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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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Free Nelson Mandela ANC (S.A.)
Description
An account of the resource
Created in 1980, this button represents a renewed international anti-Apartheid movement that picked up steam over the course of the eighties. The campaign pressed for "divestment" from the South African economy and demanded the release of South African political prisoners, particularly Nelson Mandela, leader of the African National Congress (ANC), the chief opposition party. Mandela was sentenced to life imprisonment in 1964 for his anti-Apartheid activism and became a national and international symbol of the injustice and brutality of the racist South African regime. Ultimately, Mandela was released from prison in 1990, the African National Congress (ANC) and other opposition parties were allowed to participate in the political system and the nation's first multi-racial election took place in 1994, when Nelson Mandela was elected President of a new, post-Apartheid South Africa.
New Left organizations, including the Students for a Democratic Society (SDS), had protested against the Apartheid regime in South Africa since the early and mid-Sixties.
Creator
An entity primarily responsible for making the resource
African National Congress
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
Anti-Apartheid Movement
Date
A point or period of time associated with an event in the lifecycle of the resource
1980
African National Congress
ANC
Anti-Apartheid
anti-imperialism
Apartheid
Nelson Mandela
New Left
politics
Prisoner's Rights Movement
protest
Racial Justice
SDS
solidarity
South Africa
Students for a Democratic Society
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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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"False Promises/Nos Engañaron"
Subject
The topic of the resource
Counterculture
Description
An account of the resource
The San Francisco Mime Troupe was an avant-garde, “guerilla theater” troupe created by R.G. Davis in 1959 and dedicated to political satire. Peter Berg directed the group throughout its heyday in the 1960s. Initially performing in lofts and basements, the SFMT gained notoriety during the mid- and late-1960s for its rambunctious free performances outdoors in public parks, particularly Golden Gate Park. Their performances targeted political repression in the U.S., American military intervention abroad, racism, sexism, materialism and capitalism. Seen as a part of the countercultural movement, the SFMT also had several well-known run-ins with law enforcement, often charged with “obscenity”. Their 1965 Minstrel Show, Or Civil Rights in a Cracker Barrel, was performed in black face and offended some — both black and white. In another piece, an actor played a military policeman who paraded prisoners into Berkeley’s Sproul Plaza and began to abuse them. The troupe was also arrested on the campus of the University of California-Berkeley during the Free Speech Movement. Berg later went on to co-found, the Diggers with Emmett Grogan, a collective that brought a sense of theater to their charity work with the hippies and the poor in San Francisco.
This poster by Jane Norling, was created for the San Francisco Mime Troupe’s 1976 original production of the play, "False Promises/Nos Enganaron.” According to the Troupe’s website, provides the following summary of the play: “Set in a Colorado mining town in 1898 where Mexican and American workers are organizing a copper mine, this simple story evolves into an epic that links the stories of Mexican and white miners, black and white dance hall queens, and a black soldier to the global machinations of Teddy Roosevelt and J.P. Morgan. The play also ties in U.S. expansion into Puerto Rico, the Philippines and Hawaii with the development of the American West.”
The play was written by Joan Holden, directed by Arthur Holden, with music and lyrics by Andrea Snow, Bruce Barthol and Xavier Pacheco. It featured Marie Acosta, Lonnie Ford, Sharon Lockwood, Melody James, Ed Levey, Dan Chumley, Esteban Oropeza, Patricia Silver and Deb'bora Gilyard and a band, the “Rough Riders,” including Bruce Barthol, Barry Levitan, David Topham and Jack Wickert. The production toured West Germany, Italy and France after its initial run in San Francisco.
Creator
An entity primarily responsible for making the resource
artist Jane Norling
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1976
Format
The file format, physical medium, or dimensions of the resource
poster
Andrea Snow
anti-imperialism
Anti-War
Arthur Holden
Barry Levitan
Berkeley
Bruce Barthol
California
Civil Rights in a Cracker Barrel
Colorado
counterculture
Dan Chumley
David Topham
Deb'bora Gilyard
Diggers
Ed Levey
Emmett Grogan
Esteban Oropeza
False Promises/Nos Enganaron.
France
Free Speech Movement
Golden Gate Park
guerilla theater
Hawaii
Italy
J.P. Morgan
Jack Wickert
Jane Norling
Joan Holden
Lonnie Ford
Marie Acosta
Melody James
mining
Minstrel Show
Patricia Silver
Peter Berg
Puerto Rico
R.G. Davis
San Francisco
San Francisco Mime Troupe
Sharon Lockwood
Sproul Plaza
Teddy Roosevelt
the Philippines
theater
University of California
Vietnam War
West Germany
Xavier Pacheco
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Title
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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
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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
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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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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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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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Dublin Core
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Title
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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
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!
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
newsreel
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
9:11
Dublin Core
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Title
A name given to the resource
Por primera vez / For the First Time
Subject
The topic of the resource
Cuban Revolution
Description
An account of the resource
"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." (Roz Paine Archive) <iframe width="560" height="315" src="https://www.youtube.com/embed/gKf4maMqbVo" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Creator
An entity primarily responsible for making the resource
Cuban Film Institute
Source
A related resource from which the described resource is derived
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
1967
Format
The file format, physical medium, or dimensions of the resource
film
anti-imperialism
Charlie Chaplin
Cuba
Cuban Revolution
Latin America
Modern Times
Third World liberation
-
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3eaa9a21fca986bb7af3d4865c6247f3
Dublin Core
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Title
A name given to the resource
Objects
Description
An account of the resource
This collection contains a small number of physical objects, including a National Liberation Front flag, a fake check depicting the burning of the Bank of America branch in Isla Vista, an admission pass to Woodstock, an anti-war necklace made from the shrapnel of a downed U.S. military airplane in North Vietnam, a pop art necklace made from soda bottle caps, and folk singer Malvina Reynolds' guitar. Most notable, perhaps, is a lengthy homemade book created by Roz Payne and a number of other radical feminists.
