind common among hip and political youth.
10 minutes
Don't Bank on America
This is the story of one of the first ecological political actions of the period, the burning of the Bank of America. (Newsreel distributed this film?)
Mighty Mouse and Little Eva
This is a 1930's racist cartoon, taking off on Uncles Tom Cabin. Distributed by Newsreel.
8 Minutes
Ice
A film made by Newsreel member Robert Kramer with a production team made up of Newsreel members. A story of a time in the future when the US is at war with Mexico and the Americans are living in a police state. The film includes a kidnapping, a murder, prison break, takeover of an apartment house for political education, sex, nudity, and violence. and much, much more. 150 Minutes
( a new description of this film will be available soon! although this was perhaps the description in an early NR catalogue, we hope to have more background on these old films. how they were made. the process and reflections of those who worked on them )
_________
This collection includes links to each of the Newsreel Films that is currently available to view on the web. If you find that any of the links are broken, please drop a note to the archive manager (see, Contact tab) and let us know!
Moving Image
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Original Format
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newsreel
Duration
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11:17
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Title
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Garbage
Subject
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New Left
Description
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"Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike. " (Roz Payne Archive) <iframe width="560" height="315" src="https://www.youtube.com/embed/KtX8IEWabTY" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Creator
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Newsreel Films
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YouTube
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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1968
Format
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film
environmentalism
garbage
labor movement
Lincoln Cente
Lower East Side
Motherfuckers
New Left
New York
Poverty
strike
trash
Up Against the Wall Motherfuckers
-
https://rozsixties.unl.edu/files/original/cc37c67588a1e67f1709b0750cc2e7f1.png
1c38d62d42fa69cdc320ec713afa474d
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
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Newsreel Films
Creator
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Newsreel Films
Source
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Newsreel Films on YouTube
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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ca. 1960s and 1970s
Format
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film
Description
An account of the resource
Roz Payne was involved in Newsreel Films from the group's inception in New York in 1967. Newsreel created a series of short films documenting various aspects of 1960s-era activism. The items in this collection provide links to each of the Newsreel Films that are currently available to view free on the web.
________
Roz Payne offered the following brief reflection on Newsreel Films in 2002:
"In 1967 a group of independent filmmakers, photographers, and media workers formed a collective to make politically relevant films sharing our resources, skills, and equipment. As individuals we had been covering many of the events that we considered news, demonstrations, acts of resistance, and countless inequities and abuses. Sometimes films were made and sometimes not. Most often they were made too late and did not go to the people who could use them best.
We met in a basement in the lower eastside of New York and later at the alternate U, then more basements until we got an office. The only news we saw was on TV and we knew who owned the stations. We decided to make films that would show another side to the news. It was clear to us that the established forms of media were not going to approach those subjects which threaten their very existence.
I was a school teacher in New Jersey who shot photos. My marriage with Arnold Payne, Mr. Muscle Beach Jr. had broken up, I left a little house on the Palisades, overlooking the boats on the Hudson River right over the Spry sign across from 96th Street. I would sit looking at the burning windows of the NYC skyline as the sun set. That fire and the fire from a GI's Zippo lighter on the straw of a Vietnamese hut helped ignite me. I moved to New York City.
Walking down Second Ave and 10th Street with my camera one afternoon Melvin Margolis , a wild looking hippie stopped me and said, ‘Hey, your a photographer and there's a meeting tonight of all the political film people. You have to go. It is very important. Make sure that you go. I'm not kidding.’ I showed up that night, to the first meeting of Newsreel.
About 30 people met weekly to talk about films, equipment, and politics. I think we were great because we came from various political backgrounds and had different interests. We never all agreed on a political line. We broke down into smaller groups to work on the films. The working groups included anti-Vietnam-war, anti-imperialist, high school, students, women, workers, Yippies, Third World, and the infamous sex, drugs and party committee.
We wanted to make two films a month and get 12 prints of each film out to groups across the country. We wanted to spark the creation of similar news-film groups in other major cities of the United States so that they would distribute our films and would cover and shoot the events in their area.
