1
50
76
-
https://rozsixties.unl.edu/files/original/b4b790dcde97711f0f0b2a0ce79efb2e.jpg
9bfd50649c7e738198008f681e53dd9d
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
Second Annual Vermont Peoples Fair
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This poster advertises a "Peoples Fair" at Battery Park in
Burlington, Vermont
Creator
An entity primarily responsible for making the resource
Vermont Peoples Fair
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. mid-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
Battery Park
Burlington
counterculture
Vermont
Vermont People's Fair
-
https://rozsixties.unl.edu/files/original/f2e58c393ac1eeb600e7d617297393ca.jpg
c0a679082bcf5bd6f83c98d523574763
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
Youth International Party Manifesto!
Subject
The topic of the resource
New Left
Description
An account of the resource
The Youth International Party, known as the "Yippies," was founded in 1967 by Abbie and Anita Hoffman, Jerry Rubin, Nancy Kurshan, and Paul Krassner. Other activists involved with the Yippies included, Stew Albert, Ed Rosenthal, Allen Ginsberg, Ed Sanders, Robin Morgan, Phil Ochs, Robert M. Ockene, William Kunstler, Jonah Raskin, Steve Conliff, John Sinclair, Dana Beal, Betty (Zaria) Andrew, Matthew Landy Steen, Judy Gumbo, Ben Masel, Tom Forcade, David Peel, Wavy Gravy, Aron Kay, Tuli Kupferberg, Jill Johnston, Daisy Deadhead, Leatrice Urbanowicz, Bob Fass, John Murdock, Alice Torbush, Judy Lampe, Walli Leff, Steve DeAngelo, Dennis Peron, and Brenton Lengel. According to Krasner, who coined the term, Yippies were “radicalized hippies.” In a 2007 essay in the Los Angeles Times, Krasner explained, "We needed a name to signify the radicalization of hippies, and I came up with Yippie as a label for a phenomenon that already existed, an organic coalition of psychedelic hippies and political activists. In the process of cross-fertilization at antiwar demonstrations, we had come to share an awareness that there was a linear connection between putting kids in prison for smoking pot in this country and burning them to death with napalm on the other side of the planet." Further, Anita Hoffman liked the term, but felt that "strait-laced types" needed a more formal name to take the movement seriously. She came up with "Youth International Party," because it symbolized the movement and made for a good play on words. Some referred to the group as "Yippie!," as in a shout for joy (with an exclamation mark to express exhilaration). As Abbie Hoffman wrote, "What does Yippie! mean?" Energy – fun – fierceness – exclamation point!"
The Yippies were influenced by The Diggers in San Francisco and often used guerilla theater, pranks, absurdist forms of protest, as well as political and cultural disruption in their activism. They sought to merge the personal with the political… and have fun in the process. ABC News once stated, "The group was known for street theater pranks and was once referred to as the 'Groucho Marxists'." Among their many storied antics, the Yippies suggested lacing the New York City water supply with LSD, sent joints to hundreds of random people in New York from the telephone book, threw fake money on the floor of the New York Stock Exchange and suggested a circle of hippies could “levitate” the Pentagon during an October 1967 protest. The Yippies understood the dominant role of mass media and television in contemporary society and often went on television, but refused to obey the normal rules of corporate TV production, hoping to “break the frame” and reveal to audiences the constructed nature of mass media. The Yippies were also involved in the underground press movement. Much of the writing and visual culture they produced consisted of obscenity-laced diatribes against mainstream society, but made few serious calls to militant action.
Abbie Hoffman and the Yippies first suggested a “Festival of Life” in the park outside of the 1968 Democratic National Convention in Chicago. They also planned to nominate a pig, nicknamed “Pigasus,” for President. Other New Left organizations joined the effort, which ultimately descended into chaos when Chicago police, at the order of authoritarian Democratic Mayor Richard Daley, attacked and brutally beat demonstrators in front of reporters and television cameras, causing an international controversy. In the melee, many Yippies were injured and arrested, including Abbie Hoffman and Jerry Rubin, who were put on trial as a part of what become known as the Chicago 7.
In 1970, an estimated 200-300 members of the Yippies descended on the Disneyland amusement park in Anaheim, California, to hold what was billed as their “First International Pow-Wow” to protest the U.S.’s continuing involvement in the Vietnam War and to liberate Disneyland as a symbol of the establishment. Hoffman authored a pamphlet in 1967, titled, “Fuck the System”; two books, “Revolution for the Hell of It” (1968) and “Steal This Book” (1971); and an LP record, “Woodstock Nation: A Talk-Rock Album” (1969).
The Yippies began to fragment and disintegrate during the 1970s. A disillusioned Hoffman committed suicide in 1989. Jerry Rubin became a “Yuppie” during the 1980s, embracing capitalism and starting a number of businesses. He was killed in 1994 when he was struck by a car. Even so, a number of Yippie followers have carried on in the same spirit.
Along the bottom right of this poster, it reads: “more copies: YIP 333 East 5th Street, NYC."
The main text on the poster is the Youth International Party Manifesto and it reads:
YOUTH INTERNATIONAL PARTY
MANIFESTO!
WE ARE A PEOPLE
We are a new nation.
We believe in life.
And we want to live now.
We want to be alive 24 hours a day.
Nine-to-five Amerika doesn't even live on weekends.
Amerika is a death machine. It is run
on and for money whose power
determines a society based on war,
racism, sexism, and the destruction
of the planet. Our life-energy is the
greatest threat to the machine.
So they're out to stop us.
They have to make us like them.
They cut our hair, ban our music
festivals, put cops and narcs in the
schools, put 200,000 of us in jail
for smoking flowers, induct us,
housewive us, Easy-Rider murder us.
Amerika has declared war on our New Nation!
WE WILL BUILD AND DEFEND OUR NEW NATION
But we will continue to live and grow. We are young, we have beautiful
ideas about the way we should live. We want everyone to control their
own life and to care for one another. And we will defend our freedom
because we can’t live any other way.
We will continue to seize control of our minds and our bodies. We can't
do it in their schools, so we'll take them over or create our own. We
can't do it in their Army, so we'll keep them from taking our brothers.
We can't make it in their jobs, so we'll work only to survive. We can't
relate to each other like they do - our nation is based on cooperation
not competition.
We will provide for all that we need to build and defend our nation. We
will teach each other the true history of Amerika so that we may learn
from the past to survive in the present. We will teach each other the
tactics of self-defense. We will provide free health services: birth
control and abortions, drug information, medical care, that this society
is not providing us with.
We will begin to take control of drug manufacture and distribution, and
stop the flow of bad shit. We will make sure that everyone has a decent
place to live: we will fight landlords, renovate buildings, live
communally, have places for sisters and brothers from out-of-town, and
for runaways and freed prisoners. We will set up national and
international transport and communication so we can be together with our
sisters and brothers from different parts of the country and the world.
We will fight the unnatural division between cities and country by
facilitating travel and communication
. We will end the domination of women by men, and children by adults.
The well-being of our nation is the well-being of all peace-loving
people.
WE WILL HAVE PEACE
We cannot tolerate attitudes, institutions, and machines whose purpose
is the destruction of life and the accumulation of "profit.”
Schools and universities are training us for roles in Amerika's empire
of endless war. We cannot allow them to use us for the
military-industrial profiteers.
Companies that produce waste, poisons, germs, and bombs have no place in
this world.
We are living in the capital of the world war being waged against life.
We are not good Germans. We who are living in this strategic center of
Babylon must make it our strategic center. We can and must stop the
death machine from butchering the planet.
We will shut the motherfucker down!
WE WILL MAKE OUR NEW NATION FIT FOR LIVING THINGS
We will seize Amerika’s technology and use it to build a nation based on
love and respect for all life.
Our new society is not about the power of a few men but the right of all
humans, animals and plants to play out their natural roles in harmony.
We will build our communities to reflect the beauty inside us.
People all over the world are fighting to keep Amerika from turning
their countries into parking lots!
WE WILL BE TOGETHER WITH ALL THE TOGETHER PEOPLES OF THE EARTH
Pig Empire is ravaging the globe, but the beautiful people everywhere
are fighting back. New Nation is one with the black, brown, red & yellow
nations.
Che said:
'You North Americans are very lucky. You live in the middle of the
beast. You are fighting the most important fight of all, If I had my
wish, I would go back with you to North Amerika to fight there. I envy
you.' "
Creator
An entity primarily responsible for making the resource
Yippies
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1968
Format
The file format, physical medium, or dimensions of the resource
poster
“Festival of Life”
Abbie Hoffman
Alice Torbush
Allen Ginsberg
Anaheim
Anita Hoffman
Anti-War
Aron Kay
Ben Masel
Betty (Zaria) Andrew
Bob Fass
Brenton Lengel
California
Chicago '68
Chicago 7
counterculture
Daisy Deadhead
Dana Beal
David Peel
Democratic Party
Dennis Peron
Disneyland
Ed Rosenthal
Ed Sanders
Fuck the System
Jerry Rubin
Jill Johnston
John Murdock
John Sinclair
Jonah Raskin
Judy Gumbo
Judy Lampe
Leatrice Urbanowicz
Los Angeles Times
LSD
manifesto
marijuana
Matthew Landy Steen
Nancy Kurshan
New Left
New York
New York Stock Exchange
Paul Krassner
Pentagon
Phil Ochs
Pigasus
Revolution for the Hell of It
Richard Daley
Robert M. Ockene
Robin Morgan
Situationist International
Steal This Book
Steve Conliff
Steve DeAngelo
Stew Albert
The Diggers
Tom Forcade
Tuli Kupferberg
Vietnam War
Walli Leff
Wavy Gravy
William Kunstler
Woodstock Nation
Yippies
Youth International Party
Yuppie
-
https://rozsixties.unl.edu/files/original/ab5a8213d7c6e2bf4669d677a8da0d13.jpg
36845bb1e60502221f0cffcebfc6e0a3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
The Chicago Women’s Liberation Rock Band, which was connected to the Chicago’s Women’s Liberation Collective, and the New Haven Women’s Liberation Rock Band, which was connected to New Haven Women’s Liberation, attempted to inject a feminist perspective into rock music and challenge the traditionally hyper-masculinist and misogynistic rock scene. As bassist and vocalist, Susan Abod, recalled, “We loved to dance, [but] we were dancing to songs that were degrading to us.” The groups were around from 1969 to 1973 and recorded their first record together, “Mountain Moving Day,” in 1972. In the liner notes, the women explained, "We wanted to make music that would embody the radical, feminist, humanitarian vision we shared.” The strong feminist orientation and DIY ethos of the groups foreshadowed the Riot Grrrl movement of the 1990s and paved the way for other female artists.
The full liner notes to the 1972 album are here:
Both the Chicago Women’s Liberation Rock Band and the New Haven Women’s Liberation Rock Band were begun about 2 1/2 years ago by women in and around the women’s movement in our two cities. At that time some of us were already musicians who had gotten an education in sexism by playing in male bands. Some of us were fugitives of high school marching bands, folk music groups and Mrs. Porter’s music recitals. Some of us had stashed unplayed instruments under our beds years ago. And some of us were would-be musicians, learning to play for the first time. All of us wanted to create a new kind of band and a new kind of music, though we had no clear idea how to do that.
We knew what we didn’t want: the whole male rock trip with its insulting lyrics, battering-ram style and contempt for the audience. We didn’t want to write the female counterpart of songs like “Under My Thumb,” “Back-Street Girl,” “It’s a Man’s Man’s Man’s World” where men say to us ‘you’re beneath contempt and we will celebrate your degradation.’ We had to think of some other way to make a hit besides bumping and grinding like Mick Jagger, raping and burning our guitars like Jimi Hendrix, or whacking off on stage like Jim Morrison. We didn’t want to pulverize our audience’s (and our own) eardrums with 1010 decibels. As performers we didn’t want to get off by trashing the people we played for, and we didn’t want to have a star backed up by a squad of secondary musicians.
But what did we want anyway? We knew that we wanted to make music that would embody the radical, feminist, humanitarian vision we shared. And the lyric were the obvious place to begin—the field was wide open. Most of the rock songs women have sung till now were about the pain men cause us—the pain that’s supposed to define us as women. We didn’t want to deny that tradition (women struggled hard for the right to sing even that much) bvt we wanted to sing about how the pain doesn’t have to be there—how we fight and struggle and love to make it change. At first it was easiest to write new lyrics to old songs, but as time has gone on we have begun to write entirely new material (the record contains examples from both these phases).
We also had to demystify the priesthood of the instrument and the amplifier— move and set up the equipment, find the fuses, fix the feedback, mike, monitor and control it all ourselves. We had to try to break down the barriers that usually exist between performers and audiences by rapping a lot between songs about who we are, what we’re doing, and where our songs come from. Whenever possible we’ve played in places where people can dance, done some theatre and comedy, passed out lyrics so people could sing with us, and invited other women to come and jam with us.
The hardest thing to deal with was the music itself—what could we make out of such a motley collection of tastes, backgrounds and instruments? We had started from scratch, not by fitting accomplished musicians into traditional slots. We had no leaders, arrangers, managers, agents, roadies—even equipment or instruments. We thought of the bands as collectives, so we wanted to learn together and work toward eliminating the inequalities of (musical) power that existed among us. Our progress has been slow and difficult-it has come out of thousands of hours spent practicing, teaching each other, taking lessons, listening to other bands, jamming, writing and working all kinds of things out with each other.
Over the past 2 1/2 years each band has evolved its own material and style which is partly the result of the combination of instruments we happened to end up with and largely the result of our efforts to make collective, non-assaultive joyful rock music.
WHAT WE DO:
We are the ‘agit-rock’ arm of our respective women’s movements. In Chicago this means we are a chapter of the Chicago Women’s Liberation Union (more about this later). In New Haven we are all members of New Haven Women’s Liberation. We go places where leaflets can’t go—college dances, women’s conferences, rallies, benefits, festivals, prisons and miscellaneous events. And perhaps we say things that leaflets can’t say because we have music and performance to help us generate for those few hours while we’re playing some glimpse of the world we’d like to see happen. Some of our jobs have been more than just exciting—we and the audience have shared in a deeply-felt celebration of our vision. At others we’ve been met with bad vibes, hostile men, inadequate electricity, freezing weather. We charge for our performances according to what people can pay, and so far have spent our earnings on equipment, transportation, food, drink, rent for rehearsal space and donations to the women’s movement. We don’t see the bands as profit-making (all of us have other jobs which support us) but as part of what needs to be done to change the culture of this society.
What we all want to do is use the power of rock to transform what the world is like into a vision of what the world could be like; create an atmosphere where women are free enough to struggle to be free, and make a new kind of culture that is an affirmation of ourselves and of all people.
CWLU
We in the Chicago band wanted to add just a little note about the organization that we’re a part of because we feel that it has been important to us and to the women in Chicago. This is the Chicago Women’s Liberation Union, which is the only on-going radical feminist organization of its type in the country. In its three years it has provided a political unity and sense of direction for much of the women’s movement in Chicago. Some of the projects included in the Union are:
- Women’s Graphics Collective (original feminist art & posters) Liberation School for Women (alternative education for and about women)
- Health Project (which fights to keep city maternity centers open and offers pregnancy testing and health referrals)
- Work Work Group (to equalize salary and job differentials for city employees)
- Womankind (a women’s newspaper)
- Speakers Bureau
- Rape Crisis Center
The following is an abridged version of an article by Ben Kim from April 1994 that appeared in Chicago's alternative paper, New City:
“Suffragette City: The Chicago Women's Liberation Rock Band”
“Changing the lyrics, controlling the equipment, making low the mighty—these are obvious [although difficult] tasks of a feminist, humanitarian music. Divesting rock of its sexism, however, leads to a startling development apparently, one can’t simply make nice, clean revolutionary rock without the rock itself—the musical form—changing. Maybe the quality of that energy which so characterizes relic is modified when it is used for dancing and celebration rather than as an insistent, repetitive power trip to keep the audience awed, obedient, and flat on its back.”
—Naomi Weisstein and Virginia Blaisdell from “Feminist Rock: No More Balls and Chains” (1972)
“Wanna start your own rock band, its easier than you think,” claims an article in this month’s Sassy. In “Kicking Out the Jams: A How-To Guide,” Mary Ann Marshall breaks it down neatly, from step one: “Learn to play an instrument,” to step 11: “Shop your demo to labels.” The band illustrated is comprised like Sassy’s targeted readership, of adolescent girls.
Notwithstanding prevailing sexism on the radio/video airwaves, in clubland, on the charts, and in the industry in general, things have come a long way: the Sassy article isn’t some fantasy, it’s a nuts-and-bolts guide to what hundreds of women can do, will do, are doing. The riot-grrl phenomenon, which welled up just a few years ago in a bright-hot fusion of postfeminist politics and postpunk rock, selected the guitar as a tool every girl should have to build a secret world apart. As never before, it’s a time for women to rock. But 24 years ago, a group of Chicagoans said it was time. And they were early. That is, they were first.
The Chicago Women’s Liberation Rock Band was the self- described “agit-rock” arm of the Chicago Women’s Liberation Union. Founded in 1969, the union was an umbrella organization, rooted in principles that came to be identified as socialist feminism, focusing on projects in education, service, and direct-action, by and for women (This predilection for action distinguished the union from its more theoretically oriented counterparts across the country, which emphasized consciousness-raising.)
These projects included the Liberation School which predated most women’s studies curricula), Graphics Collective, Legal Clinic, Prison Project, Direct Action for Rights of Employment (DARE), Speakers Bureau, Action Coalition for Decent Childcare (ACDC), Rape Crisis Center, and the renowned Abortion Counseling Service, Jane.
Naomi Weisstein organized the band in March of 1970.
