1
50
2
-
https://rozsixties.unl.edu/files/original/ed249da83adc7fc51a1e100897da59a5.jpg
1f07734330ae6cbdbe6be23506b6fd7a
Dublin Core
The Dublin Core metadata element set is common to 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 the War in Viet Nam
Description
An account of the resource
On April 17, 1965, an estimated 25,000 people participated in a March On Washington to End the War in Vietnam, sponsored by SDS. After several hours of picketing in front of the White House, anti-war advocates rallied in front of the Washington Monument, where Paul Potter delivered his "We Must Name the System" speech. The event, which was the first major national anti-war demonstration, helped spur the meteoric growth of SDS.
Creator
An entity primarily responsible for making the resource
Students for a Democratic Society
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1965
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
demonstration
New Left
Paul Potter
SDS
Vietnam War
Washington D.C.
Washington Monument
White House
-
https://rozsixties.unl.edu/files/original/c29b6ccf4efe20531f4d4b07593f1678.jpg
beca22455fa2d7c830f7a5789f7ba7f1
Dublin Core
The Dublin Core metadata element set is common to 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
Moratorium
Description
An account of the resource
The October 15, 1969, Moratorium to End the War in Vietnam was a massive, nationwide anti-war demonstration and teach-in organized by a coalition of organizations, including the National Mobilization Committee to End the War. Millions of people are estimated to have participated in cities across the country and around the world, with the largest turn-out in Boston, where more than 100,000 listened to a speech by Sen. George McGovern. One month later, on November 15, 1969, more than 500,000 people attended a second huge moratorium demonstration in Washington, D.C. The rally was preceded by the March Against Death, where over 40,000 people paraded silently down Pennsylvania Avenue to the White House, each carrying a placard with the name of a dead American soldier or a destroyed Vietnamese village. The march concluded in front of the U.S. Capitol Building, where the placards were placed in coffins. At one point at a rally in front of the White House, folk singer, Pete Seeger, led the crowd in a version of John Lennon’s new song, “Give Peace a Chance,” interjecting, “Are you listening Nixon?” “Are you listening Agnew? “Are you listening Pentagon?” Later, President Richard Nixon remarked, "Now, I understand that there has been, and continues to be, opposition to the war in Vietnam on the campuses and also in the nation. As far as this kind of activity is concerned, we expect it; however under no circumstances will I be affected whatever by it."
Creator
An entity primarily responsible for making the resource
Columbia Advertising
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Anti-War Movement
Anti-War
Capital Building
demonstration
George McGovern
Give Peace a Chance
John Lennon
Moratorium to End the War in Vietnam
National Mobilization Committee to End the War
New Left
Pentagon
Pete Seeger
Richard Nixon
Spiro Agnew
Vietnam War
Washington D.C.
White House