The first film I worked on was the 1968 student take-over of Columbia University. The students had taken over 5 buildings. We had a film team in each building. We were shooting from the inside while the rest of the press were outside. We participated in the political negotiations and discussions. Our cameras were used as weapons as well as recording the events. Melvin had a W.W.II cast iron steel Bell and Howell camera that could take the shock of breaking plate glass windows.
Newsreel worked to expand the awareness of events and situations relevant to shaping the movement. Our films tried to analyze, not just cover; they explored the realities that the media, as part of the system, always ignores.
In 1967 the FBI started the Counter-intelligence program to try to destroy African Americans, especially the Black Panther Party and the New Left. We worked with Third World groups. We produced various films that these groups could use to tell their stories and to use in organizing in their own communities and workplaces, hopefully serving as catalysts for social change.
Newsreel not only made films but we were among the first to distribute films made in Cuba, Vietnam, Africa, and the Middle East.
As Newsreel grew, we spread out, opened offices and distribution centers across the country. We had offices in San Francisco, Detroit, Boston, Kansas, Los Angeles, Vermont, and Atlanta. We made films and distributed our films in the hope that the audiences who saw them would respond to the issues they raised. We wanted people to work with our films as catalysts for political discussions about social change in America and to relate the questions in the films to issues in their own communities.
We had many struggles in Newsreel around class, women, political education, cultural and worker politics, the haves and have nots. It was hard to hold to the correct political line. Little by little the groups changed from film-maker control to worker control, to women control, to third world control. Today, Third World Newsreel is in New York, California Newsreel is in San Francisco, and there is a Vermont Newsreel Archives.
In 1972, myself and others moved to Vermont. We continue to distribute Newsreel films, shoot videos, use computer graphics, and maintain a film, photo, and document archive. With the easy accessibility of video cameras thousands of people are making their own documents to tell the stories of what is happening around them. I am shooting history of retired FBI agents that worked on COINTELPRO against Don Cox, an exiled Black Panther and the white women who helped him. I teach History of the Sixties, Civil Rights Movement, Women, and Mycology at Burlington College."
In 2019, another original Newsreel Film member, Marvin Fishman, remembered a slightly different version of some of the events Roz related above:
“Roz invariably reminded me that it was her chance encounter with me on 14th Street that led to her attending that meeting [rather than Melvin Margolis]. Melvin, Marvin . . . I always nodded in agreement with her when she reminded me of that, but honestly, my memory is vague on that street encounter, though I always accepted it as true because she seemed so certain. I leave open the possibility that she indeed met Melvin earlier in the day, and that our meeting on 14th Street happened later on, when she was searching for the meeting address. But I do remember bringing her upstairs to the Free School, the site of the meeting.”
Fishman went on, “Also omitted [from Roz’s narrative] is the earlier, actual very first meeting, which was held on December 22, 1967, in Jonas Mekas’ Filmmakers Cinematheque. This is the date and place of what I consider the beginning of the collaborative undertaking among filmmakers. More than 30 people attended. Coincidentally, if I remember correctly, this is the date that Universal Newsreel, a service of Hollywood’s Universal Pictures, closed down.
Perhaps more important for Newsreel’s history, is that the narrative on the website does not mention why the meetings at the Cinematheque and then at the Free School were held. That is, what brought all the filmmakers together to that meeting which led to the formation of Newsreel? In fact, the catalyst for that meeting was the Pentagon Demonstration. To omit this fact is to omit the precipitating event, the traumatic historic milestone which led a disparate bunch of filmmakers and others to unite.”
According to filmmaker and activist, Danny Schechter, “Working in decentralized film collectives in several cities, [Newsreel] produced many, many films, mostly shot on 16 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.
These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the ‘intellectual property’ everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system.”
The UCLA Film & Television Archive adds, “Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verité and poster art. The student movement (Columbia Revolt), racism (Black Panther) and Vietnam (No Game; People's War) were among the subjects Newsreel addressed. Feminist consciousness-raising efforts were documented in films such as The Woman's Film, produced collectively by women, and Makeout. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and Now omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.”