Though later in the decade punk rock would affirm that indeed “anyone can play”, feminism spread that plain truth to women early on. “Our early women’s movement said that any woman could do anything” Weisstein writes. (Due to ill health, Weisstein could not conduct a personal interview. Her comments are drawn, with consent, from a recent essay and correspondence, cited at the end of this piece.) “As long as a woman wanted to learn an instrument or wanted to sing, I included her as a member, believing that with positive expectations and a good deal of enthusiasm she could quickly learn what she didn’t know.”
Many lent their efforts during the initial months, and the band debuted in Grant Park that summer with 12 singers and 4 guitarists: by all accounts it was a musical disaster, proving the open membership policy untenable. Soon after, the band’s core lineup solidified: Susan Abod (bass, vocals), Sherry Jenkins (guitar, vocals), Patricia Miller (guitar, vocals), Linda Mitchell (manager), Fania Mantalvo (drums), Suzanne Prescott (drums). and Weisstein (keyboards).
“We were trying to tackle the form,” recalls Abod. “With the exception of Sherry, we were all coming from classical or folk backgrounds so it was a real challenge for us. We were just trying to get our technical skills together and get a strong backbeat.” If the band’s musical quality was initially shaky, the enthusiasm of the audience more than compensated. “I remember one of our first gigs, in January of 1971, at Alice’s Revisited (a popular coffeehouse on Wrightwood),” recalls Pat Solo, formerly Patricia Miller. “We were just terrible. And we got a standing ovation. Clearly it wasn’t just for the music.” Abod remembers the gig, too. “The place was packed to the gills with women. After I sang my first song they roared.
Musically, we were schlocking our way through. But there was so much love and support for what were trying to do. They just thought we were the greatest!”
Like the union itself, the band was about action, but steeped in ideology, born of it. The band theorized its purpose, debated its role, and even documented the course of its thoughts. In a “Work Group Analysis,” written late in 1972, the band saw itself expanding the union’s scope in a vital way.
“(In the union) there was no awareness of how a culture shapes what people want and how they should want it. Aspects of culture such as music, poetry and art were frivolous (The union should) recognize the seriousness of our commitment to the Women’s Movement. We are more than an entertaining way to break the tensions that. come from ‘serious’ political work”.
Every band, to some extent, concentrates on extra-musical details, everything that might possibly define what it stands for— today’s indie rockers, for example, focus enormous attention on graphic design.
As an explicitly political entity, this band treated its every move as explicitly political—as a nominally leaderless collective, the band hashed out every decision at length. “We were riding this wave of tremendous change,” Abod notes.” And when you do that, stuff comes up. What are we going to say, how, and why. Who can and can’t do what and who says so. What does it mean for our power structure. It was political self-analysis at its gutsiest.”
Meetings and rehearsals placed heavy demands—a minimum of 15 hours a week, excluding performances—on the members, all who had full-time engagements as professionals or students. In this band, working out your part meant more than learning notes.
The band’s extraordinary self-consciousness combined with its dutiful self--chronicling, yields a rare, deep look into in idea in time. If its merely taking the stage was revolutionary, the band’s imperative to rock was radical in ways not readily apprehensible, as explained in a “Culture Paper” submitted to the union in early 1973:
“We like rock and so do millions of others. There is creativity and music and a sense of joy in all of us. What rock told us, though, was that in order to be able to create this kind of music, you had to be magic, and you had to be male. And everybody accepted that. We accepted that, until the words got through to us, and we realized that we were despised. Why were we digging the celebrations of our degradation? Partly hype, partly real content. The hype was that this music was the new insurgency, that it was dangerous to the powers that were. And the content had to do with the music...We should tell it simply: we chose rock because we dug it so much. And so did many other people: every 14-year-old listens to rock music. Here was a cultural vehicle of great popularity, power and appeal. Maybe we could use it.”
So they used rock to build q revolutionary, socialist feminist, humanist culture, first by writing politically charged lyrics, like the wonderfully angry “Secretary” (See Lyrics). But the band felt that lyrics weren’t enough.
“We have to change the total experience of the rock performance,” the band writes in its Culture Paper. “We have to involve our audiences as equals, include rather than insult them, respect rather than degrade them, play for them rather than at them, acknowledge that our audience is our life, our understanding, our spirit... We keep the house lights on them. We rap a lot with them.. .We do theater for them and with them...We pass out lyrics, teach them songs, and have them sing along.”
The band’s assault on male rock hegemony, simultaneously straightforward and tricky, used both music and humor. The latter came out primarily during the raps and theater. Abod recalls one particular crowd-phasing routine. “We did the Kinks ‘ You Really Got Me’ but with a whole new set of lyrics that started with ‘Man,’ instead of ‘Girl,’ and we pranced holding our ‘cocks’ like Mick Jagger. Or whatever rock star we found really annoying, and it would just look ridiculous. And the audience was totally into the guerrilla theater of it—they’d shriek and grab at our legs like groupies. It was so much fun, laughing at a culture that had kept us down.”
"We have been able to create an alternative to the total macho rock culture," the band wrote in its Work Group Analysis. In moving apart, they created a dialectic with that culture, casing Guyville and vandalizing its main street, mapping the regions of disgust and awe in a Mick Jagger, world not of their own making that would inescapably define their exile from it—all this around the time Liz Phair was gearing up for kindergarten.
All through 1971 and ‘72, the band racked up more gigs, traveling to Colorado Springs, Indianapolis, Ithaca, Lewisburg, Pittsburgh, Toronto and elsewhere, and playing locally at universities (U of C, UIC) Wobbly Hall on Lincoln, and the People’s Church on Lawrence. “Women are welcome to come with us on out-of-town gigs as space and money permits,” they wrote to union members. “Be willing to work a little and drink some”.
They got better as they played. And though clearly making history all along, the band was eventually able to freeze its moment in vinyl for posterity. In the spring of ‘72 they journeyed to Massachusetts, where, along with their counterparts in the New Haven Women’s Liberation Rack Band, they recorded on album for Rounder Records. “Mountain Moving Day” was released that fall, with each band contributing one side.
“We were perfectionists, so we weren’t satisfied with the product,” admits Abod. “We worked really hard on our stuff, and it still wasn’t where we wanted it so be.” Nevertheless, on “Mountain Moving Music” the band displays more than a fair amount of musicianship and spirit. The Chicago group contributes the mid-tempo rocker “Secretary:” the bluesy “Ain’t Gonna Marry,” a rag called “Papa” which transforms the traditional “Keep On Truckin'’ Mama” into an attack on —“Rolling Stones, Blood Sweat and Tears/I’ve. taken that shit for too many years”, and the stirring title ballad. Though “Mountain Moving Music” doesn’t rock hard by conventional standards, its strong convictions lend it considerable weight. In a sense, it’s the mother of riot grrl. foxcore, any rock by women who ask no quarter.
The band broke up in mid-1973, after Weisstein moved to the East Coast. The union continued until 1977. The others wrote to the union, upon dissolution, that “expanding a feminist vision through titanic will continue by the formation of new bands,” This, then, is the legacy of these women who played hard and thought rigorously—the very idea, so very empowering, of women rocking, echoed today in the riot grrl call for."all girls to be in bands."
"A lot of women came up to me after our shows and said,'I want to do that,'” remembers Abod. "and we tried to make them understood that they could. Any of them could. And I think a lot of them did."
“Our music is embedded in a context, Women’s Liberation and a vision of our possibilities as women,” the band wrote in its Work Group Analysis. The riot grrls dramatically reclaim that context just as Sassy—"This starting-a- band business is quite a committment...but if its something you’re meant to do, you’ll breeze right through it"-blithely accepts that birthright. And both versions--the battle still raging, the victory won—feel like progress. The vision of the Chicago Women’s Liberation Rock Band is a girl’s picture of herself rocking today. Rocking like it can change the world—like it’s the most natural thing in the world.
Title
A name given to the resource
New Haven Women's Liberation Rock Band
Subject
The topic of the resource
Women's Liberation
Creator
An entity primarily responsible for making the resource
New Haven Women's Liberation Rock Band
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
1971
Format
The file format, physical medium, or dimensions of the resource
poster
Ben Kim
Chicago
Chicago Women’s Liberation Rock Band
Chicago’s Women’s Liberation Collective
Connecticut
counterculture
feminism
Illinois
Mountain Moving Day
Music
New City
New Haven
New Haven Women’s Liberation Rock Band
New Left
Riot Grrrl
rock and roll
Susan Abod
Women's Liberation
-
https://rozsixties.unl.edu/files/original/05d1081ce71a3f78f7e55d48f936c687.jpg
3b90cbeca0a002ec3fa4d322005f15e1
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
Second Burlington People's Circus
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This poster promotes the second Burlington People's Circus.
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
unknown
Format
The file format, physical medium, or dimensions of the resource
poster
Battery Park
Burlington
Burlington People's Circus
circus
counterculture
theater
Vermont
-
https://rozsixties.unl.edu/files/original/04129d01f58d98d238b6f1d6a812b555.jpg
f7c9346336a0889d34a968384d27ef6f
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
Confront the Warmakers
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This poster promotes the October 21, 1967, antiwar demonstration held in Washington, D.C. by a collection of organizations, including the Vietnam Peace Parade Committee in New York. The estimated 100,000 protesters who took place in the demonstration included radicals, liberals, black nationalists, hippies, professors, women’s groups, and war veterans.
The rally in front of the Lincoln Memorial started peacefully. Dr. Benjamin Spock, the baby specialist, author, and ardent critic of the war gave a strong speech, labelling President Johnson “the enemy.” Afterward, demonstrators marched toward the Pentagon, where some violence erupted when the more radical element of the demonstrators clashed with U.S. troops and Marshals. The protesters surrounded and besieged the military nerve center until the early hours of October 23. By the time order was restored, 683 people, including novelist Norman Mailer and two United Press International reporters, had been arrested.
One of the notable aspects of the Pentagon protest, in addition to its size, was the participation of both the political and counter-cultural wings of the New Left. Famously, in a bit of political theater, Yippie leaders, Abbie Hoffman and Jerry Rubin, claimed demonstrators would perform an "exorcism" on the Pentagon. Surrounding the five-sided building with a circle of hippies, “they would make the Pentagon rise from the ground a few inches. And all the evil was going to leave.”
Rubin stressed to the media that “we were going to close down the Pentagon” – which was taken more seriously than the levitation. President Johnson retorted, “I will not allow the peace movement to close down the Pentagon.” As Rubin pointed out later, “By saying that he wasn’t going to allow us to close it down, he gave us the power to have that possibility. So in a way, just by announcing it, we created a victory.”
In an essay for The Nation, titled “Bastille Day on the Potomac,” Robert Sherrill described the protest at the Pentagon:
“The strange thing about the confrontation, at least at first, of the troops and the protesters at the Pentagon was that there seemed almost to be a rapport, partly contrived but also partly natural. The troops who met the marchers and turned them away were sometimes cursed, but more often they were merely lectured as flower children might lecture a nosy cop in DuPont Circle. One boy stuck chrysanthemums in the muzzles of the rifles confronting him; late in the day, a soldier was seen tossing a package of cigarettes into the sprawl of sit-inners he was guarding. More significant than these random, amiable acts, however, was the fact that the protesters, although they made repeated forays with their identifying banners onto forbidden territory (one participant said it reminded him of the schoolboy game, Capture the Flag), never seriously contested or baited the troops physically—except for the one occasion when half a dozen protesters outflanked the main cluster of soldiers, raced through an unguarded Pentagon door, and made their coup, before being tossed out. A handful of stones, a couple of bottles, a few pieces of heavy cardboard were tossed at the soldiers during the day—but considering the size of the crowd, at peak emotion, acting over a period of several hours, these peaceniks were really peaceful. And by day, so were the troops. At dusk, they shot a couple of canisters of tear gas into the protesters’ ranks; and after dark they used their boots and rifle butts more freely than they had during the day….
On the occasion of the actual penetration of the Pentagon, there was rough stuff on both sides, but the only brutalities were committed by the marshals. When the protesters raced for the Pentagon entrance, The Nation’s reporter was in the van, not fast enough to get into the building with the six who made it, but in time to reach the doorway just as the bodies came hurtling back through, borne on a wave of soldiers. In the midst of this, he observed, one of the protesters was knocked down and lay imprisoned among the legs of the soldiers. A marshal seized this opportunity to start beating the helpless young man with all his might and the beating continued for so long and seemed of such homicidal intent that the several newsmen caught in the crush began screaming at the marshal to quit. Finally the soldiers stopped him. The Nation’s reporter saw the marshals beating demonstrators on five occasions, four of these beatings were administered when the demonstrators were either on the ground or helpless.”
The Pentagon protest was paralleled by demonstrations in Japan and Western Europe. In one raucous incident outside the U.S. Embassy in London, 3,000 demonstrators attempted to storm the building.
Creator
An entity primarily responsible for making the resource
Vietnam Peace Parade Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Format
The file format, physical medium, or dimensions of the resource
poster
Abbie Hoffman
Anti-War
Benjamin Spock
counterculture
DuPont Circle
Japan
Jerry Rubin
LBJ
Levitation
Lincoln Memorial
New Left
New York
Norman Mailer
Pentagon
Robert Sherrill
The Nation
Vietnam Peace Parade Committee
Vietnam War
Washington D.C.
Western Europe
Yippies
-
https://rozsixties.unl.edu/files/original/e36c8211c7962fb4c11b50eb8decbf9c.jpg
6b9b342728b1f87c66af4df27b708de5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Posters and Graphic Design
Description
An account of the resource
The movements of the Sixties produced a rich history of political posters and other graphic arts. These posters were hung in political offices, bookstores, bedrooms and in public. The posters collected here include designs related to the anti-war movement, Black Power, women’s liberation, the Yippies, counterculture, the Democratic National Convention in Chicago, anti-imperialism, the Cuban Revolution, environmentalism, Bernie Sanders’ elections for Burlington mayor, anti-communism, the labor movement, corporate inequality, the Israeli-Palestinian conflict, and other topics. Of particular note are a series of posters created by the OSPAAAL, the Organisation in Solidarity with the People of Africa, Asia and Latin America, the main publisher of international solidarity posters in Cuba.
Source
A related resource from which the described resource is derived
Roz Payne
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"False Promises/Nos Engañaron"
Subject
The topic of the resource
Counterculture
Description
An account of the resource
The San Francisco Mime Troupe was an avant-garde, “guerilla theater” troupe created by R.G. Davis in 1959 and dedicated to political satire. Peter Berg directed the group throughout its heyday in the 1960s. Initially performing in lofts and basements, the SFMT gained notoriety during the mid- and late-1960s for its rambunctious free performances outdoors in public parks, particularly Golden Gate Park. Their performances targeted political repression in the U.S., American military intervention abroad, racism, sexism, materialism and capitalism. Seen as a part of the countercultural movement, the SFMT also had several well-known run-ins with law enforcement, often charged with “obscenity”. Their 1965 Minstrel Show, Or Civil Rights in a Cracker Barrel, was performed in black face and offended some — both black and white. In another piece, an actor played a military policeman who paraded prisoners into Berkeley’s Sproul Plaza and began to abuse them. The troupe was also arrested on the campus of the University of California-Berkeley during the Free Speech Movement. Berg later went on to co-found, the Diggers with Emmett Grogan, a collective that brought a sense of theater to their charity work with the hippies and the poor in San Francisco.
This poster by Jane Norling, was created for the San Francisco Mime Troupe’s 1976 original production of the play, "False Promises/Nos Enganaron.” According to the Troupe’s website, provides the following summary of the play: “Set in a Colorado mining town in 1898 where Mexican and American workers are organizing a copper mine, this simple story evolves into an epic that links the stories of Mexican and white miners, black and white dance hall queens, and a black soldier to the global machinations of Teddy Roosevelt and J.P. Morgan. The play also ties in U.S. expansion into Puerto Rico, the Philippines and Hawaii with the development of the American West.”
The play was written by Joan Holden, directed by Arthur Holden, with music and lyrics by Andrea Snow, Bruce Barthol and Xavier Pacheco. It featured Marie Acosta, Lonnie Ford, Sharon Lockwood, Melody James, Ed Levey, Dan Chumley, Esteban Oropeza, Patricia Silver and Deb'bora Gilyard and a band, the “Rough Riders,” including Bruce Barthol, Barry Levitan, David Topham and Jack Wickert. The production toured West Germany, Italy and France after its initial run in San Francisco.
Creator
An entity primarily responsible for making the resource
artist Jane Norling
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1976
Format
The file format, physical medium, or dimensions of the resource
poster
Andrea Snow
anti-imperialism
Anti-War
Arthur Holden
Barry Levitan
Berkeley
Bruce Barthol
California
Civil Rights in a Cracker Barrel
Colorado
counterculture
Dan Chumley
David Topham
Deb'bora Gilyard
Diggers
Ed Levey
Emmett Grogan
Esteban Oropeza
False Promises/Nos Enganaron.
France
Free Speech Movement
Golden Gate Park
guerilla theater
Hawaii
Italy
J.P. Morgan
Jack Wickert
Jane Norling
Joan Holden
Lonnie Ford
Marie Acosta
Melody James
mining
Minstrel Show
Patricia Silver
Peter Berg
Puerto Rico
R.G. Davis
San Francisco
San Francisco Mime Troupe
Sharon Lockwood
Sproul Plaza
Teddy Roosevelt
the Philippines
theater
University of California
Vietnam War
West Germany
Xavier Pacheco
-
https://rozsixties.unl.edu/files/original/19c7b56ef6330cff089711f2902116de.jpg
2b5ef96632071b25eec840513bb9b08a
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
Ten Days to Change the World
Subject
The topic of the resource
Yippies/Counterculture
Description
An account of the resource
This poster promoted Yippie protests at the Democratic and Republican National Conventions in Miami Beach, Florida, in 1972, the last time both major parties held their presidential conventions in the same city. Notably, these protests also included a break-away group from the original Yippies, led by Tom Forcade and called the "Zippies," for "Zeitgeist International Party." Contingents at the demonstrations also included the Vietnam Veterans Against the War and a large group of women’s liberation activists.