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
FSLN Flag
Subject
The topic of the resource
Anti-Colonialism
Description
An account of the resource
The Sandinista National Liberation Front is a Democratic Socialist political party and movement in Nicaragua named after Augusto Cesar Sandino, who led the opposition struggle against the U.S. occupation of Nicaragua in the 1930s. When the Sandinistas took power in the late-1970s, the United States, particularly the administration of Ronald Reagan, worked to undermine the regime as a part of a broader military interventionist policy against Latin America in the 1980s. The Reagan Administration funded and helped train the Contras, which sought to disrupt economic development and social programs in Nicaragua and overthrow the Sandinistas. After the U.S. Congress outlawed arms sales to the Contras, the Reagan Administration illegally continued the funding, resulting in the largest of many scandals during the Reagan years.
Creator
An entity primarily responsible for making the resource
FSLN
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
ca. 1980s
Format
The file format, physical medium, or dimensions of the resource
flag
anti-colonialism
anti-imperialism
Augusto Cesar Sandino
Contras
interventionism
Iran-Contra Scandal
militarism
Nicaragua
Reagan Era
Ronald Reagan
Sandinistas
-
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837f5151c1ef773759900b54008a4ff4
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a6d92e8fa46c8dfc728ebbbc27764701
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d976e0613f96b2bd8b0cbdb4a03ce58a
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345bca28268530909c53a324ab0e7019
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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
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Title
A name given to the resource
Crimes Perpetrated by the U.S. Imperialists and Henchmen Against South Vietnam Women and Children
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This pamphlet describes U.S. "policy of aggression" in South Vietnam and their impacts on women and children. Sub-sections include: 1) Arrest, Torture, Detention 2) Forcible Divorce 3) Corruption 4) Rape
Creator
An entity primarily responsible for making the resource
Gai Phong Publishing House
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
anti-imperialism
Anti-War
arrest
atrocities
corruption
divorce
rape
South Vietnam
torture
Vietnam War
-
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2cf6ce9710087fe52b5309a008cfce56
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
Remember Bobby Sands
Description
An account of the resource
In 1981, Bobby Sands, a leader of the Provisional Irish Republican Army, died along with nine others while on a hunger strike during his imprisonment at the HM Prison Maze in Northern Ireland. As an advocate for a free Ireland as well as prisoner rights, Sands and his fellow prisoners at HM Prison Maze sought to be categorized as political prisoners, demanded labor rights, access to outside communication, and educational resources. The hunger strike and deaths of Sands and the others received international press, spurring a new wave of IRA recruitment and strenuous public debate around the world.
Creator
An entity primarily responsible for making the resource
H-Block & Armagh 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
ca. early-1980s
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
Irish Nationalism
anti-imperialism
Bobby Sands
HM Prison Maze
hunger strike
Ireland
Irish Republican Army
politics
Prisoner's Rights Movement
solidarity
-
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12738b3bdf9a0117160dc66e4cea1900
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
Hands off Latin America
Description
An account of the resource
This button addresses U.S. foreign policy in Latin America during the 1980s, when the Reagan Administration backed a series of right-wing regimes across the region.
Creator
An entity primarily responsible for making the resource
Hands off Latin America
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
Latin America
Date
A point or period of time associated with an event in the lifecycle of the resource
ca-1980s
anti-imperialism
Latin America
Reagan Era
Ronald Reagan
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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.
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
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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
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
Pac-O-Lies, December 25, 1969, vol. 1, no. 2
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
December 25, 1969, vol. 1, no. 2
Creator
An entity primarily responsible for making the resource
New York Media Project
Subject
The topic of the resource
Media Activism
Description
An account of the resource
Description
Pac-O-Lies was published by the New York Media Project, which was dedicated to a critical perspective on mainstream, corporate media during the 1960s-era. Among the group's core goals were: to end "the lie of objectivity" in the media; eliminate all forms of censorship; give greater coverage to issues related to "black and female liberation"; work toward "worker control" of all media; and "eliminate all forces that use the mass media as a means of coercion and repression." This issue covers a range of topics, including media coverage of the War in Vietnam; McGraw Hill Publishing; American imperialism; Latin America; the Panther 21 trial; the arrest of Curtis Powell; and, Spiro Agnew.
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-imperialism
Anti-War
Black Panther Party
Curtis Powell
Latin America
media
New York Media Project
Pac-O-Lies
Panther 21
Spiro Agnew
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
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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
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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
The type of object, such as painting, sculpture, paper, photo, and additional data
newsreel
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
38:29
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Title
A name given to the resource
Peoples War
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
"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, PEOPLES 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." (Roz Payne Archive) <iframe width="640" height="480" src="https://player.vimeo.com/video/75364308" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
<p><a href="https://vimeo.com/75364308">Newsreel's PEOPLES WAR - 16mm - 1969 - 40 minutes</a> from <a href="https://vimeo.com/user2384966">john douglas</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
Creator
An entity primarily responsible for making the resource
Newsreel Films
Source
A related resource from which the described resource is derived
Vimeo
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
1969
Format
The file format, physical medium, or dimensions of the resource
film
anti-imperialism
Anti-War
Golden Bear Award
Houston
Moscow
North Vietnam
resistance
Soviet Union
Texas
Vietnam War
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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
Booklet
Dublin Core
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Title
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Niagara Liberation Front: Program for Action
Description
An account of the resource
This booklet serves as a manifesto and platform for the Niagara Liberation Front, a radical organization based in Buffalo, New York. The twelve points articulated in their platform, include:
1. We Shall Create Our Revolutionary Culture Everywhere
2. We will fight American Imperialism
3. We Support the Struggle of Black and Other Third World People for Self-Determination
4. We Will Struggle for the Full Liberation of Women as a Necessary Part of the Revolutionary Struggle
5. We Shall Resist the Destruction of Our Physical Environment
6. We Will Turn the High Schools Into Training Grounds for Liberation
7. We Will Destroy the Universities Unless They Serve the People
8. We Will Expand and Protest Our Revolutionary Youth Culture
9. We Will Take Communal Responsibility for Basic Human Needs
10. We Will Support Working People's Struggles Against Oppression
11. We Will Defend Ourselves Against Law and Order
12. All Revolutionaries Are Guided By Feelings of Love
Creator
An entity primarily responsible for making the resource
Niagara Liberation Front
Source
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Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1970
Language
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en-US
Type
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Text
Publisher
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Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Subject
The topic of the resource
New Left
anti-imperialism
armed self-defense
Black Panther Party
Black Power
counterculture
environmentalism
feminism
labor movement
law and order
Niagara Liberation Front
Policing
Radical Student Movement
student movement
Third World Nationalism
Women's Liberation
-
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Dublin Core
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Title
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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
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newspaper
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Title
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Red Balloon, 1973
Description
An account of the resource
The Red Balloon Collective was a radical organization started by Mitchel Cohen, Roberta Quance and Jack Bookman at the State University of New York, Stony Brook in 1969. The group emerged out of the fragmentation of SDS in 1968. According to Cohen, Red Balloon sought to "strengthen existing movements, help people to form their own direct action collectives and underground papers, and then link them together."