Among the items in this collection is also a 7-page journal article, "Newsreel: Film and Revolution," written by Bill Nichols for Cinéaste in 1973. The article provides a different introduction to Newsreel Films. Nichols also completed an M.A. Thesis by the same title at UCLA in Theater Arts in 1972. That thesis runs more than 300-pages and can be found online for those interested in a much more in-depth exploration of the history of Newsreel:
https://billnichols99.files.wordpress.com/2014/05/newsreel-film-and-revolution.pdf
_________
The following is a list of Newsreel films made and/or distributed by the group during the 1960s-era with a brief description after each one written by Roz Payne. It is reprinted from Roz Payne's website:
Amerika
Against the background of the November 1969 Anti-Vietnam War demonstration in Washington DC., footage from all over the world.
1969 - 45 minutes
Army
US. imperialism needs massive military power capable of maintaining its markets overseas and quelling rebellions at home. This film records the training and indoctrination given to G.I.s to produce this force. The men themselves talk about who the army really serves, and the effect the indoctrination has on them, and the beginnings of resistance to the army and against the war.
Off the Pig (Black Panther)
This is one of the first films made about the Panthers. It contains interviews with Party leaders Huey Newton and Eldridge Cleaver describing why the Party was formed and what its goals are. It also includes footage of Panther recruitment, training and the Party's original 10 Point Program laid out by Chairman Bobby Seale.
1968 - 20 minutes
El Caso Contra Lincoln Center
La Renovacion Urban destruyo los hogares de 35,000 familias puertoriquenasde la ciudad de Nueva York para construir Lincoln Center, una vitrina cultural para las clase dominante de la ciudad. La pelicula explica la coneccion entre esta accion cotidiana y es imperlialismo corporativo norteamericano.
12 minutes
To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families moved into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents.
11 minutes
Columbia Revolt
In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings.
1968 - 50 minutes
The Earth Belongs to the People
An analysis of the ecology crisis, this film dispels the myths that big business and big government have been telling the people about the world-wide ecological crisis. Is there really over-population in the world, or is there an unequal distribution of wealth and food? Do people or large industries ruin the environment? Will the earth survive for the people or for corporate profit????
1971 - 10 minutes
Garbage
Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike.
1968 - 10 minutes
High School Rising
High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today,)
1969 - 15 minutes
Los Siete de la Raza
This film is about the oppression of the Third World community in the Mission district of San Francisco. It deals specifically with seven Latino youths who were recruiting street kids into a college Brown Studies Program. They are accused of killing a plainclothesman. While they become victims of a press and police campaign to "clean-up" the Mission, their defense becomes the foundation of a revolutionary community organization called Los Siete
1969 - 30 minutes.
Available in Spanish and English. Spanish soundtrack is poor quality.
Make Out
The oppressive experience of making-out in a car...from the woman's point of view. Short and sweet. It can be shown a second time with the sound off and the male can make up his own sound track.
1969 - 5 minutes
Up Against the Wall Miss America
A now historical film about the disruption of the Miss America pageant of 1968. With raps, guerrilla theater, and original songs . Women stress the (mis)use of their sisters, by the pageant, as mindless sexual objects. Footage includes Attorney /activist Flo Kennedy.
6 minutes
Richmond Oil Strike
In January, 1969 oil workers in NorthernCalifornia struck. The local police and the Standard Oil goon squads attacked the strikers and their families, killing one and injuring others. The striking students from San Francisco State were asked to join the struggle. For the first time workers and students fight together against their common enemy.
Footage includes speeches of Bob Avakian.
People's Park
In the spring of 1969 , the Berkeley street community initiated a project to transform a barren and unused university-owned Lot into a park for the whole community to enjoy-a People's Park. Because the park threatened the control of the university and presented a challenge to the concept of private property, the police and National Guard were used to brutalize the people and destroy the People's Park.
25 minutes
This film was made by SF Newsreel and was originally rejected as not being political enough. It was too hippie dippy so the beginning five minute rap by Frank Barneke, a Peoples Park politico was added on in the beginning .