At the Republican Convention, about 3,000 anti-war activists, many wearing painted death masks and some splattered with red paint, confronted delegates, chanting, cursing, jostling and pounding on cars. Protesters aimed to force well-dressed delegates to walk through a "gauntlet of shame" as they approached the guarded gates of the convention. Protesters yelled, “Murderers, murderers” and "delegates kill!" Some protesters also broke windows along the main thoroughfare in Miami Beach during the protests, resulting in 212 arrests. Black Panther Party leader, Bobby Seale, who had recently been released from four years in jail as a result of his participation in the 1968 demonstrations outside the Democratic Convention in Chicago, participated in the protests and at one point led demonstrators in chanting, “One, two, three, four. We don't want your f---ing war.” Daniel Ellsberg, who was facing criminal prosecution for releasing the Pentagon Papers, spoke to a more subdued crowd of anti-war demonstrators outside the convention center as Nixon was being nominated inside. Vietnam war veteran turned anti-war activist, Ron Kovic, also participated in the protests at the Republican National Convention.
The Democratic Convention also saw a variety of protests, inside the conventional hall and outside of it. Inside, previously excluded political activists clashed with traditional party leaders and activists in sessions that often extended late into the night. Outside, anti-war, black freedom, feminist, gay rights and other activists rallied and demonstrated. Anti-poverty advocates constructed "Resurrection City II," named after "Resurrection City," which had been constructed in Washington, D.C. in 1968 as a part of the Poor People's Campaign. "Gonzo" journalist, Hunter S. Thompson, chronicled the 1972 Democratic Convention in his book, Fear and Loathing on the Campaign Trail '72.
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. 1972
Format
The file format, physical medium, or dimensions of the resource
poster
1972 Democratic Convention
1972 election
1972 Republican Convention
Anti-War
Black Panther Party
Black Power
Bobby Seale
counterculture
Daniel Ellsberg
electoral politics
feminism
Florida
Gay Liberation
George McGovern
Hunter S. Thompson
Miami Beach
New Left
Poor People's Campaign
Resurrection City
Resurrection City II
Richard Nixon
Ron Kovic
Tom Forcade
Vietnam Veterans Against the War
Vietnam War
Women's Liberation
Yippies
Youth International Party
Zeitgeist International Party
Zippies
-
https://rozsixties.unl.edu/files/original/2e315b9b69c90356c143bb696c95e7cd.jpg
84ece35e19e93f586a2ad4005a9ccac7
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
Ask the Free Wild Animals
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This poster features references to the 1960s-era counterculture, like LSD and Timothy Leary and a "Weatherfreak."
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. early-1970s
Format
The file format, physical medium, or dimensions of the resource
poster
counterculture
drugs
LSD
Timothy Leary
Weather Underground
-
https://rozsixties.unl.edu/files/original/351f39610a6f41c5023ee2d9c78d3aef.jpg
557ec189db5ff27167cd1a91f2bfa737
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
Bring Abbie Home Rally
Subject
The topic of the resource
Counterculture/Yippies
Description
An account of the resource
These posters promote two events - one in New York City at Madison Square Garden and the other at Grant Park in Chicago - in August of 1978 to support Yippie leader, Abbie Hoffman, who had been underground for four and half years. The New York event featured celebrities and movement activists playing music, giving testimonials and performing a mock-trial. Participants included Rip Torn, William Kunstler, Rennie David, Bobby Seale, Terry Southern, Larry Rivers, Taylor Mead, Jon Voight, William Burroughs, Ossie Davis, Dave Dellinger, John Froines, Jerry Rubin and others. Many wondered if Hoffman was in attendance in disguise. A recorded message from Hoffman was played at the event.
Creator
An entity primarily responsible for making the resource
Bring Abbie Home Committee
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
August 1978
Format
The file format, physical medium, or dimensions of the resource
posters
Abbie Hoffman
Bobby Seale
Bring Abbie Home Committee
Chicago
counterculture
Dave Dellinger
Festival of Life
Grant Park
Illinois
Jerry Rubin
John Froines
Jon Voight
Larry Rivers
Madison Square Garden
New Left
New York
Ossie Davis
Rennie Davis
Rip Torn
Taylor Mead
Terry Southern
underground
William Burroughs
William Kunstler
Yippies
-
https://rozsixties.unl.edu/files/original/485629baca5e03a43f17a1ac466b35e9.jpg
5c99671a088112d5d7be77a0476eac33
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
Thank You for Pot Smoking
Subject
The topic of the resource
Marijuana Legalization
Description
An account of the resource
The American Cannabis Society and its famous catchphrase, “Thank You for Pot Smoking,” was created in 1978 by Madison, Wisconsin, resident, Bob Kundert and his sons, Jeff and Eric. In a 2016 interview with the Psychedelic Times, Jeff Kundert, who is the current President of the organization, reflected on the origin of the group and its iconic slogan:
“My dad and my brother were watching TV and saw a placard on the television that said ‘Thank you for not smoking,’ and then ‘American Cancer Society’ underneath it. My brother in fun changed the ‘n’ to a ‘p’, then dad changed the word ‘cancer’ to ‘cannabis.’ We thought it was funny then, and it just stuck.”
He continued, “After I got back from Vietnam, I introduced my dad to cannabis and he really enjoyed it. We were hard working professionals, my dad owned a large construction company, and he found cannabis to be a big help in his life. He enjoyed what the youth were doing more than what the establishment was doing, which often involved things like drinking lots of alcohol.”
“Dad was worried that cannabis was being maligned and had been maligned for a long time. He thought, ‘Since people aren’t being given the truth about cannabis, why don’t we start a society just to disseminate the culture of cannabis — what people do when they’re high, what it feels like to be high, how to pass a joint correctly, things like that.’ Of course, there was pushback, but he stayed in that fight with the American Cannabis Society until his passing in the year 2000, when he was still wearing his ‘Thank You for Pot Smoking’ shirt, and was the most loved person in the nursing home with his friendliness, spunk, and humor.”
Another 2016 article in Madison’s Isthmus Magazine, further explained, “Members of the American Cannabis Society see themselves as freedom fighters on a mission to overturn nearly a century of federal marijuana prohibition. Their crusade to ‘free the herb’ isn’t so people can get high — which they do in spite of the law — but to have peace of mind while doing so. ‘The point,’ Kundert explains, ‘is that no one is going to put me or anybody else in jail for enjoying and sharing this sacred herb.’”
Creator
An entity primarily responsible for making the resource
American Cannabis Society
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1978
Format
The file format, physical medium, or dimensions of the resource
poster
American Cancer Society’
American Cannabis Society
Bob Kundert
cannabis
counterculture
drugs
Eric Kundert
Isthmus
Jeff Kundert
legalization
Madison
marijuana
Psychedelic Times
Wisconsin
-
https://rozsixties.unl.edu/files/original/e366d19121760e2227d86908bcc22659.jpg
3fa2427e74b6044cc4251b18bcff879a
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
A Ritual Exorcism
Subject
The topic of the resource
Anti-Vietnam 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
1967
Format
The file format, physical medium, or dimensions of the resource
poster
Description
An account of the resource
This poster, featuring a mandala incorporating beat poet and counterculture icon, Allen Ginsberg, Uncle Sam, a peyote-eater, a mushroom cloud and a skull, promoted the October 21, 1967, antiwar demonstration held in Washington, D.C. by a collection of organizations. The estimated 100,000 protesters included radicals, liberals, black nationalists, hippies, professors, women’s groups, and war veterans.
The rally began in front of the Lincoln Memorial started peacefully. Dr. Benjamin Spock, the baby specialist, author, and ardent critic of the war gave a strong speech, labelling President Johnson “the enemy.” Afterward, demonstrators marched toward the Pentagon, where some violence erupted when the more radical element of the demonstrators clashed with U.S. troops and Marshals. The protesters surrounded and besieged the military nerve center until the early hours of October 23. By the time order was restored, 683 people, including novelist Norman Mailer and two United Press International reporters, had been arrested.
One of the notable aspects of the Pentagon protest, in addition to its size, was the participation of both the political and counter-cultural wings of the New Left. Famously, in a bit of political theater, Yippie leaders, Abbie Hoffman and Jerry Rubin, claimed demonstrators would perform an "exorcism" on the Pentagon. Surrounding the five-sided building with a circle of hippies, “they would make the Pentagon rise from the ground a few inches. And all the evil was going to leave.”
Rubin stressed to the media that “we were going to close down the Pentagon” – which was taken more seriously than the levitation. President Johnson retorted, “I will not allow the peace movement to close down the Pentagon.” As Rubin pointed out later, “By saying that he wasn’t going to allow us to close it down, he gave us the power to have that possibility. So in a way, just by announcing it, we created a victory.”
In an essay for The Nation, titled “Bastille Day on the Potomac,” Robert Sherrill described the protest at the Pentagon:
“The strange thing about the confrontation, at least at first, of the troops and the protesters at the Pentagon was that there seemed almost to be a rapport, partly contrived but also partly natural. The troops who met the marchers and turned them away were sometimes cursed, but more often they were merely lectured as flower children might lecture a nosy cop in DuPont Circle. One boy stuck chrysanthemums in the muzzles of the rifles confronting him; late in the day, a soldier was seen tossing a package of cigarettes into the sprawl of sit-inners he was guarding. More significant than these random, amiable acts, however, was the fact that the protesters, although they made repeated forays with their identifying banners onto forbidden territory (one participant said it reminded him of the schoolboy game, Capture the Flag), never seriously contested or baited the troops physically—except for the one occasion when half a dozen protesters outflanked the main cluster of soldiers, raced through an unguarded Pentagon door, and made their coup, before being tossed out. A handful of stones, a couple of bottles, a few pieces of heavy cardboard were tossed at the soldiers during the day—but considering the size of the crowd, at peak emotion, acting over a period of several hours, these peaceniks were really peaceful. And by day, so were the troops. At dusk, they shot a couple of canisters of tear gas into the protesters’ ranks; and after dark they used their boots and rifle butts more freely than they had during the day….
On the occasion of the actual penetration of the Pentagon, there was rough stuff on both sides, but the only brutalities were committed by the marshals. When the protesters raced for the Pentagon entrance, The Nation’s reporter was in the van, not fast enough to get into the building with the six who made it, but in time to reach the doorway just as the bodies came hurtling back through, borne on a wave of soldiers. In the midst of this, he observed, one of the protesters was knocked down and lay imprisoned among the legs of the soldiers. A marshal seized this opportunity to start beating the helpless young man with all his might. and the beating continued for so long and seemed of such homicidal intent that the several newsmen caught in the crush began screaming at the marshal to quit. Finally the soldiers stopped him. The Nation’s reporter saw the marshals beating demonstrators on five occasions, four of these beatings were administered when the demonstrators were either on the ground or helpless.”
The Pentagon protest was paralleled by demonstrations in Japan and Western Europe. In one raucous incident outside the U.S. Embassy in London, 3,000 demonstrators attempted to storm the building.
Abbie Hoffman
Allen Ginsberg
Anti-War
Benjamin Spock
counterculture
England
Europe
exorcism
Japan
Jerry Rubin
LBJ
Levitation
London
mandala
mushroom cloud
Pentagon
peyote
Robert Sherrill
skull
The Nation
Uncle Sam
Vietnam War
Washington D.C.
Washington Monument
Yippies
-
https://rozsixties.unl.edu/files/original/f3cd99f232347dfb1be2c5144742a8b3.jpg
8c579632a31acf223c5ecf8a90f514a6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Buttons
Description
An account of the resource
Buttons were one of the most popular and pervasive forms of political messaging during the 1960s, combining brief messaging and memorable graphic designs. Buttons were inexpensive to produce on a mass basis and easy to distribute. They afforded any individual an opportunity to voice their opinions and, potentially, reach a broad audience. As Hunter Oatman-Stanford has written, “From discreet lapel pins to oversized buttons on purses or backpacks, pinbacks invite conversation by declaring potentially controversial viewpoints to complete strangers.” In this way, buttons were (and still are) a particularly democratic form of political propaganda.
As button collector, John Aisthorpe, has put it, buttons offer “a little snapshot of history.” During the 1960s, buttons were vital to the visual identity of a range of movements. “There were many protest groups who put their views on buttons,” Aisthorpe recalls, “from the early ’60s with the Free Speech Movement (FSM) to the Student Nonviolent Coordinating Committee (SNCC), Students for a Democratic Society (SDS) and, later, the Veterans for Peace, the Fifth Avenue Vietnam Peace Parade Committee, and the Yippies.” The political impact of buttons in the 1960s is hard to gauge, though their popularity suggests some modicum of significance. And, as Aisthorpe has asserted, “It’s hard to say what impact they had, but the text of buttons worn at protests were often used as antiwar chants, like ‘Hell no, we won’t go!’… They must have had some effect.” The buttons of the 1960s have remained some of the most enduring relics from this important past.
This collection includes buttons from a wide array of movements from the Sixties, including the student movement, civil rights and Black Power movements, women's liberation, environmentalism, the anti-nuclear movement, gay liberation, electoral politics, the Chicano movement, the labor movement and the counterculture, with a strong emphasis on the anti-war movement. In addition, a few buttons date from Roz Payne’s activist efforts in the 1970s and 1980s, including the early political campaigns of Vermont politician, Bernie Sanders.
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Woodstock Music and Arts Fair
Description
An account of the resource
Between August 15 and August 18, 1969, an estimated 400,000 members of the counterculture generation descended on Max Yasgur's farm near White Lake, New York, to attend a series of sometimes rain-soaked concerts by 32 popular musical acts, including Janis Joplin, Santana, Canned Heat, The Who, Creedence Clearwater Revival, Richie Havens, Joan Baez, Joe Cocker, Country Joe & the Fish, Ravi Shankar, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills Nash & Young, Sha-Na-Na, Paul Butterfield Blues Band, Jefferson Airplane, the Grateful Dead, Sly and the Family Stone, and Jimi Hendrix, whose searing, cacophonous performance of the "Star-Spangled Banner" on the final day of the festival has become iconic in the years since the event. Woodstock - which billed itself as "An Aquarian Exposition: 3 Days of Peace & Music" - is one of the primary historical markers of the Sixties counterculture. A 1970 documentary on the festival won an Academy Award and the accompanying triple LP record reached #1 on the pop music chart that same year.
Creator
An entity primarily responsible for making the resource
Woodstock Music and Arts Fair
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Counterculture
Blood
Canned Heat
counterculture
Country Joe & the Fish
Creedence Clearwater Revival
Crosby
Janis Joplin
Jefferson Airplane
Jimi Hendrix
Joan Baez
Joe Cocker
Johnny Winter
Max Yasgur
New York
Paul Butterfield Blues Band
Ravi Shankar
Richie Havens
Santana
Sha-Na-Na
Sly and the Family Stone
Star-Spangled Banner
Stills Nash & Young
Sweat & Tears
The Band
the Grateful Dead
The Who
White Lake
Woodstock Music and Art Festival
-
https://rozsixties.unl.edu/files/original/9059aab1f3fab77d39c32f0e3e631fed.jpg
9ddb81b01da88cc03369a8d24f0c7d92
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
Yippie!
Description
An account of the resource
The Youth International Party, known as the "Yippies," was founded in 1967 by Abbie and Anita Hoffman, Jerry Rubin, Nancy Kurshan, and Paul Krassner. Other activists involved with the Yippes included, Stew Albert, Ed Rosenthal, Allen Ginsberg, Ed Sanders, Robin Morgan,Phil Ochs, Robert M. Ockene, William Kunstler, Jonah Raskin, Steve Conliff, John Sinclair, Dana Beal, Betty (Zaria) Andrew, Matthew Landy Steen, Judy Gumbo, Ben Masel, Tom Forcade, David Peel, Wavy Gravy, Aron Kay, Tuli Kupferberg, Jill Johnston, Daisy Deadhead, Leatrice Urbanowicz, Bob Fass, John Murdock, Alice Torbush, Judy Lampe, Walli Leff, Steve DeAngelo, Dennis Peron, and Brenton Lengel. According to Krasner, who coined the term, Yippies were “radicalized hippies.” In a 2007 essay in the Los Angeles Times, Krasner explained, "We needed a name to signify the radicalization of hippies, and I came up with Yippie as a label for a phenomenon that already existed, an organic coalition of psychedelic hippies and political activists. In the process of cross-fertilization at antiwar demonstrations, we had come to share an awareness that there was a linear connection between putting kids in prison for smoking pot in this country and burning them to death with napalm on the other side of the planet." Further, Anita Hoffman liked the term, but felt that "strait-laced types" needed a more formal name to take the movement seriously. She came up with "Youth International Party," because it symbolized the movement and made for a good play on words. Some referred to the group as "Yippie!," as in a shout for joy (with an exclamation mark to express exhilaration). As Abbie Hoffman wrote, "What does Yippie! mean?" Energy – fun – fierceness – exclamation point!"
The Yippies were influenced by The Diggers in San Francisco and often used guerilla theater, pranks, absurdist forms of protest, as well as political and cultural disruption in their activism. They sought to merge the personal with the political… and have fun in the process. ABC News once stated, "The group was known for street theater pranks and was once referred to as the 'Groucho Marxists'." Among their many storied antics, the Yippies suggested lacing the New York City water supply with LSD, sent joints to hundreds of random people in New York from the telephone book, threw fake money on the floor of the New York Stock Exchange and suggested a circle of hippies could “levitate” the Pentagon during an October 1967 protest. The Yippies understood the dominant role of mass media and television in contemporary society and often went on television, but refused to obey the normal rules of corporate TV production, hoping to “break the frame” and reveal to audiences the constructed nature of mass media. As Krassner later recalled, “[T]he more visual and surreal the stunts we could cook up, the easier it would be to get on the news, and the more weird and whimsical and provocative the theater, the better it would play.” The Yippies were also involved in the underground press movement. Much of the writing and visual culture they produced consisted of obscenity-laced diatribes against mainstream society, but made few serious calls to militant action.