Featured in this issue of Red Balloon includes a call to participate in a conference at the University of New York at Stony Brook; an analysis about the 1972 election candidates in relation to Leftist values; an article discussing how the impact of widespread Gonorrhea and Syphilis was influenced by a failing healthcare system; as well as essays on Women's Liberation and the War in Vietnam. Most of this issue analyzed how youth culture in university and high school environments can be tools for a revolution. Lyrics to the song "sung to the tune of the 'Rhythms of Revolution'" are presented on the back cover.
University officials denied permission for the Red Balloon Collective to hold the planned conference at the SUNY-Stony Brook campus. In response, two dozen members of Red Balloon barricade themselves inside the administration building, prompting helmeted law enforcement to storm the building to expel the activists.
Creator
An entity primarily responsible for making the resource
Red Balloon 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
1973
Subject
The topic of the resource
New Left
Type
The nature or genre of the resource
underground press
anti-imperialism
Anti-War
Gonorrhea
Jack Bookman
Mitchel Cohen
New York
radicalism
Red Balloon
Red Balloon Collective
Roberta Quance
SDS
STD
Stony Brook
SUNY
Syphilis
Underground Press
Vietnam War
Weather Underground
Women's Liberation
-
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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
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Dublin Core
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Title
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Assata Shakur - Free All Black Liberation Fighters
Subject
The topic of the resource
Black Power
Description
An account of the resource
Assata Olugbala Shakur is a political activist, author, fugitive and aunt of hip-hop artist, Tupac Shakur. She was born in 1947 in New York City, JoAnne Deborah Byron. Following her parents’ divorce, Byron spent much of her childhood moving between her grandparents and other family in Wilmington, North Carolina, and New York City, where her mother moved after she remarried. As a student at the Borough of Manhattan Community College and then City College of New York, Byron was exposed to African American history and Black Nationalism, which made a significant impact on her political development. She met her husband, Louis Chesimard, and began participating in the student movement, anti-war activism and the struggle for black liberation. In 1970, while visiting Oakland, California, Byron met members of the Black Panther Party and joined the Harlem branch upon her return to New York, where she worked with the breakfast program. Frustrated with the Black Panther Party’s unwillingness to work with other black radical organizations, Byron left the party in 1971 and joined the Black Liberation Army, an underground Black Power group whose goal was to “take up arms for the liberation and self-determination of black people in the United States.” In her autobiography, she wrote, “the Black Liberation Army was not a centralized, organized group with a common leadership and chain of command. Instead there were various organizations and collectives working together and simultaneously independent of each other.” The group believed "the character of reformism is based on unprincipled class collaboration with our enemy" and asserted the following principles:
1. That we are anti-capitalist, anti-imperialist, anti-racist, and anti-sexist.
2. That we must of necessity strive for the abolishment of these systems and for the institution of Socialistic relationships in which Black people have total and absolute control over their own destiny as a people.
3. That in order to abolish our systems of oppression, we must utilize the science of class struggle, develop this science as it relates to our unique national condition.
It was also at this time that Byron changed her name to Assata (“she who struggles”) Olugbala (“love for the people”) Shakur (“the thankful”).
In 1972, the FBI issued a warrant for Shakur’s arrest for alleged crimes committed by the BLA and was the subject of a multi-state manhunt by law-enforcement. During a traffic stop on the New Jersey Turnpike in 1973, Sundiata Acoli Zayd Malik Shakur and Assata Shakur got into an altercation with two police officers, Werner Foerster and James Harper. The incident resulted in the deaths of Zayd Shakur and Foerster. Harper and Assata Shakur were also wounded in the shoot-out. Over the next few years, beteen 1973 and 1977, Shakur was charged with a variety of crimes related to the 1973 incident and others, including murder, attempted murder, armed robbery, bank robbery and kidnapping. Six of the charged were ultimately dismissed, though she was convicted of Foerster’s murder and seven other felonies related to that incident in 1977 and sentenced to life in prison plus thirty years. Many black liberation and New Left activists argued that Shakur did not receive a fair trial. In 1979, three members of the BLA helped Shakur escape from prison. For the next few years, Shakur lived underground, ultimately fleeing the U.S. for Cuba in 1984, where she was reunited with her daughter, who had been born in prison while she was on trial. Shakur continues to live in Cuba and remains on the FBI’s list of “most wanted terrorists.”
The quotation printed on this poster is from a letter Shakur wrote on July 4, 1973 from prison. The full letter is here:
Black brothers, Black sisters, i want you to know that i love you and i hope that somewhere in your hearts you have love for me. My name is Assata Shakur (slave name joanne chesimard), and i am a revolutionary. A Black revolutionary. By that i mean that i have declared war on all forces that have raped our women, castrated our men, and kept our babies empty-bellied.