Por Primeria Vez (For the First Time)
The Cuban Film Institute sends mobile film units into the rural provinces-young and old delight on seeing movies "for the first time." Modern Times with Charlie Chaplin is shown in a rural village. An enchanting short that leaves you happy and smiling.
10 minutes (Available in Spanish)
Peoples' War
In the summer of 1969, Newsreel went to North Vietnam. From that trip came PEOPLES' WAR. This film moves beyond the perception of the North Vietnamese as victims to a portrait of how the North Vietnamese society is organized. It shows the relationship of the people to their government-how local tasks of a village are coordinated and its needs met. It deals with the reality of a nation that has been at war for twenty-five years, that is not only resisting US aggression and keeping alive under bombing, but that is also struggling to raise its standard of living and to overcome the underdevelopment of centuries of colonial rule. Amid much publicity, the footage was confiscated upon its return to the US. Despite this attempt at suppression, PEOPLE'S WAR has become one of the most sought-after films on Vietnam. Blue ribbon at U.S.A. film festival in Houston, Texas. and the Golden Bear Award, Moscow, USSR
1969 - 40 minutes
R.O.T.C.
The issue of ROTC is uppermost on many college campuses and is a major focus of anti-war activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed.
1969 - 20 minutes
Seventy-Nine Springs of Ho Chi Minh
This film on the life and death of Ho Chi Minh is a skillfully interwoven blend of old still photographs and Newsreel footage of the DRV's (Democratic Republic of Vietnam) founder, a man whose life spans three revolutions, three continents and three wars. It portrays his life: from militant student to revolutionary lead of this country; and his life-long work dedication to the Vietnamese people and their struggle for liberation. This eulogy was made by Cuba's renowned filmmaker, Santiago Alvarez. Musical soundtrack, Spanish titles. (Note: Understanding of the Spanish titles is not necessary for full enjoyment of the film.)
25 minutes
" . . . one of the most moving political films this reviewer has seen . . ." (Lenny Rubenstein, Cineaste)
She's Beautiful When She's Angry
In a skit presented at an abortion rally in New York City, a beauty contestant is pressured to fulfill certain roles in order to be the "ideal woman", a "winner". The skit shows how women, especially minority women, are used in this society for profit. The women who perform also discuss their personal lives and how their struggle as women is expressed in the skit. ( Note: Soundtrack is sometimes difficult to understand. )
1967 - 17 minutes
Strike City
Plantation workers in Mississippi having gone on strike against the extreme exploitation of the plantation system, and decide to form their own collective Their determination to stick together, rather than go back to the plantation or be forced out of the state, is their main resource. After a bitter winter, living in tents, they obtain partial support from private sources and begin building permanent housing. The poverty program backs down on its promise of support in response to Mississippi senators who fear the implications of collectives of back farmers in Mississippi.
1967 - 30 minutes
Summer '68
Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a GI. coffeehouse in Texas, Newsreel's take-over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project--the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities.
1968 - 60 minutes
BDRG: Boston Draft Resistance Group
This film detailed draft resistance organizing in Boston.
1968 - 15 minutes
Troublemakers
In 1965, a group of white organizers went into Newark's central ward to work with the black community, forming the Newark Community Union Project (NCUP). Traditional forms of protest--letters to city officials, demonstrations, electoral politics--were used as tactics for organizing. The film focuses on the action undertaken around three issues. The first is an attempt to get housing code enforcement; the second, to get a traffic light installed at a hazardous intersection. After many months of hallow promises, and inaction on the part of the city government an attempt was made to elect a third party candidate to the City Council. Lacking the resources of the two major parties, this was doomed to failure too The film is an absorbing, informative documentary of the frustrating failures of NCUP and the problem of getting even modest reform within the present political structure. But it goes beyond this--it shows clearly the contradictions in the concept of white groups organizing in black and other third world communities. A good study in some of the early New Left tactics--how and why they failed.
1966 - 53 minutes
The Woman's Film
The film was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself was written from preliminary interviews with the women in the film. Their participation, their criticism, and approval were sought at various stages of production.