Abbie Hoffman and the Yippies first suggested a “Festival of Life” in the park outside of the 1968 Democratic National Convention in Chicago. They also planned to nominate a pig, nicknamed “Pigasus,” for President. Other New Left organizations joined the effort, which ultimately descended into chaos when Chicago police, at the order of authoritarian Democratic Mayor Richard Daley, attacked and brutally beat demonstrators in front of reporters and television cameras, causing an international controversy. In the melee, many Yippies were injured and arrested, including Abbie Hoffman and Jerry Rubin, who were put on trial as a part of what become known as the Chicago 7.
In 1970, an estimated 200-300 members of the Yippies descended on the Disneyland amusement park in Anaheim, California, to hold what was billed as their “First International Pow-Wow” to protest the U.S.’s continuing involvement in the Vietnam War and to liberate Disneyland as a symbol of the establishment. Hoffman authored a pamphlet in 1967, titled, “Fuck the System”; two books, “Revolution for the Hell of It” (1968) and “Steal This Book” (1971); and an LP record, “Woodstock Nation: A Talk-Rock Album” (1969).
The Yippies began to fragment and disintegrate during the 1970s. A disillusioned Hoffman committed suicide in 1989. Jerry Rubin became a “Yuppie” during the 1980s, embracing capitalism and starting a number of businesses. He was killed in 1994 when he was struck by a car. Even so, a number of Yippie followers have carried on in the same spirit.
_______
Here is a brief clip of Abbie Hoffman discussing Yippie tactics during the 1968 Democratic National Convention: https://www.youtube.com/watch?time_continue=29&v=2oujcg_Tifw
Here is Jerry Rubin speaking to a group of Yippies days before the 1968 Democratic National Convention: https://www.youtube.com/watch?time_continue=10&v=oZlmjZPrG0s
________
Yippie
Manifesto
By Abbie
Hoffman
and
Jerry
Rubin
(1968)
Come
in to
the
streets
on
Nov.
5,
election
day. Vote
with
your
feet.
Rise
up and
abandon
the
creeping
meatball!
Demand
the
bars
be
open.
Make
music and
dance
at
every
red
light.
A
festival
of
life
in
the
streets
and
parks
throughout the world.
The
American
election
represents
death,
and
we
are
alive.
Come
all
you
rebels,
youth
spirits,
rock
minstrels,
bomb
throwers,
bank
robbers,
peacock
freaks,
toe
worshippers,
poets,
street
folk,
liberated
women,
professors
and
body
snatchers:
it
is
election
day
and
we
are
everywhere.
Don't
vote
in
a
jackass‐elephant‐cracker
circus.
Let's
vote
for
ourselves.
Me
for
President.
We
are
the
revolution.
We
will
strike
and
boycott
the
election
and
create
our
own
reality.
Can
you
dig
it:
in
every
metropolis
and
hamlet of
America
boycotts,
strikes,
sit‐ins,
pickets,
lie‐ins,
pray‐ins,
feel‐ins,
piss‐ins
at
the
polling
places.
Nobody
goes
to
work.
Nobody
goes
to
school.
Nobody
votes.
Everyone
becomes
a
life
actor
of
the
street
doing
his
thing,
making
the
revolution
by
freeing
himself
and
fucking
up
the
system.
Ministers
dragged
away
from
polling
places.
Free
chicken
and
ice
cream
in
the
streets.
Thousands
of
kazoos,
drums,
tambourines,
triangles,
pots
and
pans,
trumpets,
street
fairs,
firecrackers – a
symphony
of
life
on
a
day
of
death.
LSD
in
the
drinking
water.
Let's
parade
in
the
thousands
to
the
places
where
the
votes
are
counted
and
let
murderous
racists
feel
our
power.
Force
the
National
Guard
to
protect
every
polling
place
in
the
country.
Brush
your
teeth
in
the
streets.
Organize
a
sack
race.
Join
the
rifle
club
of
your
choice.
Freak
out
the
pigs
with
exhibitions
of snake
dancing
and
karate
at
the
nearest
pig
pen.
Release
a
Black
Panther
in
the Justice
Department.
Hold
motorcycle
races
a
hundred
yards
from
the
polling
places.
Fly
an
American
flag
out
of
every
house
so
confused
voters
can't
find
the polling
places.
Wear
costumes.
Take
a
burning
draft
card
to
Spiro
Agnew.
Stall
for
hours
in
the
polling
places
trying
to
decide
between
Nixon
and
Humphrey
and
Wallace.
Take
your
clothes
off.
Put
wall
posters
up
all
over
the
city.
Hold
block
parties.
Release
hundreds
o f
greased
pigs
in
pig
uniforms
downtown.
Check
it
out
in
Europe
and
throughout
the
world
thousands
of
students
will
march
on
the
USA
embassies
demanding
to
vote
in
the
election
cause
Uncle
Pig
controls
the
world.
No
domination
without
representation.
Let's
make
2‐300
Chicago's
on
election
day.
(On
election
day
let's
pay
tribute
to
rioters,
anarchists,
Commies,
runaways,
draft
dodgers,
acid
freaks,
snipers,
beatniks,
deserters,
Chinese
s pies.
Let's
exorcise
all
politicians,
generals,
publishers,
businessmen,
Popes,
American
Legion,
AMA,
FBI,
narcos,
informers.
And
then
on
Inauguration
Day
Jan.
20
we
will
bring
our
revolutionary
theater
to
Washington
to
inaugurate
Pigasus,
our
pig,
the
only
honest
candidate,
and
turn
the
White
House
into
a
crash
pad.
They
will
have
to
put
Nixon's
hand
on
the
bible
in
a
glass
cage.
Begin
now:
resist
oppression
as
you
feel
it.
Organize
and
begin
the
word
of
mouth
communication
that
is
the
basis
of
all
conspiracies
....
Every
man
a
revolution!
Every
small
group
a
revolutionary
center!
We
will
be
together on
election day.
Yippie!!!
________
A Yippie Manifesto
by Jerry Rubin
This is a Viet Cong flag on my back. During the recent hearings of the House Un-American Activities Committee in Washington, a friend and I are walking down the street en route to Congress – he’s wearing an American flag and I’m wearing this VC flag.
The cops mass, and boom! I am going to be arrested for treason, for supporting the enemy.
And who do the cops grab and throw in the paddy wagon?
My friend with the American flag.
And I’m left all alone in the VC flag.
“What kind of a country is this?” I shout at the cops. “YOU COMMUNISTS!”
Everything is cool en route to Canada until the border. An official motions me into a small room and pulls out a five-page questionnaire.
“Do you use drugs?” he asks quite seriously.
“Yeah,” I say.
“Which?”
“Coca Cola.”
“I mean DRUGS! He shouts.
“Coca Cola is more dangerous for you than marijuana,” I say. “Fucks up your body, and it’s addictive.”
“Have you ever advocated the overthrow of the Canadian government?” he asks.
“Not until I get into Canada.”
Have you ever been arrested for inciting to riot?”
I reply no, and it is true. In August I was arrested in Chicago for something similar, “solicitation to mob action,” a violation of a sex statute.
Finally I ask the border official to drop out. “Man, your job is irrelevant,” I say. “The Canadian-American border does not exist. There are no such things as borders. The border exists only in your head.
“No state has the right to ask me these questions. The answers are mine. Next thing I know you guys will be tapping my brain!”
I try to get the cat to take off his uniform right there. But he refuses, saying, “I’ve got a job to do and a family to support.”
So goes the cancer of the Western World: everyone just doing his “Job.” Nobody learned the lesson of Eichmann. Everyone still points the finger elsewhere.
America and the West suffer from a great spiritual crisis. And so the yippies are a revolutionary religious movement.
We do not advocate political solutions that you can vote for. You are never going to be able to vote for the revolution. Get that hope out of your mind.
And you are not going to be able to buy the revolution in a supermarket, in the tradition of our consumer society. The revolution is not a can of goods.
Revolution only comes through personal transformation: finding God and changing your life. Then millions of converts will create a massive social upheaval.
The religion of the yippies is: “RISE UP AND ABANDON THE CREEPING MEATBALL!”
That means anything you want it to mean. Which is why it is so powerful a revolutionary slogan. The best picket sign I ever saw was blank. Next best was: “We Protest__________!”
Slogans like “Get out of Vietnam” are informative, but they do not create myths. They don’t ask you to do anything but carry them.
Political demonstrations should make people dream and fantasize. A religious-political movement is concerned with people’s souls, with the creation of a magic world which we make real.
When the national media first heard our slogan, they reported that the “creeping meatball” was Lyndon Johnson. Which was weird and unfair, because we liked Lyndon Johnson.
We cried when LBJ dropped out. “LBJ, you took us too literally! We didn’t mean YOU should drop out! Where would WE be if it weren’t for you, LBJ?”
Is there any kid in America, or anywhere in the world, who wants to be like LBJ when he grows up?
As a society falls apart, its children reject their parents. The elders offer us Johnsons, Agnews, and Nixons, dead symbols of a dying past.
The war between THEM and US will be decided by the seven-year-olds.
We offer: sex, drugs, rebellion, heroism, brotherhood.
They offer: responsibility, fear, Puritanism, repression.
Dig the movie Wild in the Streets! A teenage rock-and-roll singer campaigns for a Bobby Kennedy-type politician.
Suddenly he realizes: “We’re all young! Let’s run the country ourselves!”
“Lower the voting age to 14!”
“14 or FIGHT!”
They put LSD in the water fountains of Congress and the Congressmen have a beautiful trip. Congress votes to lower the voting age to 14.
The rock-and-roll singer is elected President, but the CIA and military refuse to recognize the vote. Thousands of long-hairs storm the White House, and six die in the siege. Finally the kids take power, and they put all people over 30 into camps and given them LSD every day. (Some movies are even stranger than OUR fantasies.)
“Don’t trust anyone over 30!” say the yippies – a much-quoted warning.
I am four years old.
We are born twice. My first birth was in 1938, but I was reborn in Berkeley in 1964 in the Free Speech movement.
When we say “Don’t trust anyone over 30,” we’re talking about the second birth. I got 26 more years.
When people 40 years old come up to me and say, “Well, I guess I can’t be part of your movement,” I say, “What do you mean? You could have been born yesterday. Age exists in your head.”
Bertrand Russell is our leader. He’s 90 years old.
Another yippie saying is “THE GROUND YOU STAND ON IS LIBEATED TERRITORY!”
Everybody in this society is a policeman. We all police ourselves. When we free ourselves, the real cops take over.
I don’t smoke pot in public often, although I love to. I don’t want to be arrested: that’s the only reason.
I police myself.
We do not own our own bodies.
We fight to regain our bodies…to make love in the parks, say “fuck” on television, do what we want to do whenever we want to do it.
Prohibitions should be prohibited.
Rules are made to be broken.
Never say “no.”
The yippies say: “PROPERTY IS THEFT.’
What America got, she stole.
How was this country built? By the forced labor of slaves. America owes black people billions in compensation.
“Capitalism” is just a polite schoolbook way of saying: “Stealing.”
Who deserves what they get in America? Do the Rockefellers deserve their wealth? HELL NO!
America says that people work only for money. But check it out: those who don’t have money work the hardest, and those who have money take very long lunch hours.
When I was born I had food on my table and a roof over my head. Most babies born in the world face hunger and cold. What is the difference between them and me?
Every well-off white American better ask himself that question or he will never understand why people hate America.
The enemy is this dollar bill right here in my hand.
Now if I get a match, I’ll show you what I think of it.
This burning gets some political radicals very uptight. I don’t know exactly why. They burn a lot of money putting out leaflets nobody reads.
I think it is more important today to burn a dollar bill than it is to burn a draft card.
“Humm, pretty resilient. Hard to burn. Anybody got a lighter?”
We go to the New York Stock Exchange, about 20 of us, our pockets stuffed with dollar bills. We want to throw real dollars down at all those people on the floor playing monopoly games with numbers.
An official stops us at the door and says, “You can’t come in. You are hippies and you are coming to demonstrate.”
With TV cameras flying away, we reply: “Hippies? Demonstrate? We’re Jews. And we’re coming to see the stock market.”
Well, that gets the guy uptight, and he lets us in. We get to the top, and the dollars start raining down on the floor below.
These guys deal in millions of dollars as a game, never connecting it to people starving. Have they ever seen a real dollar bill?
This is what it is all about, you sonavabitches!!”
Look at them: wild animals chasing and fighting each other over dollar bills thrown by the hippies!
And then someone calls the cops . The cops are a necessary part of any demonstration; always include a role for the cops. Cops legitimize demonstrations.
The cops throw us out.
It is noon. Wall Street Businessmen with briefcases and suits and ties. Money freaks going to lunch. Important business deals. Time. Appointments.
And there we are in the middle of it, burning five-dollar bills. Burning their world. Burning their Christ.
“Don’t, Don’t!” some scream, grasping for the sacred paper. Several near fist-fights break out.
We escape with our lives.
Weeks later The New York Times publishes a short item revealing that the New York Stock Exchange is installing a bullet-proof glass window between the visitor’s platform and the floor, so that “nobody can shot a stockbroker.”
In Chicago, 5,000 yuppies come, armed only with our skin. The cops bring tanks, dogs, guns, gas, long-range rifles, missiles. Is this South Vietnam or Chicago? America always overreacts.
The American economy is doomed to collapse because it has no soul. Its stability is war and preparation for war. Consumer products are built to break, and advertising brainwashes us to consume new ones.
The rich feel guilty. The poor are taught to hate themselves. The guilty and the wretched are on a collision course.
If the men who control the technology used it for human needs and not profit and murder, every human being on the planet could be free from starvation. Machines could do most of the world: People would be free to do what they want.
We should be very realistic and demand the impossible. Food, housing, clothing, medicine, and color TV free for all!!
People would work because of love, creativity, and brotherhood. A new economic structure would produce a new man.
That new structure will be created by new men.
American society, because of its Western-Christian-Capitalist bag, is organized on the fundamental premise that man is bad, society evil, and that: People must be motivated and forced by external reward and punishment.
We are a new generation, species, race. We are bred on affluence, turned on by drugs, at home in our bodies, and excited by the future and its possibilities.
Everything for us is an experience, done for love or not done at all.
We live off the fat of society. Our fathers worked all-year round for a two-week vacation. Our entire life is a vacation.
Every moment, every day we decide what we are going to do.
We do not groove with Christianity, the idea that people go to heaven after they are dead. We want HEAVEN NOW!
We do not believe in studying to obtain degrees in school. Degrees and grades are like money and credit, good only for burning.
There is a war going on in the Western world: a war of genocide by the old against the young.
The economy is closed. It does not need us. Everything is built.
So the purpose of universities is: to get us off the streets. Schools are baby-sitting agencies.
The purpose of the Vietnam War is: to get rid of blacks. They are a nuisance. America got the work she needed out of blacks, but now she has no use for them.
It is a psychological war. The old say, “We want you to die for us.” The old send the young to die for the old.
Our response? Draft-card burning and draft dodging! We won’t die for you.
Young whites are dropping out of white society. We are getting our heads straight, creating new identities. We’re dropping out of middle-class institutions, leaving their schools, running away from their homes, and forming our own communities.
We are becoming the new niggers.
I’m getting on a plane en route to Washington. An airline official comes up to me and says, “You can’t go on this airplane.”
“Why not?” I ask.
“Because you smell.”
That’s what they used to say about black people, remember? They don’t say that about black people anymore. They’d get punched in their fucking mouths.
Our long hair communicates disrespect to America. A racist, short-hair society gets freaked by long hair. It blinds people. In Vietnam, America bombs the Vietnamese, but cannot see them because they are brown.
Long-hair is vital to us because it enables us to recognize each other. We have white skin like our oppressors. Long hair ties us together into a visible counter-community.
A car drives down the street, parents in front, and a 15-year-old longhair kid in back. The kid gives me the “V” sign! That’s the kind of communication taking place.
Within our community we have the seeds of a new society. We have our own communications network, the underground press. We have the beginnings of a new family structure in communes. We have our own stimulants.
When the cops broke into my home on the Lower East Side to arrest me for possession of pot, it was like American soldiers invading a Vietnamese village. They experienced cultural shock.
Fidel Castro was on the wall. They couldn’t believe it! Beads! They played with my beads for 20 minutes.
When the cops kidnapped me in Chicago, they interviewed me as if I had just landed from Mars.
“Do you fuck each other?”
“What is it like on LSD?”
“Do you talk directly with the Viet Cong?”
The two generations cannot communicate with one another because of our different historical experiences.
Our parents suffered through the Depression and World War II. We experience the consumer economy and the U.S.A. as a military bully in Vietnam.
From 1964 to 1968 the movement has been involved in the destruction of the old symbols of America. Through our actions we have redefined those symbols for the youth.
Kids growing up today expect school to be a place to demonstrate, sit-in, fight authority, and maybe get arrested.
Demonstrations become the initiation rites, rituals, and social celebrations of a new generation.
Remember the Pentagon, center of the military ego? We urinated on it. Thousands of stone freaks stormed the place, carrying Che’s picture and stuffing flowers in the rifles of the 82nd Airborne.
Remember the Democratic Convention? Who, after Chicago, can read schoolbook descriptions of national political conventions with a straight face anymore? The farce within the convention became clear because of the war between the yippies and the cops in the streets.
We are calling the bluff on myths of America. Once the myth is exposed, the structure behind it crumbles like sand. Chaos results. People must create new realities.
In the process we create new myths, and these new myths forecast the future.
In America in 1969 old myths can be destroyed overnight, and new ones created overnight because of the power of television. By making communications instantaneous, television telescopes the rev solution by centuries. What might have taken 100 years will now take 20. What used to happen in 10 years now happens in two. In a dying society, television becomes a revolutionary instrument.
For her own protection, the government is soon going to have to suppress freedom of the press and take direct control over what goes on television, especially the news.