I have declared war on the rich who prosper on our poverty, the politicians who lie to us with smiling faces, and all the mindless, heart-less robots who protect them and their property.
I am a Black revolutionary, and, as such, i am a victim of all the wrath, hatred, and slander that amerika is capable of. Like all other Black revolutionaries, amerika is trying to lynch me.
I am a Black revolutionary woman, and because of this i have been charged with and accused of every alleged crime in which a woman was believed to have participated. The alleged crimes in which only men were supposedly involved, i have been accused of planning. They have plastered pictures alleged to be me in post offices, airports, hotels, police cars, subways, banks, television, and newspapers. They have offered over fifty thousand dollars in rewards for my capture and they have issued orders to shoot on sight and shoot to kill.
I am a Black revolutionary, and, by definition, that makes me a part of the Black Liberation Army. The pigs have used their newspapers and TVs to paint the Black Liberation Army as vicious, brutal, mad-dog criminals. They have called us gangsters and gun molls and have compared us to such characters as john dillinger and ma barker. It should be clear, it must be clear to anyone who can think, see, or hear, that we are the victims. The victims and not the criminals.
It should also be clear to us by now who the real criminals are. Nixon and his crime partners have murdered hundreds of Third World brothers and sisters in Vietnam, Cambodia, Mozambique, Angola, and South Africa. As was proved by Watergate, the top law enforcement officials in this country are a lying bunch of criminals. The president, two attorney generals, the head of the fbi, the head of the cia, and half the white house staff have been implicated in the Watergate crimes.
They call us murderers, but we did not murder over two hundred fifty unarmed Black men, women, and children, or wound thousands of others in the riots they provoked during the sixties. The rulers of this country have always considered their property more important than our lives. They call us murderers, but we were not responsible for the twenty-eight brother inmates and nine hostages murdered at attica. They call us murderers, but we did not murder and wound over thirty unarmed Black students at Jackson State—or Southern State, either.
They call us murderers, but we did not murder Martin Luther King, Jr., Emmett Till, Medgar Evers, Malcolm X, George Jackson, Nat Turner, James Chaney, and countless others. We did not murder, by shooting in the back, sixteen-year-old Rita Lloyd, eleven-year-old Rickie Bodden, or ten-year-old Clifford Glover. They call us murderers, but we do not control or enforce a system of racism and oppression that systematically murders Black and Third World people.
Although Black people supposedly comprise about fifteen percent of the total amerikkkan population, at least sixty percent of murder victims are Black. For every pig that is killed in the so-called line of duty, there are at least fifty Black people murdered by the police.
Black life expectancy is much lower than white and they do their best to kill us before we are even born. We are burned alive in fire-trap tenements. Our brothers and sisters OD daily from heroin and methadone. Our babies die from lead poisoning. Millions of Black people have died as a result of indecent medical care. This is murder. But they have got the gall to call us murderers.
They call us kidnappers, yet Brother Clark Squires (who is accused, along with me, of murdering a new jersey state trooper) was kidnapped on April z, 1969, from our Black community and held on one million dollars' ransom in the New York Panther 21 conspiracy case. He was acquitted on May 13, 1971, along with all the others, of 156 counts of conspiracy by a jury that took less than two hours to deliberate. Brother Squires was innocent. Yet he was kidnapped from his community and family. Over two years of his life was stolen, but they call us kidnappers. We did not kidnap the thousands of Brothers and Sisters held captive in amerika's concentration camps. Ninety percent of the prison population in this country are Black and Third World people who can afford neither bail nor lawyers.
They call us thieves and bandits. They say we steal. But it was not we who stole millions of Black people from the continent of Africa. We were robbed of our language, of our Gods, of our culture, of our human dignity, of our labor, and of our lives. They call us thieves, yet it is not we who rip off billions of dollars every year through tax evasions, illegal price fixing, embezzlement, consumer fraud, bribes, kickbacks, and swindles. They call us bandits, yet every time most Black people pick up our paychecks we are being robbed. Every time we walk into a store in our neighborhood we are being held up. And every time we pay our rent the landlord sticks a gun into our ribs.
They call us thieves, but we did not rob and murder millions of Indians by ripping off their homeland, then call ourselves pioneers. They call us bandits, but it is not we who are robbing Africa, Asia, and Latin America of their natural resources and freedom while the people who live there are sick and starving. The rulers of this country and their flunkies have committed some of the most brutal, vicious crimes in history. They are the bandits. They are the murderers. And they should be treated as such. These maniacs are not fit to judge me, Clark, or any other Black person on trial in amerika. Black people should and, inevitably, must determine our destinies.
Every revolution in history has been accomplished by actions, al-though words are necessary. We must create shields that protect us and spears that penetrate our enemies. Black people must learn how to struggle by struggling. We must learn by our mistakes.
I want to apologize to you, my Black brothers and sisters, for being on the new jersey turnpike. I should have known better. The turnpike is a checkpoint where Black people are stopped, searched, harassed, and assaulted. Revolutionaries must never be in too much of a hurry or make careless decisions. He who runs when the sun is sleeping will stumble many times.
Every time a Black Freedom Fighter is murdered or captured, the pigs try to create the impression that they have quashed the movement, destroyed our forces, and put down the Black Revolution. The pigs also try to give the impression that five or ten guerrillas are responsible for every revolutionary action carried out in amerika. That is nonsense. That is absurd. Black revolutionaries do not drop from the moon. We are created by our conditions. Shaped by our oppression. We are being manufactured in droves in the ghetto streets, places like attica, san quentin, bedford hills, leavenworth, and sing sing. They are turning out thousands of us. Many jobless Black veterans and welfare mothers are joining our ranks. Brothers and sisters from all walks of life, who are tired of suffering passively, make up the BLA.