"... What we see is not only natural and spontaneous, it is thoughtful and beautiful. It is a film which immediately evokes the sights and sounds and smells of working class kitchens, neighborhood streets, local supermarkets, factories, cramped living rooms, dinners cooking, diaper-washing, housecleaning, and all the other "points of production" and battlefronts where working class women in America daily confront the realities of their oppression. It is . . . a supremely optimistic statement, showing the sinews of struggle and capturing the essential energy and collective spirit of all working people-and especially that advanced consciousness which working class women bring to the common struggle." (Irwin Silber, Guardian)
1971 - 40 minutes
Yippie
Yippie is filmed farce, juxtaposing the brutal police riot at the 1968 Democratic Convention with the orgy scenes from D.W. Griffith's "Intolerance." A clear and energetic no-verbal statement of Yippie politics Hip jive.
1968 - 15 minutes
Young Puppeteers of South Vietnam
"A gift from the youth of South Vietnam to the youth of America." Teenagers in the NLF liberated areas of South Vietnam make beautiful, intricate puppets from scraps of US. war materials. Armed with these puppets, they travel through the liberated zones performing for the local children while our planes "search and destroy". A poignant film that gives a view of the war even more powerful than images of atrocities. English sound track.
25 minutes
Mayday (Black Panther)
On May 1, 1969 the Black Panther Party held a massive rally in San Francisco. Speakers Kathleen Cleaver, Bobby Seale, and Charles Garry present the rally's demands for the release of Huey Newton and all political prisoners. The film includes footage of the police raid on Panther headquarters in San Francisco a few days prior to the rally and the Panther's Breakfast for Children Program.
1969 - 15 minutes
Only the Beginning
For years the sentiment against the war in Vietnam has been growing. The latest polls show that 73% of the US. population want the troops out of Vietnam now G.I.'s are among the most active protesters against the war. In April, l971, thousands of G.I.'s-Marines and regular army, veterans and active duty personnel came to Washington, DC., to denounce their participation in that "dirty war," and to demand it be ended immediately. The film begins with the demonstration in Washington. In front of the Capitol, we see the veterans come before the crowd and throw their medals away. The film moves to Vietnam where the devastating effects of US. bombs are documented. ONLY THE BEGINNING is about the GI. movement to end the war.
1971 - 20 minutes color
Two Heroic Sisters of the Grassland
A cartoon version of a true story about two young sisters who risked their lives to save their commune's sheep heard during a sudden snowstorm. The film gives us a sense both of the values stressed in the new society, and the people's participation at every level in the transformation of China.
English track 42 minutes
El Pueblo Se Levanta (THE YOUNG LORDS FILM)
One-third of the Puerto Rican people live in the United States. Most have come in search for the better life promised them by US. propaganda. Instead they found slum housing, poor or miseducation, low-paying jobs, and constantly rising unemployment, in a society determined to destroy their cultural identity The film traces the growth of the Puerto Rican struggle by focusing on the development of the Young Lords Party. A Newsreel crew in New York City worked closely with the Lords for a year and a half-participating and recording the events and programs which the Young Lords are using to make significant advances in the Puerto Rican struggle. The film deals with the main problems in the Puerto Rican community-health, education, food, and housing. These problems become the focus of the Young Lords Party.
The Case Against Lincoln Center
Urban renewal removes 35,000 Puerto Rican families from New Your City's upper West Side to build Lincoln Center, a cultural show-case for the city's middle and ruling class. The film discusses the links between the problems of the city, and the forces of American corporate imperialism.
1968 - 12 minutes (available in Spanish)
No Game
October 21, 1967; The pentagon; 100,000 anti-war demonstrators who had not come prepared for a violent confrontation with the military police and Pentagon guards; for the tear gas, and rifle butts.
Considered the first collective Newsreel film. [According to Marvin Fishman, “This film was shot and edited before Newsreel officially came into existence and was then donated to Newsreel to get the newly formed organization’s distribution service off the ground.”]
1967 - 17 minutes
Pig Power
As student take to the streets in New York and Berkeley, the forces of order illustrate Mayor Daley's thesis that the police are there "to preserve disorder", and we must organize to challenge their control and preserve our lives as well as our life styles. A short impressionistic montage of music and images pointing up the disparity between their force and ours. The function of police repressing Black and white demonstrators alike is emphasized.