TV has dramatized the longhair drop-out movement so well that virtually every young kid in the country wants to grow up and be a demonstrator.
What do you want to be when you grow up? A fireman? A cop? A professor?
“I want to grow up and make history.”
Young kids watch TV’s thrill-packed coverage of demonstrations – including the violence and excitement – and dream about being in them. They look like fun.
Mayor Daley put out this television film about Chicago. It had cops beating up young longhairs. In one scene, the cops threw a tear-gas canister into the crowd, and one demonstrator picked it up and heaved it right back.
Who do you think every kid in the country identified with?
Then the announcer said the chiller: “These demonstrations are Communist led!…”
Communism? Who the hell knows from Communism? We never lived thro8ugh Stalin. We read about it, but it doesn’t affect us emotionally. Our emotional reaction to Communism is Fidel marching into Havana in 1959.
There is NO WORD that the Man has to turn off your youth, no scare word.
“They’re for ANARCHY!”
Damn right, we’re for anarchy! This country is fucking over-organized anyway. “DON’T DO THIS! DON”T DO THAT, Don’t!”
Growing up in America is learning what NOT to do.
We say: “DO IT, DO IT. DO WHATEVER YOU WANT TO DO.”
Our battlegrounds are the campuses of America. White middle-class youth are strategically located in the high schools and colleges of this country. They are our power bases.
If one day 100 campuses were closed in a nationally coordinated rebellion, we could force the President of the United States to sue for peace at the conference table.
As long as we are in school we are prisoners. Schools are voluntary jails. We must liberate ourselves.
Dig the geography of a university. You can always tell what the rulers have up their sleeves when you check out the physical environment they create. The buildings tell you how to behave. Then there is less need for burdensome rules and cops. They designed classrooms so that students sit in rows, one after the other, hierarchically facing the professor who stands up front talking to all of them.
Classrooms say:
“Listen to the Professor.
“He teaches you.
“Keep your place.
“Don’t stretch out.
“Don’t lie on the floor.
“Don’t relax.
“Don’t speak out of turn.
“Don’t take off your clothes.
“Don’t get emotional.
“Let the mind rule the body.
“Let the needs of the classroom rule the mind.
Classrooms are totalitarian environments. The main purpose of school and education in America is to force you to accept and love authority, and to distrust your own spontaneity and emot8ons.
How can you grow in such an over-structured environment? You can’t. Schools aren’t for learning.
Classrooms should be organized in circles, with the professor one part of the circle. A circle is a democratic environment.
Try breaking up the environment. Scream “Fuck” in the middle of your prof’s lecture. ‘
So we organized a University of the Flesh. Four of us go into a classroom. We sit in the middle of the class. The lecture is on “Thinking.”
Thinking!
We take off our shirts, smoke joints and start French kissing. A lot of students get nervous. This goes on for 10-15 minutes, and the professor goes on with his lecture like nothing is happening.
Finally a girl says, “The people there are causing a distraction, and could they either put their shirts back on or could they please leave.”
And the prof says, “Well, I agree with that. I think that if you’re not here to hear what I’m saying…”
We shout: “You can’t separate thinking from loving! We are hard in thought!!”
And the prof says, “Well, in my classroom I give the lessons.”
Scratch a professor deep and you find a cop!
Fucking milquetoast! Didn’t have the guts to throw us out, but in his classroom HE GIVES the lesson. So he sends his teaching assistant to get the cops, and we split.
The mind is programmed. Get in there and break that bloody program!
Can you imagine what a feeling a professor has standing in front of a class and looking at a room full of bright faces taking down every word he says, raising their hands and asking questions? It really makes someone think he is God. And to top it off, he has the power to reward and punish you, to decide whether or not you are fit to advance in the academic rat race.
Is this environment the right one for teacher and student?
Socrates is turning in his grave.
I was telling a professor of philosophy at Berkeley that many of his students were wiser men than he, even en though he may have read more books and memorized more theories.
He replied, “Well, I must take the lead in the transfer of knowledge.”
Transfer of knowledge! What is knowledge?
How to Live.
How to Legalize Marijuana.
How to Make a Revolution.
How to Free People from Jail.
How to Organize Against the CIA.
When a professor takes off his suit and tie, and joins us in the streets, then I say, “Hay man, what’s your first name?” You’re my brother. Let’s go. We’re together.”
I don’t dig the “professor” bullshit. I am more interested in a 15-year-old stoned dope freak living on street corners than I am in a Ph.D.
There is anti-intellectualism in America because professors have created an artificial environment. That is why the average working guy does not respect professors.
The university is a protective and plastic scene, shielding people from the reality of life, the reality of suffering, of ecstasy, of struggle. The university converts the agony of life into the securi6ty of words and books.
You can’t learn anything in school. Spend one hour in a jail or a courtroom and you will learn more than in five years spent in a university.
All I learned in school was how to beat the system, how to fake answers. But there are no answers. There are only more questions. Life is a long journey of questions, answered thro8ugh the challenge of living. You would never know that, living in a university ruled by the “right” answers to the wrong questions.
Graffiti in school bathrooms tells you more about what’s on people’s minds than all the books in the library.
We must liberate ourselves. I dropped out. The shit got up to my neck and I stopped eating. I said: NO. NO. NO!! I’m dropping out.
People at Columbia found out what it felt like to learn when they seized buildings and lived in communes for days.
We have to redesign the environment and remake human relationships. But if you try it, you will be kicked out.
You know what professors and deans will say? “Of you don’t like it here, why don’t you go back to Russia!”
A lot is demanded of white, middle-class youth in 1969. The whole thing about technological and bureaucratic society is that it is not made for heroes. We must become heroes.
The young kids living in the streets as new niggers are the pioneers of tomorrow, living dangerously and existentially.
The yippies went to Chicago to have our counter-festival, a “Festival of Life” in the parks of Chicago, as a human contrast to the “Convention of Death” of the Democrats.
I get a phone call on Christmas Day, 1967 from Marvin Garson, the editor of the San Francisco Express-Times, and he says, “Hay, it looks like the Peace and Freedom Party is not going to get on the ballot.”
I say, “I don’t care. I’m not interested in electoral politics anyway.”
And he says, “Let’s run a pig for President.”
An arrow shoots through my brain. Yeah! A pig, with buttons, posters, bumper stickers.
“America, why take half a hog, when you can have the whole hog.”
At the Democratic convention, the pigs nominate the President and he eats the people.
At the yippie convention, we nominate our pig and after he makes his nominating speech, we earth him. The contrast is clear: should the President earth the people or the people earth the President?
Well, we didn’t kill our pig. If there is one issue that could split the yippies, it is the issue of vegetarianism. A lot of yippies don’t believe in killing and eating animals, so I had to be less militant on that point.
We bring Pigasus to Chicago, and he is arrested in Civic Center. The cops grab him. They grab seven of us, and they throw us in the paddy wagon with Pigasus.
The thing about running a pig for President is that it cuts through the shits. People’s minds are full of things like, “You may elect a greater evil.” We must break through their logic. Once we get caught in their logic, we’re trapped in it.
Just freak it all out and proclaim: “This country is run on the principles of garbage. The Democratic and Republican parties have nominated a pig. So have we. We’re honest about it.”
In Chicago, Pigasus was a hell of a lot more effective than all those lackeys running around getting votes for the politicians. It turned out that the pig was more relevant to the current American political scene than Senator Eugene McCarthy. I never thought McCarthy could reform the Democratic Party. Hell, McCarthy barely got into the convention himself. He had to have a ticket. That’s how controlled the damn thing was. Finally, we forced McCarthy out into the streets with the people.
The election was not fair because every time we brought eh pigs out to give a campaign speech, they arrested him. It happened in Chicago, in New York, in San Francisco, even in London.
The yippies asked that the presidential elections be cancelled until the rules of the game were changed. We said that everyone in the role should both in American elections because America controls the world.
Free elections are elections in which the people who vote are the people affected by the results. The Vietnamese have more right to vote in the American elections than some 80-year-old grandmother in Omaha. They’re being bombed by America! They should have at least some choice about it, how, and by whom they are going to be bombed.
I have nothing in particular against 80-year-old grandmothers, but I am in favor of lowering the voting age to 12 or 14 years. And I’m not sure whether people over 50 should vote.
It is the young kids who are going to live in this world in the next 50 years. They should choose what they want for themselves.
Most people over 50 don’t think about the potentialities of the future: they are preoccupied with justifying their past.
The only people who can choose change without suffering blows to their egos are the young, and change is the rhythm of the universe.
Many older people are constantly warning: “The right wing will get you.” “George Wallace will get your momma.”
I am so scared of George Wallace that I wore his fucking campaign button. I went to his campaign rally – all old ladies.
There are six Nazis who come with black gloves and mouthpieces, looking for a fight. And two fights break out. Two guys with long hair beat the shit out of them.
I am not afraid of the right wing because the right wing does not have the youth behind it.
“Straight” people get very freaked by Wallace. “Freaks” know the best way to fuck Wallace up. We support him.
At Wallace’s rally in the Cow Palace in Sand Francisco, we come with signs saying “CUT THEIR HAIR1” “SEND THEM BACK TO AFRICA!” “BOMB THE VIETNAMESE BACK TO THE STONE AGE!”
When we arrive there is a picket line going on in front of the rally. I recognize it is the Communist Party picketing.
What? Picketing Wallace?
I walk up to my friend Bettina Aptheker and say, “Bettina, you’re legitimizing him. You’re legitimizing him by picketing. Instead, support him, kiss him. When he says the next hippie in front of his car will be the last hippie, cheer! Loudly!”
We have about two hundred people there, and we are the loudest people at the rally. Every five seconds we are jumping up and swearing. “Heil! Hitler! Heil! Hitler!”
Wallace is a sick man. America is the loony bin. The only way to cure her is through theatrical shock. Wallace is necessary because he brings to the surface the racism and hate that is deep within the country.
The hippie Fugs spearheaded the anti-war movement of the past five years by touring theaters and dance halls shouting into a microphone: “Kill, Kill, Kill for Peace! Kill, Kill, I’ll for Peace!”
Wallace says aloud what most people say privately. He exposes the beast within liberal America. He embarrasses the liberal who says in one breath, “Oh, I like Negroes,” and then in another breath, “We must eliminate crime in the streets.”
Remember what Huey Long said: “When fascism comes to America, it will come as Americanism.”
Wallace may be the best thing for those of us who are fighting him. You can only fight a disease after you recognize the diagnose it. America does not suffer from a cold: she has cancer.
The liberals who run this country agree with Wallace more than they disagree with him. George tells tales out of school. The liberals are going to have to shut that honest motherfucker up.
Do you dig that most cops support Wallace? Cops – the people who make and enforce the law in the streets! Wallace speaks FOR them.
Isn’t that scary? Can’t you see why blacks are getting guns and organizing into small self-defense units? Wouldn’t you, if you were in their situation? Shouldn’t you be?
Make America see her vampire face in the mirror. Destroy that gap between public talk and private behavior. Only when people see what’s happening can they hear our screams, and feel our passion.
The Vietnam War is an education for America. It is an expansive teaching experience, but the American people are the most brink-washed people in the world.
At least the youth are learning that this country is no paradise – America kills infants and children in Vietnam without blinking. Only professional killers can be so cool.
If you become hip to America in Vietnam, you can understand the reaction against the red-white-and-blue in Latin America, and you can feel why China hates us.
They are not irrational – America is.
Wallace is a left-wing agitator. Dig him. He speaks to the same anxiety and powerlessness that the New Left and yippies talk about.
Do you feel overwhelmed by bigness, including Big Government?
Do you lack control over your own life?
Are you distrustful of the politicians and bureaucrats in Washington?
Are you part of the “little people?”
Wallace stirs the masses. Revolutions should do that too.
When is the left going to produce an inflammatory and authentic voice of the people? A guy who reaches people’s emotions? Who talks about revolution the way some of those nuts rap about Christ?
Wallace says: “We’re against niggers, intellectuals, liberals, hippies.”
Everybody! He puts us all together. He organizes us for us.
We must analyze how America keeps people down. Not by physical force, but by fear. From the second kids are hatched, we are taught fear. If we can overcome fear, we will discover that we are Davids fighting Goliath.
In late September a friend calls and says, “Hay, I just got a subpoena from HUAC.”
I say, “Yeah” I didn’t. What’s going on here? I’m angry. I want a subpoena too.
It’s called subpoenas envy.
So I telephone a confident to the Red Squad, a fascist creep who works for the San Francisco Examiner, and I say, “Hey, Ed, baby, what about HUAC? Are they having hearings?”
He answers, “Well, I don’t know. Are they?”
Well, my friend just got a subpoena.” I say. “I’d like on too. If you can manage it.”
He says, “Call me back in a few hours.”
I call him back that afternoon and he says, “Well, I just talked to HUAC in Washington, and you are right. They are having hearings, and they are looking for you in New York.”
In NEW YORK? I’ve been in Berkeley a week! You guys are sure doing a shitty job trying to save this country!”
We exaggerate the surveillance powers of cops. We shouldn’t. They are lazy. Their laziness may be the one reason why America doesn’t yet have a totally efficient police state.
The cops were not lazy in Chicago. They followed the “leaders” continuously, 24 hours a day. If you are trailed by four cops just six steps behind you, you can’t do very much.
But the people really doing things – why, the cops didn’t even know who they were!
Pigs cannot relate to anarchy. They do not understand a movement based on personal freedom. When they look at our movement, they look for a hierarchy: leaders, lieutenants, followers.
The pigs think that we are organized like a pig department. We are not, and that’s why we are going to win. A hierarchical, top-down organization is no match for the free and loose energy of the people.
As the pigs check with their high-ups to find out what to do next, we have already switched the tactics and scene of the battle. They are watching one guy over there, and it is happening over here!
I come to the HUAC hearings wearing a bandolero of real bullets and carrying a toy M-16 rifle on my shoulder. The rifle was a model of the rifles the Viet Cong steal and then use to kill American soldiers in Vietnam.
The pigs stop me at the door of the hearings. They grab the bullets and the gun. It is a dramatic moment. Press and yippies pack us in tightly. The pigs drag me down three flights of stairs and remove the bullets, leaving the gun, Viet Cong pajamas, Eldridge Cleaver buttons, Black Panther beret, war paint, earrings, bandolero, and the bells which ring every time I move my body. My costume carried a nonverbal message: “We must all become stoned guerrillas.”
The secret to the costume was the painted tits. Guerrilla war in America is going to come in psychedelic colors. We are hippie-guerrillas.
In HUAC’s chambers Abbie Hoffman jumps up and yells out, “May I do to the bathroom?” Young kids reading that in their hometown papers giggle because they have to ask permission every time they want to go to the bathroom in school.
The message of my costume flipped across the country in one day: an example of our use of the enemy’s institutions – her mass media – to turn on and communicate with one another.
I wore a Santa Clause costume to HUAC two months later in a direct attempt to reach the head of every child in the country.
Our victories are catching up with us: America isn’t ready to napalm us yet, but the future doesn’t look easy.
From June to November 1968, when I was helping to organize the demonstrations against the Democratic convention in Chicago, I experienced the following example of Americana:
New York pigs use a phony search warrant to bust into my apartment, question me, beat me, search the apartment and arrest me for alleged felonious possession of marijuana; a pig in Chicago disguises himself as a biker to “infiltrate” the yippies as an agent provocateur and spy; he busts me on a frame-up, “solicitation to mob action,” a felony punishable by five years in the pen; the judge imposes $25,000 bail and restricts my travel to Illinois; then the Justice Department in a document to a Virginia court admits that it maintains “electronic surveillance…of Jerry Rubin..in the interests of national security.”
To try to suppress youth, Nixon will have to destroy the Constitution.
We will be presumed guilty until proven innocent.
Our privacy will vanish. Big Brother will spy on all of us and dominate our lives.
Every cop will become a law until himself.
The courts will become automatic transmission belts sending us to detention camps and prisons.
People will be arrested for what they write and say.
Congress will impose censorship on the mass media, unless the media first censors itself, which is more likely.
To be young will be a crime.
In response, we must never become cynical, or lose our capacity for anger. We must stay on the offensive and be aggressive: AMERICA: IF YOU INJURE ONE, YOU MUST FIGHT ALL.
If our opposition is united, the repression may backfire and fail. The government may find the costs too heavy.
Don’t think, “They can never get ME.”
They can.
You are either on the side of the cops or on the side of human beings.
YIPPIE!
Creator
An entity primarily responsible for making the resource
Youth International Party
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
Counterculture and New Left
Date
A point or period of time associated with an event in the lifecycle of the resource
late-1960s
Abbie Hoffman
absurdism
Alice Torbush
Allen Ginsberg
Aron Kay
Ben Masel
Betty (Zaria) Andrew
Bob Fass
Brenton Lengel
Chicago '68
counterculture
Daisy Deadhead
Dana Beal
David Peel
Democratic Party
demonstration
Dennis Peron
Disneyland
Ed Rosenthal
Ed Sanders
Festival of Life
First International Pow-Wow
Fuck the System
guerilla theater
Jerry Rubin
Jill Johnston
John Murdock
John Sinclair
Jonah Raskin
Judy Gumbo
Judy Lampe
Leatrice Urbanowicz
Levitation
LSD
marijuana
Matthew Landy Steen
New Left
New York
New York Stock Exchange
Paul Krasner
Pentagon
Phil Ochs
Pigasus
Revolution for the Hell of It
Richard Daley
Robert M. Ockene
Robin Morgan
Steal This Book
Steve Conliff
Steve DeAngelo
Stew Albert
Tom Forcade
Tuli Kupferberg
Walli Leff
Wavy Gravy
William Kunstler
Woodstock Nation
Yippies
Yuppie
-
https://rozsixties.unl.edu/files/original/cfd7f4c15e9a8755ae8984a84b5174dc.jpg
aad95af2c816fe70450fc41fc8f35b9a
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
Revolution is the Way to Life
Description
An account of the resource
This button depicts a gun, peace pipe, and a guitar, emblematic of the late-1960s political and cultural revolution of the New Left, Yippies and White Panther Party.