There is, and always will be, until every Black man, woman, and child is free, a Black Liberation Army. The main function of the Black Liberation Army at this time is to create good examples, to struggle for Black freedom, and to prepare for the future. We must defend ourselves and let no one disrespect us. We must gain our liberation by any means necessary.
It is our duty to fight for our freedom.
It is our duty to win.
We must love each other and support each other.
We have nothing to lose but our chains.
Creator
An entity primarily responsible for making the resource
Right edge has "Jackrabbit Press 464 Willamette Eugene Oregon" printed in black and a black stamp for the Assatta Shakur Defense Committee.
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1973
Format
The file format, physical medium, or dimensions of the resource
poster
Angola
anti-imperialism
Anti-War
Assata Shakur
Attica Prison
Bedford Hills Prison
Black Liberation Army
black nationalism
Black Panther Party
Black Power
Borough of Manhattan Community College
Cambodia
City College of New York
Clark Squires
COINTELPRO
Cuba
Emmett Till
FBI
George Jackson
James Chaney
James Harper
JoAnne Deborah Byron
Jr.
Leavenworth Prison
Louis Chesimard
Malcolm X
Martin Luther King
Medgar Evers
MLK
Mozambique
Nat Turner
New Jersey
New York
North Carolina
Pigs
San Quentin Prison
Sing Sing Prison
South Africa
student movement
Sundiata Acoli
Third World liberation
Tupac Shakur
Vietnam
Vietnam War
Watergate
Werner Foerster
Wilmington
Zayd Malik Shakur
-
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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
"U.S. Imperialism," by David Gilbert and David Loud
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This pamphlet, authored by Dave Gilbert and David Loud for SDS, provides an analysis of U. S. "imperialism" in the post-WWII era. The analysis links U.S. military interventionism with large corporate influences. The pamphlet was used across the country as a study guide by SDSers.
Creator
An entity primarily responsible for making the resource
SDS
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
March 1968
Format
The file format, physical medium, or dimensions of the resource
pamphlet
anti-imperialism
Anti-War
David Gilbert
David Loud
imperialism
SDS
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
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
Vietnam for the Vietnamese
Description
An account of the resource
This button contains a popular slogan used during the antiwar movement by New Left organizations such as the Student Peace Union and the Student Mobilization Committee, which targeted anti-imperialism as well as an end to nuclear arms in the age of the Cold War.
Creator
An entity primarily responsible for making the resource
Student Mobilization 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
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
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s
anti-imperialism
anti-nuke
Anti-War
New Left
Student Mobilization Committee
Student Peace Union
Vietnam War
-
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e9b5f771800ec6aae1cda8b84015d002
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
Strike! April 26
Description
An account of the resource
On April 26, 1968, the Student Mobilization Committee organized an international student strike, including teach-ins and sit-ins addressing the Vietnam War, anti-imperialism, racism, and the draft. Some have estimated that as many as a million high school and college students participated in the protest.
The Student Mobilization Committee, originally named The Vietnam Day Committee, was formed in 1966 “to coordinate opposition to U.S. involvement in the war in Vietnam among college and high school students.” The group, which was active until it disbanded in 1970, organized protests on campuses and in cities. It is also credited with being one of the first anti-war organizations of the 1960s-era to include civilians and soldiers alike.
Creator
An entity primarily responsible for making the resource
Student Mobilization 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-Vietnam War Movement
anti-imperialism
Anti-War
racism
sit-in
strike
Student Mobilization Committee
The Vietnam Day Committee
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
New Left Notes, June 18, 1969, vol. 4, no. 22
Creator
An entity primarily responsible for making the resource
Students for a Democratic Society (SDS)
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
June 18, 1969, vol. 4, no. 22
Subject
The topic of the resource
New Left
Description
An account of the resource
New Left Notes was the primary publication of the Students for a Democratic Society (SDS) national headquarters. This issue from 1969 notably features the famous essay, "You Don't Need a Weather Vane to Know Which Way the Wind Blows," by the founding members of the radical SDS splinter group, The Weather Underground, or Weathermen. The manifesto was signed by Karen Ashley, Bill Ayers, Bernardine Dohrn, John Jacobs, Jeff Jones, Gerry Long, Howie Machtinger, Jim Mellen, Terry Robbins, Mark Rudd, and Steve Tappis, and called for the creation of a clandestine revolutionary organization, stating, "The most important task for us toward making the revolution, and the work our collectives should engage in, is the creation of a mass revolutionary movement, without which a clandestine revolutionary party will be impossible. A revolutionary mass movement is different from the traditional revisionist mass base of 'sympathizers''. Rather it is akin to the Red Guard in China, based on the full participation and involvement of masses of people in the practice of making revolution; a movement with a full willingness to participate in the violent and illegal struggle." In addition, this issue of New Left Notes contains articles about the Cuban revolution, the National Liberation Front in Vietnam, as well as internal democracy in SDS.
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-imperialism
Anti-War
Bring the War Home
Cuba
manifesto
National Liberation Front
New Left
participatory democracy
SDS
Underground Press
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.
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
The Black Panther, October 10, 1970
Subject
The topic of the resource
Black Power
Creator
An entity primarily responsible for making the resource
The Black Panther Intercommunal News Service
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 10, 1970
Description
An account of the resource
Printed on October 10, 1970, this issue of The Black Panther is filled with various articles from other Black Panther Party chapters across the U.S., one particular article from the Philadelphia chapter compares police brutality in Philadelphia to the 1968 My Lai Massacre that took place during the Vietnam War. Another article from the Baltimore chapter highlights terrible conditions in the South Baltimore community due to episodes of police brutality and poor housing conditions. In Boston, the Panthers write about the right to free public school but are denied the right to walk freely to and from Curley School. The Bay Area National Lawyers Guild includes a "Guide to Know Your Rights" that outlines an individuals rights when stopped by law enforcement officials. Also included in this issue are articles about police repression in several cities; the case of Willie Turner, Jr; the Winston-Salem N.C.C.F.; General Motors; capitalism and dope; welfare system; Neo-colonialism and genocide; the trials of Bobby Seale and Ericka Huggins; a youth conference; a Boston bank robbery; a letter from the "Soledad 7" thanking the Black Panther Party for their support; international news shorts; and, art by Emory Douglas.