6 minutes
Community Control
The struggle for Community Control in Black and Puerto Rican communities in New York City. An examination of colonialism as it manifests itself in many American cities. In two so called experimental districts, police are constantly called in to enforce the political decisions of the state and city bureaucracy, and the striking teachers; union. All ofthis taking place against the legitimate demands of the community (Ocean Hill-Brownsville, and East Harlem). Filmed inside some of the schools involved in the conflict; contains interviews with Herman Ferguson, Minister of Education for the Republic of New Africa, and Les Campbell, director of The Afro-American Teachers Association.
50 minutes
Venceremos
A film shot in Cuba in l970-71 about two brigades of 500 Americans that went to Cuba illegally in order to show support by breaking the blockade and to help with the sugar harvest of ten million tons. They cut cane with brigades that were sent from Vietnam, North Korea, and Latin America. This is the story of their boat ride from St. Johns, Canada and their stay in Cuba.
20 minutes
High School
A film about high school students and how school becomes a prison.
20 minutes (muddled, poor editing)
You Don't Have to Buy the War
A speech by former Miss America, Bess Meyerson presented to the group Another Mother for Peace at a gathering in Beverly Hills. One of the strongest speeches ever given about who is making money out of the war in Vietnam. She gives excellent reasons to boycott many everyday products that women buy.
Open for Children
One of the first films ever made about the need for childcare.
Make It Real
This is what Newsreel considered an energy film. It contains great shots of street actions and hot music. These short films were made to show between our longer films that were "more serious" They were made to give youth a feeling that they could get up and become "street fighting men".
8 minutes
McDonnel-Douglas
A film about the McDonnel-Douglas company and its relationship to the war-machine.
Free Farm
A film made by Newsreel folks that went to live in Vermont. A story about a community free farm on land loaned by a small college. It tell the story of coming together to farm the land and to have Sunday community gatherings. The college calls the cops to kick people off the land in the fall before the harvest and local young men trash the farm. An interesting note is that posters are put up warning that a local cop named Paul Lawrence was setting up and beating up people. Ten years later he was busted for planting drugs and was known as the bad cop that went to jail. A true story of hippies with politics.
1971 - 18 minutes
Inciting to Riot
A quick montage flirtation with the idea of rural guerrilla struggle in the US returning repeatedly to the reality of pig power in the cities and space technology. A flashing image of a state of mind common among hip and political youth.
10 minutes
Don't Bank on America
This is the story of one of the first ecological political actions of the period, the burning of the Bank of America. (Newsreel distributed this film?)
Mighty Mouse and Little Eva
This is a 1930's racist cartoon, taking off on Uncles Tom Cabin. Distributed by Newsreel.
8 Minutes
Ice
A film made by Newsreel member Robert Kramer with a production team made up of Newsreel members. A story of a time in the future when the US is at war with Mexico and the Americans are living in a police state. The film includes a kidnapping, a murder, prison break, takeover of an apartment house for political education, sex, nudity, and violence. and much, much more. 150 Minutes
( a new description of this film will be available soon! although this was perhaps the description in an early NR catalogue, we hope to have more background on these old films. how they were made. the process and reflections of those who worked on them )
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Moving Image
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Original Format
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newsreel
Duration
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56:30
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
Summer '68
Subject
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Anti-Vietnam War Movement
Description
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"Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a G.I. coffeehouse in Texas, Newsreel's take over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project -- the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities." (Roz Payne Archive) <iframe width="640" height="470" src="https://player.vimeo.com/video/112328836" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
<p><a href="https://vimeo.com/112328836">SUMMER'68 - Newsreel</a> from <a href="https://vimeo.com/user2384966">john douglas</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
Creator
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Newsreel Films
Source
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Vimeo
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
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1968
Format
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film
Anti-War
Boston
Chicago
Chicago '68
Draft Resistance
G.I. Coffeehouse
Massachusetts
New Left
New York
North Vietnam
Rat Subterranean News
Texas
Vietnam War