Creator
An entity primarily responsible for making the resource
unknown; perhaps the Yippies
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-War and Counterculture Movement
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s
armed self-defense
counterculture
New Left
peace pipe
revolution
White Panther Party
Yippies
-
https://rozsixties.unl.edu/files/original/0eaa8cf4990bfc4ea3d57cadfea1f926.jpg
23f7a10e610b1a1593c3192c9a485dad
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
Revolution for the Hell of It
Description
An account of the resource
Revolution for the Hell of It, a guidebook by Abbie Hoffman, chronicles his involvement in the Youth International Party as well as his trial as a part of the Chicago Seven following the turmoil surrounding the 1968 Democratic National Convention.
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
Creator
An entity primarily responsible for making the resource
Youth International Party
Subject
The topic of the resource
Counterculture and Anti-Vietnam War Movement
Abbie Hoffman
Anti-War
Chicago '68
Chicago 7
counterculture
Vietnam War
Yippies
-
https://rozsixties.unl.edu/files/original/9efa6c6ac3326b9bdb544aa984934bf3.jpg
7a791b322917da16dfcbeaa8caf0b744
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Buttons
Description
An account of the resource
Buttons were one of the most popular and pervasive forms of political messaging during the 1960s, combining brief messaging and memorable graphic designs. Buttons were inexpensive to produce on a mass basis and easy to distribute. They afforded any individual an opportunity to voice their opinions and, potentially, reach a broad audience. As Hunter Oatman-Stanford has written, “From discreet lapel pins to oversized buttons on purses or backpacks, pinbacks invite conversation by declaring potentially controversial viewpoints to complete strangers.” In this way, buttons were (and still are) a particularly democratic form of political propaganda.
As button collector, John Aisthorpe, has put it, buttons offer “a little snapshot of history.” During the 1960s, buttons were vital to the visual identity of a range of movements. “There were many protest groups who put their views on buttons,” Aisthorpe recalls, “from the early ’60s with the Free Speech Movement (FSM) to the Student Nonviolent Coordinating Committee (SNCC), Students for a Democratic Society (SDS) and, later, the Veterans for Peace, the Fifth Avenue Vietnam Peace Parade Committee, and the Yippies.” The political impact of buttons in the 1960s is hard to gauge, though their popularity suggests some modicum of significance. And, as Aisthorpe has asserted, “It’s hard to say what impact they had, but the text of buttons worn at protests were often used as antiwar chants, like ‘Hell no, we won’t go!’… They must have had some effect.” The buttons of the 1960s have remained some of the most enduring relics from this important past.
This collection includes buttons from a wide array of movements from the Sixties, including the student movement, civil rights and Black Power movements, women's liberation, environmentalism, the anti-nuclear movement, gay liberation, electoral politics, the Chicano movement, the labor movement and the counterculture, with a strong emphasis on the anti-war movement. In addition, a few buttons date from Roz Payne’s activist efforts in the 1970s and 1980s, including the early political campaigns of Vermont politician, Bernie Sanders.
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
San Francisco Mime Troupe
Description
An account of the resource
The San Francisco Mime Troupe was an avant-garde, “guerilla theater” troupe created by R.G. Davis in 1959 and dedicated to political satire. Peter Berg directed the group throughout its heyday in the 1960s. Initially performing in lofts and basements, the SFMT gained notoriety during the mid- and late-1960s for its rambunctious free performances outdoors in public parks, particularly Golden Gate Park. Their performances targeted political repression in the U.S., American military intervention abroad, racism, sexism, materialism and capitalism. Seen as a part of the countercultural movement, the SFMT also had several well-known run-ins with law enforcement, often charged with “obscenity”. Their 1965 Minstrel Show, Or Civil Rights in a Cracker Barrel, was performed in black face and offended some — both black and white. In another piece, an actor played a military policeman who paraded prisoners into Berkeley’s Sproul Plaza and began to abuse them. The troupe was also arrested on the campus of the University of California-Berkeley during the Free Speech Movement. Berg later went on to co-found, the Diggers with Emmett Grogan, a collective that brought a sense of theater to their charity work with the hippies and the poor in San Francisco.
Creator
An entity primarily responsible for making the resource
San Francisco Mime Troupe
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. mid-1960s
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Counterculture
Berkeley
California
counterculture
Diggers
Emmett Grogan
Free Speech Movement
Golden Gate Park
guerilla theater
Peter Berg
police
R.G. Davis
San Francisco
San Francisco Mime Troupe
theater
University of California
-
https://rozsixties.unl.edu/files/original/b07f85cb9bbb8604d3edf7a471ed0c76.jpg
370ee3b2bf88ea4a69caf3d938fb5c69
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
Bring the Troops Home Now
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
1967
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
This button commemorates the October 21, 1967, antiwar demonstration held in Washington, D.C. by a collection of organizations. The estimated 100,000 protesters included radicals, liberals, black nationalists, hippies, professors, women’s groups, and war veterans.
The rally began in front of the Lincoln Memorial started peacefully. Dr. Benjamin Spock, the baby specialist, author, and ardent critic of the war gave a strong speech, labelling President Johnson “the enemy.” Afterward, demonstrators marched toward the Pentagon, where some violence erupted when the more radical element of the demonstrators clashed with U.S. troops and Marshals. The protesters surrounded and besieged the military nerve center until the early hours of October 23. By the time order was restored, 683 people, including novelist Norman Mailer and two United Press International reporters, had been arrested.
One of the notable aspects of the Pentagon protest, in addition to its size, was the participation of both the political and counter-cultural wings of the New Left. Famously, in a bit of political theater, Yippie leaders, Abbie Hoffman and Jerry Rubin, claimed demonstrators would perform an "exorcism" on the Pentagon. Surrounding the five-sided building with a circle of hippies, “they would make the Pentagon rise from the ground a few inches. And all the evil was going to leave.”
Rubin stressed to the media that “we were going to close down the Pentagon” – which was taken more seriously than the levitation. President Johnsonretorted, “I will not allow the peace movement to close down the Pentagon.” As Rubin pointed out later, “By saying that he wasn’t going to allow us to close it down, he gave us the power to have that possibility. So in a way, just by announcing it, we created a victory.”
In an essay for The Nation, titled “Bastille Day on the Potomac,” Robert Sherrill described the protest at the Pentagon:
“The strange thing about the confrontation, at least at first, of the troops and the protesters at the Pentagon was that there seemed almost to be a rapport, partly contrived but also partly natural. The troops who met the marchers and turned them away were sometimes cursed, but more often they were merely lectured as flower children might lecture a nosy cop in DuPont Circle. One boy stuck chrysanthemums in the muzzles of the rifles confronting him; late in the day, a soldier was seen tossing a package of cigarettes into the sprawl of sit-inners he was guarding. More significant than these random, amiable acts, however, was the fact that the protesters, although they made repeated forays with their identifying banners onto forbidden territory (one participant said it reminded him of the schoolboy game, Capture the Flag), never seriously contested or baited the troops physically—except for the one occasion when half a dozen protesters outflanked the main cluster of soldiers, raced through an unguarded Pentagon door, and made their coup, before being tossed out. A handful of stones, a couple of bottles, a few pieces of heavy cardboard were tossed at the soldiers during the day—but considering the size of the crowd, at peak emotion, acting over a period of several hours, these peaceniks were really peaceful. And by day, so were the troops. At dusk, they shot a couple of canisters of tear gas into the protesters’ ranks; and after dark they used their boots and rifle butts more freely than they had during the day….
On the occasion of the actual penetration of the Pentagon, there was rough stuff on both sides, but the only brutalities were committed by the marshals. When the protesters raced for the Pentagon entrance, The Nation’s reporter was in the van, not fast enough to get into the building with the six who made it, but in time to reach the doorway just as the bodies came hurtling back through, borne on a wave of soldiers. In the midst of this, he observed, one of the protesters was knocked down and lay imprisoned among the legs of the soldiers. A marshal seized this opportunity to start beating the helpless young man with all his might. and the beating continued for so long and seemed of such homicidal intent that the several newsmen caught in the crush began screaming at the marshal to quit. Finally the soldiers stopped him. The Nation’s reporter saw the marshals beating demonstrators on five occasions, four of these beatings were administered when the demonstrators were either on the ground or helpless.”
The Pentagon protest was paralleled by demonstrations in Japan and Western Europe. In one raucous incident outside the U.S. Embassy in London, 3,000 demonstrators attempted to storm the building.
Abbie Hoffman
Anti-War
Benjamin Spock
counterculture
hippies
Japan
Jerry Rubin
LBJ
New Left
Pentagon
Robert Sherrill
Vietnam War
Washington D.C.
Western Europe
Yippies
-
https://rozsixties.unl.edu/files/original/aa1ff28645f549d848383b63bc2a2d61.jpg
f735cd5dc74e4be55f84c571d0b868f5
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
Be Still Look Within See the Light And Know
Description
An account of the resource
The phrase inscribed on this button embodies the fusion of Eastern spiritualism and Christianity that became popular within the 1960s-era counterculture. Countercultural spirituality took many forms, from poetry to music to drug use, yoga and communal living, and inspired many hippies to understand the Self as part of their religious experience.
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
Counterculture
Creator
An entity primarily responsible for making the resource
unknown
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
counterculture
Eastern spirituality
spirituality
-
https://rozsixties.unl.edu/files/original/1d98b9c96f7894ccdb35861d7103033b.jpg
11bcd7b3b19e70991d569c03cfa7e657
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
The War is Over!
Description
An account of the resource
Beginning in 1969, John Lennon and Yoko Ono launched a two year multi-media peace campaign, which began with press interviews during their honeymoon “bed-in.” In December of 1969, the couple rented billboard space in 12 major cities around the world to display black-and-white posters that declared "WAR IS OVER! If You Want It – Happy Christmas from John & Yoko." Prints of the slogan were also made available. Following the popular success of his 1971 single, “Imagine,” Lennon concluded, "Now I understand what you have to do: Put your political message across with a little honey.” The peace campaign culminated in December of that same year with the release of the holiday song, “Happy Xmas (War Is Over).”
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
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. 1971
Anti-War
bed-in
counterculture
Happy Christmas (War Is Over)
Imagine
John Lennon
Music
Vietnam War
Yoko Ono
-
https://rozsixties.unl.edu/files/original/13a33dff204dc861e7cad6329c0ed0e8.jpg
aebdbc5efe135e22f19c4130b828e4fd
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
Confront the Warmakers
Description
An account of the resource
This button commemorates the October 21, 1967 antiwar rally held in Washington, D.C. by a collection of organizations. The estimated 100,000 demonstrators included radicals, liberals, black nationalists, hippies, professors, women’s groups, and war veterans.
The rally began in front of the Lincoln Memorial started peacefully. Dr. Benjamin Spock, the baby specialist, author, and ardent critic of the war gave a strong speech, labelling President Johnson “the enemy.” Afterward, demonstrators marched toward the Pentagon, where some violence erupted when the more radical element of the demonstrators clashed with U.S. troops and Marshals. The protesters surrounded and besieged the military nerve center until the early hours of October 23. By the time order was restored, 683 people, including novelist Norman Mailer and two United Press International reporters, had been arrested.
One of the notable aspects of the Pentagon protest, in addition to its size, was the participation of both the political and counter-cultural wings of the New Left. Famously, in a bit of political theater, Yippie leaders, Abbie Hoffman and Jerry Rubin, claimed demonstrators would perform an "exorcism" on the Pentagon. Surrounding the five-sided building with a circle of hippies, “they would make the Pentagon rise from the ground a few inches. And all the evil was going to leave.”
Rubin stressed to the media that “we were going to close down the Pentagon” – which was taken more seriously than the levitation. President Johnsonretorted, “I will not allow the peace movement to close down the Pentagon.” As Rubin pointed out later, “By saying that he wasn’t going to allow us to close it down, he gave us the power to have that possibility. So in a way, just by announcing it, we created a victory.”
In an essay for The Nation, titled “Bastille Day on the Potomac,” Robert Sherrill described the protest at the Pentagon:
“The strange thing about the confrontation, at least at first, of the troops and the protesters at the Pentagon was that there seemed almost to be a rapport, partly contrived but also partly natural. The troops who met the marchers and turned them away were sometimes cursed, but more often they were merely lectured as flower children might lecture a nosy cop in DuPont Circle. One boy stuck chrysanthemums in the muzzles of the rifles confronting him; late in the day, a soldier was seen tossing a package of cigarettes into the sprawl of sit-inners he was guarding. More significant than these random, amiable acts, however, was the fact that the protesters, although they made repeated forays with their identifying banners onto forbidden territory (one participant said it reminded him of the schoolboy game, Capture the Flag), never seriously contested or baited the troops physically—except for the one occasion when half a dozen protesters outflanked the main cluster of soldiers, raced through an unguarded Pentagon door, and made their coup, before being tossed out. A handful of stones, a couple of bottles, a few pieces of heavy cardboard were tossed at the soldiers during the day—but considering the size of the crowd, at peak emotion, acting over a period of several hours, these peaceniks were really peaceful. And by day, so were the troops. At dusk, they shot a couple of canisters of tear gas into the protesters’ ranks; and after dark they used their boots and rifle butts more freely than they had during the day….
On the occasion of the actual penetration of the Pentagon, there was rough stuff on both sides, but the only brutalities were committed by the marshals. When the protesters raced for the Pentagon entrance, The Nation’s reporter was in the van, not fast enough to get into the building with the six who made it, but in time to reach the doorway just as the bodies came hurtling back through, borne on a wave of soldiers. In the midst of this, he observed, one of the protesters was knocked down and lay imprisoned among the legs of the soldiers. A marshal seized this opportunity to start beating the helpless young man with all his might. and the beating continued for so long and seemed of such homicidal intent that the several newsmen caught in the crush began screaming at the marshal to quit. Finally the soldiers stopped him. The Nation’s reporter saw the marshals beating demonstrators on five occasions, four of these beatings were administered when the demonstrators were either on the ground or helpless.”
The Pentagon protest was paralleled by demonstrations in Japan and Western Europe. In one raucous incident outside the U.S. Embassy in London, 3,000 demonstrators attempted to storm the building.
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Creator
An entity primarily responsible for making the resource
National Mobilization Committee to End the War
Subject
The topic of the resource
Anti-War Movement
Abbie Hoffman
Anti-War
Benjamin Spock
counterculture
demonstration
Jerry Rubin
LBJ
Levitation
Lincoln Memorial
New Left
Norman Mailer
Pentagon
protest
Robert Sherrill
Vietnam War
Yippies
-
https://rozsixties.unl.edu/files/original/d2d933c4df6e4dc37718a926913ca311.jpg
25a3a6c2b9c27b83e110ff18c1f6de76
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
Abbie! Toronto Crew ‘98
Description
An account of the resource
Written, produced, and starring Bern Cohen, the play Abbie! commemorates the life of Youth International Party founder and 60s icon, Abbie Hoffman. Hoffman’s long history in social and political activism is most well-known for his role in the 1968 police riot outside the Democratic National Convention in Chicago. Hoffman and his fellow Yippies practiced a kind of absurdist, anarchic and often theatrical approach to social critique and activism. For example, at the 1968 convention, the Yippies nominated a pig, "Pigasus," for U.S. President.
Creator
An entity primarily responsible for making the resource
Abbie Production Team
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
1998
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
Yippies
Abbie Hoffman
arts
Chicago
Chicago '68
counterculture
Pigasus
protest
theater
Toronto
Yippies
Youth International Party
-
https://rozsixties.unl.edu/files/original/14556d9619c5c5b75ad2f75534ab7d6b.jpg
cc80717ab013841f5ed937a6a543b91d
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 Vermont
Description
An account of the resource
This button features a white field with black lettering, “Free Vermont 1984,” and a stenciled flower, representing the Free Vermont Collective, an organization of communes and farms in rural Vermont. Some of the projects initiated by the organization include a People’s Bank as a way to redistribute communal wealth; a local newspaper; and several restaurants that used food raised on Vermont commune farms.
Creator
An entity primarily responsible for making the resource
Free Vermont 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
1984
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Counterculture
commune
counterculture
Free Vermont
Vermont
-
https://rozsixties.unl.edu/files/original/03f727c9849a1ae737be726883e0fe60.jpg
b7be01319649db030368f969ee8caf9f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographs
Description
An account of the resource
Roz Payne was a photographer and took hundreds of images of activism during the Sixties. The images in this collection include more than 500 photographs of the protests outside the 1968 Democratic National Convention in Chicago. Other seminal events captured here include the 1967 anti-war demonstration at the Pentagon, the 1968 student take-over at Columbia University, the 1968 Huey Newton and Panther 21 trials, the Yippies and the Venceremos Brigade. Photos include famous Sixties figures, like Abbie Hoffman, Jerry Rubin, Eldridge Cleaver, H. Rap Brown, Bobby Seale, Kathleen Cleaver, Phil Ochs, Norman Mailer, A.J. Muste, Dick Gregory, Jean Genet, William Burroughs, Richard Daley, Mark Rudd, Dhoruba Bin Wahad and others. There are numerous other photos of lesser-known moments and activists, as well.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photograph
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
Abbie Hoffman Graffiti
(1 image)
Subject
The topic of the resource
Counterculture
Description
An account of the resource
Roz Payne photographed this graffiti tribute to Yippie leader, Abbie Hoffman, on Mercer Street in New York City following his suicide in 1989.