Type
The nature or genre of the resource
underground press
Aaron Douglas
Albert Williams
anti-colonialism
anti-imperialism
armed self-defense
armed struggle
Atlantic City
Baltimore
Black G.I.s
Black Panther Party
Black Power
Bobby Seale
Boston
California
capitalism
Cincinnati
Clarence Debnam
criminal justice
Curley School
Dallas
Dayton
dope
drugs
Elaine Brown
Ericka Huggins
Free Bobby
Gary
General Motors
genocide
Korea
Krang Ryang Unk
Leila Khaled
Maryland
Massachusetts
National Committee to Combat Fascism
New Jersey
North Carolina
Oakland
Oakview
Ohio
Oregon
Palestine
Peggy Hudgins
Pennsylvania
People's Revolutionary Convention
Philadelphia
Pigs
Pittsburg
Police Brutality
Portland
Prison Reform
Rose Smith
Seize the Time
Soledad Brothers
Ten Point Program
Texas
The Lumpen
Thomas Porter
Toledo
Underground Press
Velma Mays
violence
welfare
Willie Turner
Winston-Salem
-
https://rozsixties.unl.edu/files/original/74fa129a6b8af66f4d326607612abbe5.jpg
b349455c256f6d4598da6de49a7187c6
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
Crazies
Description
An account of the resource
During the late-1960s, the Crazies was a small, anarchist, New Left cell in lower-Manhattan that included Sam Melville, a former engineering technician known as “the mad bomber”; anti-war activist and writer for RAT, Sharon Krebs; Krebs’ partner, Robin Palmer, an “ex-Navy, ex-porn star, ex-deep-sea diver” turned radical; and, George Demmerle, a FBI informant who called himself “Prince Crazy” and known for wearing a purple cape and pink Roman centurion’s helmet. Members of the Crazies believed it was necessary to “bring the war home” by staging political stunts, instigating disorder and bombings. They were critical of “corporate imperialism,” specifically the US involvement in the Vietnam War, as well as social and racial inequality. They referred to these actions, which were not aimed at taking life but destroying property, as “responsible terrorism,” patterned on the actions of IRA members in Ireland and FLQ members in Canada. Members of the group helped Canadian FLQ members, who had bombed about a dozen targets over a six-month period, including the Montreal Stock Exchange, flee the country and hijack an airplane to Cuba. In 1969, they also infiltrated a $200 a plate political fundraiser at the Waldorf Astoria in New York. Disguised as waiters, Palmer and Krebs stripped naked and presented pigs’ heads on platters to the dining politicians and wealthy donors. Some members of the group also participated in the theft of explosives from a warehouse in the Bronx, which were then used by Melville and others in a series of 8 bombings in New York City in 1969 and 1970, including United Fruit, Chase Manhattan, Standard Oil and an army headquarters, among other sites. Some members of The Crazies were also connected to the Weather Underground and other radical organizations during this period. Sam Melville, who was arrested and imprisoned at Attica, was killed during the Attica Prison Uprising.
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
Creator
An entity primarily responsible for making the resource
The Crazies
Date
A point or period of time associated with an event in the lifecycle of the resource
late-1960s
Subject
The topic of the resource
New Left
anti-imperialism
Anti-War
armed self-defense
armed struggle
Bring the War Home
Chase Manhattan
FBI
FLQ
George Demmerle
informant
IRA
New Left
New York
Rat Subterranean News
revolution
revolutionary
Robin Palmer
Sam Melville
Sharon Krebs
Standard Oil
The Crazies
United Fruit
Vietnam War
violence
Waldorf Astoria
Weather Underground
-
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cd4c25146fb6e43fd2828a8de96c5086
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
New York - A Holiday in Any Language
Subject
The topic of the resource
Anti-War Movement
Creator
An entity primarily responsible for making the resource
unknown
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
poster
anti-imperialism
Henry Kissinger
militarism
New York
-
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e2176787020231823b6c0342e92e5436
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
Primer Año de Gobierno Popular
Subject
The topic of the resource
Chilean Politics
Description
An account of the resource
This poster celebrates the first year of popular rule in Chile by socialist President Salvador Allende. Allende was elected in 1970 and served until a CIA-backed military coup deposed him in 1973, bringing to power General Augusto Pinochet, who ruled as a military dictator until 1990.
Creator
An entity primarily responsible for making the resource
unknown
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. 1971
Format
The file format, physical medium, or dimensions of the resource
poster
anti-imperialism
Augusto Pinochet
Chile
CIA
coup
Salvador Allende
-
https://rozsixties.unl.edu/files/original/ddd7827325b2c5c1728f4e724b5764b9.jpg
d0da6cfd118136d008d9bec086d4253f
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
Corporate Imperialism
Subject
The topic of the resource
Anti-Imperialism
Description
An account of the resource
This poster depicts an anti-imperial alliance of U.S. movements and Third World liberation movements breaking up U.S. corporate militarism.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s or early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
anti-imperialism
Anti-War
corporatization
militarism
New Left
Third World liberation
-
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283953e09e99d292e15ed12773430acf
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
Che Guevara
Subject
The topic of the resource
Cuban Revolution
Description
An account of the resource
The image of Latin American revolutionary Ernesto "Che" Guevara became an icon among U.S. radicals during the 1960s, particularly after Guevara's assassination in 1967. To many activists, Guevara symbolized Third World solidarity in a global liberation struggle.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s
Format
The file format, physical medium, or dimensions of the resource
poster
anti-imperialism
Anti-War
Che Guevara
Cuban Revolution
Latin America
radicalism
revolutionary
Vietnam War
-
https://rozsixties.unl.edu/files/original/d73fd0467f7e590aeac5f6ff7d7f349b.jpg
c207dd5dc1bc35bcfeed0ce82e6933fe
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
Objects
Description
An account of the resource
This collection contains a small number of physical objects, including a National Liberation Front flag, a fake check depicting the burning of the Bank of America branch in Isla Vista, an admission pass to Woodstock, an anti-war necklace made from the shrapnel of a downed U.S. military airplane in North Vietnam, a pop art necklace made from soda bottle caps, and folk singer Malvina Reynolds' guitar. Most notable, perhaps, is a lengthy homemade book created by Roz Payne and a number of other radical feminists.