Creator
An entity primarily responsible for making the resource
Roz Payne
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1989
Abbie Hoffman
counterculture
graffiti
Mercer Street
New York
suicide
Yippies
-
https://rozsixties.unl.edu/files/original/1e7e08e3eecb78d64c3fa4954642d6f5.jpg
6f51bdd714c36c50c3065e9887da7328
https://rozsixties.unl.edu/files/original/0e01337b284ad9047e8a72dd4b79d495.jpg
c189f457ee80f7e5133653adf0a5e138
https://rozsixties.unl.edu/files/original/3c6825dda0be64781b2496ae3dbd1ee5.jpg
d0988c9f679f75cadac14a19303c2cad
https://rozsixties.unl.edu/files/original/1c9b39ac2bc9cfa90a8b17cc3b58fe03.jpg
93720b34bd2d1444795604b42165bb34
https://rozsixties.unl.edu/files/original/86d1edca3e2d10a753c51993726495c0.jpg
5b9fe96a5184570412e84471991b9046
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
Make-A-Circus
Creator
An entity primarily responsible for making the resource
Make-A-Circus
Date
A point or period of time associated with an event in the lifecycle of the resource
1976
Source
A related resource from which the described resource is derived
Roz Payne
Description
An account of the resource
Beginning in London in 1971, the Make-A-Circus program served as a community-building project for individuals residing in institutional settings such as senior homes and mental facilities. This booklet provides a brief overview of the Make-A-Circus program in San Francisco and its prospective expansion across the United States in 1976.
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Subject
The topic of the resource
Counterculture
Format
The file format, physical medium, or dimensions of the resource
booklet
clowns
counterculture
Make-A-Circus
Public Health
-
https://rozsixties.unl.edu/files/original/a0ccb585aa98d8316cc01b68ad8466ba.jpg
76f8ebb1207a5d0bcd31b08d2ccda5a7
https://rozsixties.unl.edu/files/original/a89c04ea2c153dd3f07f090d298ee109.jpg
45d1abab2e673361505586b233296905
https://rozsixties.unl.edu/files/original/7da2c66d698b9124533c844aa2f011b8.jpg
4d72c046b3a8d918266a6c5cfda1de4b
https://rozsixties.unl.edu/files/original/7689de8770990beb0b7d104d652ffee8.jpg
7751790bad90dfde9ae2abe92ac830df
https://rozsixties.unl.edu/files/original/812b45cba217e2aad4c4f123c51bd31f.jpg
fa9ffce5afaa1e7d4a5c6941e7552e06
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
"New Morning - Changing Weather" - Weather Underground Communiqué
Subject
The topic of the resource
Weather Underground
Description
An account of the resource
In December 6, 1970, in the wake of a New York townhouse explosion that killed three members of the Weather Underground, this communiqué was released and signed by Bernadine Dohrn as a response to that incident. The group’s previous communiqué, in September of 1970, came after the group helped psychedelic guru, Timothy Leary, escape from jail. Some viewed the group's help of a white countercultural figure, rather than an imprisoned black radical, as a betrayal of the group's commitment to Third World liberation. The December communique continues along those lines, by including countercultural rhetoric, praising the student movement and promoting marijuana and the use of psychedelics. The New York Panthers were critical of this communiqué's support of drug use, given their different experience as African Americans versus the middle-class white student movement. The December communiqué also attempted to offer a more human story of the Weather Undergrounds actions., explaining, “Kent and Augusta and Jackson brought to all of us a coming of age, a seriousness about how hard it will be to fight in Amerika and how long it will take us to win.” It also suggests a stronger role for women within the group, a critique of its past actions and ideology, as well as an outline of philosophical changes taking place within the organization. This communiqué was also the first time the group signed a communique as the “Weather Underground,” instead of “Weatherman.”
Creator
An entity primarily responsible for making the resource
Weather Underground
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
Black Panther Party
counterculture
LSD
marijuana
New Left
New York Black Panther Party
New York Townhouse Bombing
SDS
Timothy Miller
Weather Underground
Weatherman
-
https://rozsixties.unl.edu/files/original/64adb4bbf99eb0c859c52d10eea5e0ee.jpg
b8b18b1d125f254daff29812ef43c9ee
https://rozsixties.unl.edu/files/original/efd3a82f36896408aecb443c6cb7d7f5.jpg
b4bfea524f707fa47c0a94aa0bc9fb17
https://rozsixties.unl.edu/files/original/cb5b07e60a139792b8ef7585631b3b6c.jpg
d34e40aaf7743c0ef5bce41bd6ac7351
https://rozsixties.unl.edu/files/original/128419fd51cc552dd3e5528dd2bf2c14.jpg
4cdac1ce065c3120b997f26780de8e8b
https://rozsixties.unl.edu/files/original/1a8388942e8269dd6c92db87b3b9c11d.jpg
f945db13c2c8ab492242dd3c1b9c09b6
https://rozsixties.unl.edu/files/original/b668d8ec61efed2aa655f1e98360867b.jpg
f6b0900497317fbdebc0d22d34dd1b74
https://rozsixties.unl.edu/files/original/1938aeee69999026fc584e3a242ae965.jpg
b532ca3d8978fb0412b989ad4ec53587
https://rozsixties.unl.edu/files/original/dcffc9c4aa63d5ad6c191f0d939a31b2.jpg
0447c675c38980c77041b33427cc1f9f
https://rozsixties.unl.edu/files/original/dc7c65add7356b7c30854613cd634a50.jpg
955e9989837d464b261d89114abb04a3
https://rozsixties.unl.edu/files/original/c8058e7677dd7252d93d1252ee60a8fe.jpg
8af339207cb01b5b7380c7523f7c875c
https://rozsixties.unl.edu/files/original/e7b3d7ac4ba3facf2c37de841ace18e8.jpg
25da512cc1c0589af59ef92029a5f73a
https://rozsixties.unl.edu/files/original/c75508cf41fde1ba813dd5c56394a4e1.jpg
3ec810591c45d8aed37c7bd536e3adad
https://rozsixties.unl.edu/files/original/abf13a59767d40b83779469da4e841f1.jpg
db717fd6a034170c3315dff409033844
https://rozsixties.unl.edu/files/original/c7709ab5525862e1027486d5e6d0252b.jpg
c80f2664bde419bd388931d30ffc75f8
https://rozsixties.unl.edu/files/original/cb59b75993ec2dd4f0f3ef31eb386fa5.jpg
b99015574f2cb3ba246e8f5677ac5aef
https://rozsixties.unl.edu/files/original/21552e768a0b2b5af730e4501c900510.jpg
88aca09ac97834a8a3d2b62beb37f2d8
https://rozsixties.unl.edu/files/original/4ee40f0433a2f35d10291fe0149ba3e2.jpg
6fc5720db60c65a18a3065ab136ce8cf
https://rozsixties.unl.edu/files/original/fc82869610c4d2df543c2bb2e6e7c969.jpg
b199b9043582579f72ecc94052c72e38
https://rozsixties.unl.edu/files/original/d13bd5beff9612c3b14ee033b3a60188.jpg
bc206eb0b714b0a2925a39b9735ee55f
https://rozsixties.unl.edu/files/original/106ddffb0dc5c5e14d463776724a2de5.jpg
ae819e83d04e2c8acd124fa339b25c83
https://rozsixties.unl.edu/files/original/b46cee2b8d182cd0e0c485b3be6f10ed.jpg
858f03de2694a95adad7bf4fda3cb7c9
https://rozsixties.unl.edu/files/original/9cf48c79ba85461a802450a40a91ff83.jpg
05574b91ea2ab3df4b74d346bdd70786
https://rozsixties.unl.edu/files/original/13e98ca6887df3dc6eb1ebd2e905636d.jpg
856ed69df77e63ddd5ca120179ecce67
https://rozsixties.unl.edu/files/original/cae9f4ebe442f3863347b262dca36c1d.jpg
2360d7edc2c41f2f18a239e5125ddd59
https://rozsixties.unl.edu/files/original/19ae39efd45d059f1778fb687a7421b4.jpg
27d908df4a198f4205c2eae4f9ea30d2
https://rozsixties.unl.edu/files/original/9fa661657c56780f55cd6b55905e28ed.jpg
1c00df3e2f482dacceb5cc2208d0d57f
https://rozsixties.unl.edu/files/original/080643b89864f73747a0f2a48bf3d7dd.jpg
cf5b3d1427a707d8ab3661427e474147
https://rozsixties.unl.edu/files/original/c9d9912b47d447a2efdf4418ccc67669.jpg
7b03d7d27165149ff4597018b1ef53d2
https://rozsixties.unl.edu/files/original/6dd58d37f424693611dc436855fe0873.jpg
d93a8717700afc6fcae0f9ef01181241
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
"Once Upon a Time the Universities Were Respected," by The Situationists at Strasbourg University
Subject
The topic of the resource
Student Movement and Counterculture
Creator
An entity primarily responsible for making the resource
Situationists at Strasbourg University
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
pamphlet
Description
An account of the resource
The Situationist International was an international organization of "social revolutionaries" that included avant-garde artists, intellectuals, and political theorists. The group was prominent in Europe from its establishment in 1957 to its disbandment in 1972. Their 1968 pamphlet, "Ten Days That Shook the University," attacked the subservience of university students, as well as the strategies of student radicals. It was sharply critical of student radicals that took on particular issues, rather than the broad destruction of the system. The document caused significant stir and led to the dissemination of Situationist ideas across Europe and into the United States. The pamphlet is credited with precipitating the mass protests and campus take-overs in May of 1968 in France. This 1969 pamphlet is an update and evolution of those ideas.
“Once upon a time, universities were respected: the student persists in the belief that he is lucky to be there. But he arrived too late…. A modern education system demands mass production of students who are not educated and have been rendered incapable of thinking.”
counterculture
Situationist International
Strasbourg University
student movement
-
https://rozsixties.unl.edu/files/original/aaa8954704d407af3e3488940c75262f.jpg
c1997c914e2d7df8c25f3f64182363ba
https://rozsixties.unl.edu/files/original/f2b6bd8762505ad1643ee4939f9255f8.jpg
c098c8c82784700ec480cdced4959bff
https://rozsixties.unl.edu/files/original/2a20b02a673e4773966bc82be531a4aa.jpg
863395e547d2b23adb5dc000e1bb483c
https://rozsixties.unl.edu/files/original/07f92d70e971a6a3b76865f85990a0c0.jpg
7e6b627a1c53d8d77a1c42ecfd656578
https://rozsixties.unl.edu/files/original/2d847f1118b7bd1ef8f1de7853f41c4d.jpg
af5c509f486df349eb25066b47666133
https://rozsixties.unl.edu/files/original/9c86b324e3e52690e9ba965af8166bd4.jpg
3856a290574a71861ea18b63255cfda4
https://rozsixties.unl.edu/files/original/4011cf1eb99ab38395dd1d78ed5b602b.jpg
7b68a871ab65595da7989a39cac54bdf
https://rozsixties.unl.edu/files/original/d4587db784fafaa4addda4357c4e3986.jpg
7b53dbb2ecf27786d5800f21d6d47250
https://rozsixties.unl.edu/files/original/29a8f129af9b2558db1aa9e8728f0370.jpg
5c6c956f23998682593c6196402d3577
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.
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
"Tierra-O Muerte: The Land Belongs to the People"
Subject
The topic of the resource
Chicano Movement
Description
An account of the resource
This pamphlet combines previous writings by Clark Knowlton and Frances Swadesh into one essay that explores the long land struggle in New Mexico that culminated in the 1967 Tierra Amarilla courthouse "raid." In addition, it explores tensions between La Raza and hippies, who were coming to New Mexico in larger numbers.
Creator
An entity primarily responsible for making the resource
El Grito newspaper, re-published by Radical Education Project
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
Format
The file format, physical medium, or dimensions of the resource
pamphlet
Chicano movement
Clark Knowlton
counterculture
El Grito
Frances Swadesh
hippies
identity politics
La Raza
land right
New Mexico
Radical Education Project
Tierra Amarilla
-
https://rozsixties.unl.edu/files/original/9176b55662b6bb1fe1939b103cbaddc3.jpg
b7d5d921b518f534e1c375ffbabfc988
https://rozsixties.unl.edu/files/original/ded98bd21bb9547f731ff73d171caabc.jpg
f11699c6b7cecb306ce5ee701c0df491
https://rozsixties.unl.edu/files/original/fd8ef00066c6f6fcf3affb85b1783ac0.jpg
95c9401fd34f932459dbd4fe4d7bc623
https://rozsixties.unl.edu/files/original/901b28cef9324b5b636e103abe25cee9.jpg
47fbdb53eb898c890721bf6265318175
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
Free Toilet
Subject
The topic of the resource
Anti-Vietnam War Movement and Counterculture
Description
An account of the resource
This brief pamphlet includes quotes about women's liberation, contraception and a poem titled, "Pontiac's Speech to the White Man."
Creator
An entity primarily responsible for making the resource
likely created by Up Against the Wall Motherfuckers and published by the renaissance press
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1968
Format
The file format, physical medium, or dimensions of the resource
leaflet
1969 inauguration
contraception
counterculture
feminism
free toilet
New Left
Pontiac
Pope Paul
renaissance press
The Motherfuckers
Up Against the Wall Motherfucker!
Women's Liberation
-
https://rozsixties.unl.edu/files/original/0906e7215b6bf6564dd745e7a85135c4.jpg
87a793491c57f227a4cac382d7a11e47
https://rozsixties.unl.edu/files/original/7942f892c8c21b0d3b4a409e582c886c.jpg
5471fd92a0bd22dab35084c90f2dd6c6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Daley's Media
Creator
An entity primarily responsible for making the resource
Chicago Defense Fund
Source
A related resource from which the described resource is derived
Roz Payne
Type
The nature or genre of the resource
flyer
Subject
The topic of the resource
Yippes
Description
An account of the resource
This satirical flyer from the Yippies addresses politics repression during the 1968 Chicago Democratic National Convention.
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1968
Format
The file format, physical medium, or dimensions of the resource
mimeograph
Chicago
Chicago '68
Chicago 7
Chicago Defense Fund
counterculture
Illinois
Police Brutality
Yippies
-
https://rozsixties.unl.edu/files/original/093733d899087ab4bdc083c01a8793ec.jpg
0b3cc8ddbca4fe2ebd9c0cea01ccbfbf
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
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
Vermont Free Territory
Source
A related resource from which the described resource is derived
Roz Payne
Type
The nature or genre of the resource
flyer
Subject
The topic of the resource
Communes and Counterculture
Description
An account of the resource
This flyer promotes the countercultural ethos and communal living in Vermont by numerous groups. Roz moved to Vermont in the 1970s to join a commune as did many of her friends. Together, the large number of communes saw their collective work as a move to guarantee the free country in Vermont for their shared countercultural values and beliefs. The use of the phrase, "Don't Tread on Me" further suggests a libertarian impulse shooting through the strong committmint to community values.
Creator
An entity primarily responsible for making the resource
unknown
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, 1970s
Format
The file format, physical medium, or dimensions of the resource
original ink with color
communes
counterculture
Don't Tread on Me
Vermont
Vermont Free Territory
-
https://rozsixties.unl.edu/files/original/c1bc50b81005128f6fe7fffd6ef77ae8.jpg
e323444f66d9e2e51f92f538281dc8b9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
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
Check to the Mayor’s Youth Office
Creator
An entity primarily responsible for making the resource
Abbie Hoffman
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 1, 1982
Subject
The topic of the resource
Counterculture - Yippies
Description
An account of the resource
This is a satirical check that Abbie Hoffman made out for $1M to the Mayor of Burlington, Bernie Sanders. Hoffman and Sanders were both good friends of Roz Payne and this is the sort of hijinx, or prank, Hoffman and the Yippies were known for.
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
check
Abbie Hoffman
Bernie Sanders
counterculture
prank
socialism
Yippies
-
https://rozsixties.unl.edu/files/original/9b55de73ae684f6b64c6a909d8c06402.jpg
56d800b318e9a513e13c34dae925090f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
New Nation
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This flyer by the White Panther Party and Red Star Sisters encourages the radical redefinition of identity as a key to revolution. It also advertises a screening of several Newsreel films on the Boston University campus.
Creator
An entity primarily responsible for making the resource
White Panther Party and Red Star Sisters
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
Format
The file format, physical medium, or dimensions of the resource
mimeograph
Type
The nature or genre of the resource
flyer
anti-racism
Boston University
counterculture
John Sinclair
Massachusetts
Newsreel
radicalism
Red Star Sisters
White Panther Party
-
https://rozsixties.unl.edu/files/original/981f7e3fe0d82a5b5708a8c4d3a632e4.jpg
db98eb368098c67dc15193e03c8dd5f0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ten-Point Program of the White Panther Party
Subject
The topic of the resource
White Anti-Racism
Description
An account of the resource
Founded in 1968 by Pun Plamondon, Leni Sinclair, and John Sinclair as a response to Huey P. Newton’s call for separate, white, anti-racist groups in support of the Black Panther Party, the White Panthers served as a countercultural group dedicated to "cultural revolution." The group was most active in Detroit, Michigan, and was connected with the porto-punk band, MC5. Though a white anti-racist organization, the White Panthers worked with a variety of other groups in what was known as the Rainbow Coalition.
The Red Star Sisters was the name given to women in the
White Panther Party. In a 1970 statement, the Red Star Sisters wrote, "The Red Star is a universal symbol of COMMUNEism, of living and working together, coming together, a symbol of righteous revolution and love for ALL of humanity. We, the sisters of the White Panther Party, take the Red Star as the symbol of our own liberation, and align I ourselves with all oppressed people on the planet."
This artifact includes the White Panther's adaptation of the Black Panther Party's famous Ten-Point Program.
Creator
An entity primarily responsible for making the resource
White Panther Party and Red Star Sisters
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
mimeograph
Type
The nature or genre of the resource
leaflet
anti-racism
Black Panther Party
Black Power
counterculture
Detroit
John Sinclair
Leni Sinclair
MC5
Michigan
Pun Plamondon
Rainbow Coalition
Red Star Sisters
Ten-Point Program
White Panther Party
-
https://rozsixties.unl.edu/files/original/0fcb49bc29b8069b33fe03f3f3e5f03e.jpg
d06864d8cf8b2d94cc39e50a9256b157
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
paper
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Wedding Statement
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This 1991 wedding statement is from two of Roz Payne's friends, Sandy and Linda. It reflects the ethos of the counterculture.