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
National Liberation Front (NLF) Flag
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
During the late-1960s and early 1970s, the flag of the North Vietnamese National Liberation Front (NLF) became an increasingly visible symbol at U.S. anti-war demonstrations, particularly among radicals. The presence of the flag was controversial.
Paul Saba, of the revolutionary Youth Movement II, wrote an essay, "Why We Carry the N.L.F. Flag," in 1969, which offered his justification for the use of the flag:
A lot of people get mad when they see young people carrying the flag of the National Liberation Front (NLF) in demonstrations. They call us traitors. They call the NLF the “enemy.” We carry the NLF flag because we believe that the fighting National Liberation Front of South Vietnam is the best friend of the people of America. We carry the flag to make a concrete show of our support for the victory of the Vietnamese fighting to drive the U.S. out of their nation.
The Vietnamese people have fought for 40 years to drive foreign invaders out of their land. First the Japanese, than they whipped the French, and now the United States. The Vietnamese have stated: “We shall never put down our guns until the last American soldier has left our soil.”
We oppose those politicians who call for a “just peace,” and “honorable peace.” There will be peace in Vietnam only when the Vietnamese have full control of their nation.
The Revolutionary Youth Movement (RYM) believe that Americans must support the right of self-determination for all nations.
The American people are hurt and hurt bad by the Vietnam war. We pay for it in every way with soaring taxes and prices, anti-strike laws and falling real wages, and most of all, with the blood and lives of our loved ones, who are killed in Vietnam. But the rich, who are the only ones who profit from this war, can continue to oppress and rob American workers only for as long as we will stand for the oppression and exploitation of other nations around the world.
These same fat cats who wage the Vietnam war will be drafting our men to South American and African countries where the people are fighting to throw out American businesses and landlords; and once again the people’s war against the imperialists will win. We can see that Vietnam is leading the struggle for self-determination, and that all the oppressed rations will follow. The ruling class in this country will try to use the American people to keep down the people in other nations. Just as here in the U.S. the rich have always played poor whites off against oppressed black people, and men against women.
We believe that there are only two sides in the struggle against exploitation and oppression. On one side, are the rising people of the oppressed nations. On the other side are the imperialists – the only ones who benefit from these wars. WE MUST CHOOSE THE SIDE OF THE OPPRESSED PEOPLE. A victory for the Vietnamese people will be n victory for us! This is why we carry the flag of the National Liberation Front of Vietnam.
VIETNAM WILL WIN!
U.S. OUT OF VIETNAM NOW!
SUPPORT THE NATIONAL LIBERATION FRONT AND THE PROVISIONAL REVOLUTIONARY GOVERNMENT!
Revolutionary Youth Movement II
507 North Hoover
Los Angeles, Calif
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s and early-1970s
Format
The file format, physical medium, or dimensions of the resource
flag
anti-imperialism
Anti-War
National Liberation Front
New Left
NLF
Paul Saba
radicalism
Revolutionary Youth Movement II
Vietnam War
-
https://rozsixties.unl.edu/files/original/dabedd76e77b831c98063161ca5bad9b.jpg
83cfadcf25f308319cff99e181e4a22f
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
Viva Che
Description
An account of the resource
On an orange field, this button contains the words, “Viva Che,” in black. Representing the cult of personality Che Guevara developed internationally following his death in 1967, this button signifies the international appeal of Guevara, particularly his armed involvement in the Cuban Revolution and Bolivia campaign. Guevara embodied the image and philosophy of intellectual Marxism coupled with guerilla warfare tactics. Wearing a Che t-shirt or button, or hanging a Che poster on the wall of a bedroom or office, was meant to signify a person's own (aspired to) radicalism.
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
New Left
Creator
An entity primarily responsible for making the resource
unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s
anti-imperialism
armed struggle
Bolivia
Che Guevara
Cuba
cult of personality
Latin America
radicalism
revolutionary
revolutionary chic
solidarity
-
https://rozsixties.unl.edu/files/original/af9f8bda5696ae61249e67b9d2c794a4.jpg
1072e09aa722d4474856e784253a5ad8
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 Hugo Blanco
Description
An account of the resource
Leader of the Campesino Confederation of Peru, Hugo Blanco Galdos led a working-class and peasant revolt in Cuzco, advocating for peasant rights to education, legal justice, and agrarian reform measures. Blanco was arrested in the early-1960s for allegedly shooting a police officer. His case received national and international support as Hugo Blanco represented the long-standing police corruption in Peru as well as the Peruvian government’s anti-trade unionist politics. From a U.S. perspective, this button suggests the global perspective of the New Left during the 1960s and 1970s.
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
unknown
Creator
An entity primarily responsible for making the resource
unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s
anti-imperialism
Campesino Confederation of Peru
Hugo Blanco
New Left
Peru
Prisoner's Rights Movement
solidarity
-
https://rozsixties.unl.edu/files/original/9a12c49de4937cb723a0c74e758a783b.jpg
1b9d31551e7a863a018555d9d8fde5a0
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
Smash Imperialism!
Description
An account of the resource
By the late-1960s, it was common for some New Left organizations and anti-war activists to talk about U.S. foreign policy as a form of "imperialism" needing to be destroyed, or "smashed," through "revolutionary action" in order to bring about the "radical change" they desired.
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
New Left
Creator
An entity primarily responsible for making the resource
unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s
anti-imperialism
Anti-War
imperialism
New Left
politics
radicalism
Vietnam War
-
https://rozsixties.unl.edu/files/original/804db776c85ffeeb5d38eb2d8eb4dc8e.jpg
ba23967eb27e9807b8107e16cd36c715
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Vietnam Anti-Imperialism
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster shows a U.S. tank behind some local Vietnamese people riding in a cart. It suggests the overwhelming military power of the U.S. against a poor Asian country and is resonant with the view that American involvement in Vietnam was an "imperial" endeavor.
Creator
An entity primarily responsible for making the resource
unknown
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s or early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
anti-imperialism
Anti-War
militarism
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
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
Osawatomie, April-May 1976, vol. 2, no. 1
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-May 1976
Subject
The topic of the resource
Weather Underground
Description
An account of the resource
Newsletter of the Weather Underground summarizing the latest happenings in the underground, including articles about Puerto Rican Nationalism; political prisoners; the crisis of imperialism; organizing in economic crisis; solidarity with the Angolan Revolution American War; G.I. organizing; toolbox self-determination; Zionism and racism; Paul Robeson; Panama.
Creator
An entity primarily responsible for making the resource
Weather Underground
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
Angola Revolution
anti-imperialism
anti-racism
G.I. rights
organizing
Osawatomie
Panama
Paul Robeson
Prisoner's Rights Movement
Puerto Rican Nationalism
radicalism
SDS
self-determination
Weather Underground
Zionism
-
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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
Osawatomie, Summer 1975, no. 2
Date
A point or period of time associated with an event in the lifecycle of the resource
Summer 1975, no. 2
Source
A related resource from which the described resource is derived
Roz Payne
Subject
The topic of the resource
New Left
Description
An account of the resource
Newsletter of the Weather Underground summarizing the latest happenings in the underground, including articles about Ho Chi Minh; John Brown; revolutionary struggle; Prairie Fire; women workers; the politics of daycare; victory in Vietnam; personal reflection on Vietnam; Ponce cement strike; class struggle; imperialism and hunger; Secretary of Agriculture. Earl Butz and the politics of food in the U.S.; prisoners and class war; Mozambique independence; organizing the unemployed; book review; repression at Pine Ridge Reservation.
Creator
An entity primarily responsible for making the resource
Weather Underground
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
underground press
Africa
anti-imperialism
Anti-War
class
class struggle
class war
day care
Earl Butz
FBI
feminism;
Ho Chi Minh
hunger
imperialism
John Brown
labor movement
Mozambique
New Left
Osawatomie
Pine Ridge Reservation
police repression
Ponce cement strike
Prairie Fire
Prisoner's Rights Movement
radicalism
SDS
Third World liberation
unemployment
Vietnam War
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
Osawatomie, June-July 1976, vol. 2, no. 2
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
June-July 1976, vol. 2, no. 2
Subject
The topic of the resource
Weather Underground
Description
An account of the resource
Newsletter of the Weather Underground summarizing the latest happenings in the underground, including a notice for an anti-colonial march in Philly, San Fran and L.A. on the bicentennial; news briefs including a short obituary of Phil Ochs; and articles about U.S. meddling in Cuba’s upcoming election; unemployment; the history of Reconstruction and its failure; “anti-imperialism vs. opportunity: a self-critique”; racism in Boston; indigenous sovereignty; and a piece of serialized fiction, “The People, The People.”
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Creator
An entity primarily responsible for making the resource
Weather Underground
Type
The nature or genre of the resource
underground press
anti-colonialism
anti-imperialism
anti-racism
Bicentennial
Boston
California
Cuba
fiction
Los Angeles
Massachusetts
Native American rights
New Left
Osawatomie
Pennsylvania
Phil Ochs
Philadelphia
radicalism
Reconstruction
San Francisco
SDS
sovereignty
unemployment
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
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
"Two, Three, Many Vietnams," Weatherman
Subject
The topic of the resource
New Left
Description
An account of the resource
This pamphlet describes the revolutionary organizing strategy of the Weather Underground. According to this analysis, traditional mass-based non-violent protest, like those led by the National Moratorium Committee, only serve to reinforce U.S. imperialism and stave off more radical solutions. The Weatherman see the growing radicalization of the black freedom struggle as a vanguard of a global Third World anti-imperialist struggle. The Weather Underground's main goal is to organize the white working-class, which it calls "the least organized enemies of imperialism," into a revolutionary force in solidarity with third world struggles at home and abroad. "Our organizing strategy," they explain, "consists of organizing a white fighting force of young people who are ready to side with the blacks and third world." In the end, they conclude, "This big, fat, rich motherfucking country is going to be overthrown. Being a part of a revolutionary army that joins with other revolutionary armies defeat imperialism is the greatest thing anybody could want to be."
Creator
An entity primarily responsible for making the resource
Weatherman
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1970
Format
The file format, physical medium, or dimensions of the resource
pamphlet
anti-imperialism
communism
Maoism
New Left
radicalism
SDS
Third World Nationalism
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
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
Stop the War Against Vietnam
Description
An account of the resource
The militant youth wing of the Workers World Party, the Youth Against War and Fascism opposed American military interventionism as early as 1962, when the group set up a picket line in mid-town Manhattan to alert the public to the danger of sending U.S. military advisers to Southeast Asia. Later in the 1960s and beyond, the socialist YAWF continued its anti-war activism and also supported the black liberation struggle in America and Africa.
Creator
An entity primarily responsible for making the resource
Youth Against War & Fascism
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
Language
A language of the resource
en-US
Type
The nature or genre of the resource
Physical Object
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
ca. 1970s
Subject
The topic of the resource
Anti-Vietnam War Movement
Africa
anti-imperialism
Anti-War
black liberation
capitalism
New York
radicalism
socialism
Vietnam War
Workers World Party
Youth Against War and Fascism