Creator
An entity primarily responsible for making the resource
Sandy and Linda
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
1991
Format
The file format, physical medium, or dimensions of the resource
mimeograph
Type
The nature or genre of the resource
flyer
counterculture
love
marriage
-
https://rozsixties.unl.edu/files/original/19ff503395cc6ccad3bd25d294b1d5d8.jpg
9c270094ef5beb970a5e6503e652c4c0
https://rozsixties.unl.edu/files/original/20f126b3195485f5cc52e454927f0803.jpg
f4ab1cb5a3e74b3f6a2ae234bf104569
https://rozsixties.unl.edu/files/original/9a64b92a19eba89f9cf01871955778ab.jpg
60f770d6e3b73a4df677990a46138272
https://rozsixties.unl.edu/files/original/927f9701beea0c54eca116114fc44643.jpg
e98fb32dbf55f3cef738d3b6f4d5336b
https://rozsixties.unl.edu/files/original/d79286ba2f71ec03b056e5745045c2b3.jpg
4963b6d811f6f4fc9904fcb61c82760f
https://rozsixties.unl.edu/files/original/d48e549863fa3ce94732dc5cd8740769.jpg
69b7315c4e0afa101c11e8129a3dcbd6
https://rozsixties.unl.edu/files/original/becc5324c144da0b6b98d83fea07b5cf.jpg
dffabb1c5667c04d96eb853cc272b6c3
https://rozsixties.unl.edu/files/original/6ea05d16907f42b55170360f93a261e1.jpg
f0a523ce8c94fe1b85dcfca310ae20e9
https://rozsixties.unl.edu/files/original/740a5b5bf8df70b16fe5ea3ae6162c97.jpg
9c270094ef5beb970a5e6503e652c4c0
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.
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
Rainbow River
Subject
The topic of the resource
White Panther Party
Description
An account of the resource
Rainbow River was an underground press paper put out by the White Panther Party in Somerville, Massachusetts. In this issue, article topics include drugs, high schools and oppression, draft resistance, poetry about revolution and food coops, a Weather Underground statement and the White Panther Party 12-Point Program.
Creator
An entity primarily responsible for making the resource
White Panther Party
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
underground press
Type
The nature or genre of the resource
newsletter
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. early-1970s
counterculture
Draft Resistance
drugs
feminism
food co-op
high school
identity politics
Massachusetts
New Left
Rainbow River
Rainbow River Tribe
revolution
Somerville
student movement
Weather Underground
White Panther Party
Women's Liberation
-
https://rozsixties.unl.edu/files/original/64174a06438b4882c784c586027fc178.jpg
09330801021480781ddcb30d58e76fef
https://rozsixties.unl.edu/files/original/ecf2ff692eee7ceeae86e566b4ead637.jpg
a98de0034060569733ec70af1e16be02
https://rozsixties.unl.edu/files/original/3cffc64132bac259086fa57fe1bf9505.jpg
f6de3ffefa42af7c0c0268a0b504d55d
https://rozsixties.unl.edu/files/original/676635d212de99d1cf591aeb6946dc95.jpg
3d7f3887fe6bccab731a7f7eba06351d
https://rozsixties.unl.edu/files/original/63ccf9e7e0a534980d13d7b8ef8174b8.jpg
67572ee0ed2cf22346b7a459462a7557
https://rozsixties.unl.edu/files/original/cb0d82c0328e13bf6745de05e08d5961.jpg
7d0dddc215bf51d0026e20ce882b7f68
https://rozsixties.unl.edu/files/original/3c8417460cc6b7997dcf9a75b7b28649.jpg
e84ca6fe82d1b93c8c30f145b0ceec83
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
Lock Picking Manual
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This brief pamphlet describes various ways to pick locks.
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
leaflet
counterculture
lock picking
-
https://rozsixties.unl.edu/files/original/d09c2ac239e73d25f86f147aeab622ff.jpg
a67562fe55514f26c8adb303edd6f717
https://rozsixties.unl.edu/files/original/9f68108991ebb3bbe984ca0cdf73003c.jpg
cf4d878fda3f881e769188fba1186123
https://rozsixties.unl.edu/files/original/517b20714b4f9258a65b5d815f8110e7.jpg
7c62b4ecd802114ba24e090d9a9be604
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
CIA Conspiracy Trial Office
Subject
The topic of the resource
White Panther Party
Description
An account of the resource
This communiqué, written by Genie Plamondon, explores the changing politics of the White Panther Party during the late-1960s.
Genie Plamondon joined the White Panther Party in the summer of 1967. An organizer and activist, Plamondon was in charge of communications between WPP chapters, as well as chapter training, an organizer of the Red Star Sisters, and also held a leadership position as “Minister of Foreign Affairs” in the organization. During the late-1960s, she traveled overseas to Vietnam as a civilian observer and eyewitness and attended Woodstock to promote the Free John Sinclair campaign.
Creator
An entity primarily responsible for making the resource
White Panther Party
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1969
Format
The file format, physical medium, or dimensions of the resource
leaflet
Anti-War
counterculture
Detroit
Genie Plamondon
Michigan
Pun Plamondon
Red Star Sisters
Vietnam War
White Panther Party
Woodstock Music and Art Festival
-
https://rozsixties.unl.edu/files/original/d605fe462ebe3de1df4ef06252e1c11a.jpg
1ccf9a4acb28c2cfc9992ce8ae62eb77
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
Exorcise the Pentagon
Subject
The topic of the resource
Anti-Vietnam War Movement
Creator
An entity primarily responsible for making the resource
Martin Carey
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Format
The file format, physical medium, or dimensions of the resource
poster
Description
An account of the resource
This poster promoted the October 21, 1967, antiwar demonstration held in Washington, D.C. by a collection of organizations. The estimated 100,000 protesters included radicals, liberals, black nationalists, hippies, professors, women’s groups, and war veterans.
The rally began in front of the Lincoln Memorial started peacefully. Dr. Benjamin Spock, the baby specialist, author, and ardent critic of the war gave a strong speech, labelling President Johnson “the enemy.” Afterward, demonstrators marched toward the Pentagon, where some violence erupted when the more radical element of the demonstrators clashed with U.S. troops and Marshals. The protesters surrounded and besieged the military nerve center until the early hours of October 23. By the time order was restored, 683 people, including novelist Norman Mailer and two United Press International reporters, had been arrested.
One of the notable aspects of the Pentagon protest, in addition to its size, was the participation of both the political and counter-cultural wings of the New Left. Famously, in a bit of political theater, Yippie leaders, Abbie Hoffman and Jerry Rubin, claimed demonstrators would perform an "exorcism" on the Pentagon. Surrounding the five-sided building with a circle of hippies, “they would make the Pentagon rise from the ground a few inches. And all the evil was going to leave.”
Rubin stressed to the media that “we were going to close down the Pentagon” – which was taken more seriously than the levitation. President Johnson retorted, “I will not allow the peace movement to close down the Pentagon.” As Rubin pointed out later, “By saying that he wasn’t going to allow us to close it down, he gave us the power to have that possibility. So in a way, just by announcing it, we created a victory.”
In an essay for The Nation, titled “Bastille Day on the Potomac,” Robert Sherrill described the protest at the Pentagon:
“The strange thing about the confrontation, at least at first, of the troops and the protesters at the Pentagon was that there seemed almost to be a rapport, partly contrived but also partly natural. The troops who met the marchers and turned them away were sometimes cursed, but more often they were merely lectured as flower children might lecture a nosy cop in DuPont Circle. One boy stuck chrysanthemums in the muzzles of the rifles confronting him; late in the day, a soldier was seen tossing a package of cigarettes into the sprawl of sit-inners he was guarding. More significant than these random, amiable acts, however, was the fact that the protesters, although they made repeated forays with their identifying banners onto forbidden territory (one participant said it reminded him of the schoolboy game, Capture the Flag), never seriously contested or baited the troops physically—except for the one occasion when half a dozen protesters outflanked the main cluster of soldiers, raced through an unguarded Pentagon door, and made their coup, before being tossed out. A handful of stones, a couple of bottles, a few pieces of heavy cardboard were tossed at the soldiers during the day—but considering the size of the crowd, at peak emotion, acting over a period of several hours, these peaceniks were really peaceful. And by day, so were the troops. At dusk, they shot a couple of canisters of tear gas into the protesters’ ranks; and after dark they used their boots and rifle butts more freely than they had during the day….
On the occasion of the actual penetration of the Pentagon, there was rough stuff on both sides, but the only brutalities were committed by the marshals. When the protesters raced for the Pentagon entrance, The Nation’s reporter was in the van, not fast enough to get into the building with the six who made it, but in time to reach the doorway just as the bodies came hurtling back through, borne on a wave of soldiers. In the midst of this, he observed, one of the protesters was knocked down and lay imprisoned among the legs of the soldiers. A marshal seized this opportunity to start beating the helpless young man with all his might and the beating continued for so long and seemed of such homicidal intent that the several newsmen caught in the crush began screaming at the marshal to quit. Finally the soldiers stopped him. The Nation’s reporter saw the marshals beating demonstrators on five occasions, four of these beatings were administered when the demonstrators were either on the ground or helpless.”
The Pentagon protest was paralleled by demonstrations in Japan and Western Europe. In one raucous incident outside the U.S. Embassy in London, 3,000 demonstrators attempted to storm the building.
Abbie Hoffman
Anti-War
Benjamin Spock
counterculture
Jerry Rubin
LBJ
Lincoln Memorial
New Left
Pentagon
Robert Sherrill
The Nation
Vietnam War
Washington D.C.
Yippies
-
https://rozsixties.unl.edu/files/original/08d3a60dd56fe07942b3a59615a8a5bd.jpg
786aa9e7a8f78eded860bc42471f9ce7
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
Gotta Get Out of the Blues Alive
Subject
The topic of the resource
Counterculture
Description
An account of the resource
This poster features a poem reflecting on the deaths and loss off Janis Joplin and Jimi Hendrix.
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. 1970
Format
The file format, physical medium, or dimensions of the resource
poster
counterculture
Janis Joplin
Jimi Hendrix
Music
poetry
-
https://rozsixties.unl.edu/files/original/eb9a527f1ec0f2b0a66caabc99e984fb.jpg
c12cb9e503d910ffb13950dbafdf2016
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
Yippie, Miami 1972
Subject
The topic of the resource
Counterculture and Anti-Vietnam War Movement
Description
An account of the resource
This poster promoted Yippie protests at the Democratic and Republican National Conventions in Miami Beach, Florida, in 1972, the last time both major parties held their presidential conventions in the same city. Notably, these protests also included a break-away group from the original Yippies, led by Tom Forcade and called the "Zippies," for "Zeitgeist International Party." Contingents at the demonstrations also included the Vietnam Veterans Against the War and a large group of women’s liberation activists.
At the Republican Convention, about 3,000 anti-war activists, many wearing painted death masks and some splattered with red paint, confronted delegates, chanting, cursing, jostling and pounding on cars. Protesters aimed to force well-dressed delegates to walk through a "gauntlet of shame" as they approached the guarded gates of the convention. Protesters yelled, “Murderers, murderers” and "delegates kill!" Some protesters also broke windows along the main thoroughfare in Miami Beach during the protests, resulting in 212 arrests. Black Panther Party leader, Bobby Seale, who had recently been released from four years in jail as a result of his participation in the 1968 demonstrations outside the Democratic Convention in Chicago, participated in the protests and at one point led demonstrators in chanting, “One, two, three, four. We don't want your f---ing war.” Daniel Ellsberg, who was facing criminal prosecution for releasing the Pentagon Papers, spoke to a more subdued crowd of anti-war demonstrators outside the convention center as Nixon was being nominated inside. Vietnam war veteran turned anti-war activist, Ron Kovic, also participated in the protests at the Republican National Convention.
The Democratic Convention also saw a variety of protests, inside the conventional hall and outside of it. Inside, previously excluded political activists clashed with traditional party leaders and activists in sessions that often extended late into the night. Outside, anti-war, black freedom, feminist, gay rights and other activists rallied and demonstrated. Anti-poverty advocates constructed "Resurrection City II," named after "Resurrection City," which had been constructed in Washington, D.C. in 1968 as a part of the Poor People's Campaign. "Gonzo" journalist, Hunter S. Thompson, chronicled the 1972 Democratic Convention in his book, Fear and Loathing on the Campaign Trail '72.
Creator
An entity primarily responsible for making the resource
Youth International Party
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1972
Format
The file format, physical medium, or dimensions of the resource
poster
1972 Democratic Convention
1972 election
1972 Republican Convention
Anti-War
Black Panther Party
Bobby Seale
counterculture
Daniel Ellsberg
demonstration
electoral politics
feminism
Florida
gay liberatiom
George McGovern
Hunter S. Thompson
Miami Beach
Poor People's Campaign
Resurrection City
Richard Nixon
Ron Kovic
Tom Forcade
Vietnam Veterans Against the War
Vietnam War
Women's Liberation
Yippies
Youth International Party
Zeitgeist International Party
Zippies
-
https://rozsixties.unl.edu/files/original/edbf727687e86d8f25ba09bf5db0275e.jpg
506e2190938b553f4763e4e3a5323730
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
Vote Pig
Description
An account of the resource
At the Democratic National Convention in Chicago in August 1968, as a part of the broader protest against the Democratic Party and the War in Vietnam, the Youth International Party, or Yippies, satirically nominated a pig - "Pigasus" - for U.S. president. Abbie Hoffman, Jerry Rubin, Dennis Dalrymple and other Yippie pranksters argued, with tongues firmly planted in cheeks, that Pigasus could "really bring home the pork" and "if we can't have him in the White House, we can have him for breakfast." The 1968 stunt typified the Yippies' absurdist, theatrical approach to protest, as well as their mix of New Left politics and counterculturalism.
The image and rhetoric of the "pig" was popular among a range of New Left radicals during the late-1960s and into the 1970s to signify illegitimate, repressive and militaristic state authority, particularly police forces and government officials. The Black Panther Party, Students for a Democratic Society, Yippies and other counterculturists are most well-known for their use of the "pig" caricature, though the image and rhetoric of the "pig" was widely employed across the New Left and counterculture during this period.
Here, the campaign-style "Vote Pig" button serves as a humorous theatrical tool to critique the contemporary state of U.S. politics.
Creator
An entity primarily responsible for making the resource
Youth International Party
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
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
1968 election
Abbie Hoffman
Black Panther Party
Chicago '68
counterculture
Jerry Rubin
New Left
Pig
Pigasus
politics
protest
Students for a Democratic Society
Yippies
-
https://rozsixties.unl.edu/files/original/e26c5d78e9231634b15ead21f93f7375.jpg
b515ad02a49cc55fe4371c16e3094a79
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
"Pigasus"
Description
An account of the resource
At the Democratic National Convention in Chicago in August 1968, as a part of the broader protest against the Democratic Party and the War in Vietnam, the Youth International Party, or Yippies, satirically nominated a pig - "Pigasus" - for U.S. president. Abbie Hoffman, Jerry Rubin, Dennis Dalrymple and other Yippie pranksters argued, with tongues firmly planted in cheeks, that Pigasus could "really bring home the pork" and "if we can't have him in the White House, we can have him for breakfast." The 1968 stunt typified the Yippies' absurdist, theatrical approach to protest, as well as their mix of New Left politics and counterculturalism.
The image and rhetoric of the "pig" was popular among a range of New Left radicals during the late-1960s and into the 1970s to signify illegitimate, repressive and militaristic state authority, particularly police forces and government officials. The Black Panther Party, Students for a Democratic Society, Yippies and other counterculturists are most well-known for their use of the "pig" caricature, though the image and rhetoric of the "pig" was widely employed across the New Left and counterculture during this period.
Here, the image of the pig serves as a humorous theatrical tool to critique the contemporary state of U.S. politics.
Creator
An entity primarily responsible for making the resource
Youth International Party
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
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
1968 election
Abbie Hoffman
Black Panther Party
Chicago '68
counterculture
Democratic Party
Dennis Dalrymple
Jerry Rubin
Pig
Pigasus
politics
protest
Students for a Democratic Society
Yippies
-
https://rozsixties.unl.edu/files/original/9482862213af49f0fd9e51ef04f62f02.jpg
d1dc899683e948215603e7722f43e541
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
Rat Subterranean News "Up Against the Wall"
Description
An account of the resource
This button was created by Rat Subterranean News, the second of two major underground newspapers coming out of New York City and features the paper's mascot. Rat was published from 1968-1970. It gained notoriety for its reporting on the siege of Columbia in 1968, the take-over of SDS by the Weather Underground, the Panther 21 trial in New York, the take-over of Alcatraz Island by the American Indian Movement and early ecology reportage. Several Rat contributors were arrested after a series of non-lethal bombings of corporate offices and military targets in late-1969 and the newspaper was overtaken by radical feminists in 1970 because of its sexism. According to an FBI report on the underground newspaper written shortly after its founding, “Only a handful of the papers strike me as having a distinct character, useful, original material, and rich, imaginative writing… The paper, named after the small, tough, and durable rodent of the underground, defined itself in a first anniversary editorial last March as an ‘experiment in participatory journalism.’”
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
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
RAT Subterranean News
"Up Against the Wall"
American Indian Movement
Black Panther Party
counterculture
media
New Left
Panther 21
radicalism
Rat Subterranean News
sexism
Siege at Columbia
Students for a Democratic Society
Underground Press
Weather Underground
-
https://rozsixties.unl.edu/files/original/cf0a366c4057fd0730b7f691b16b542a.jpg
1733528be3b034631d2b05ce7a097308
https://rozsixties.unl.edu/files/original/2659de6ad276c7dee047aa2168763e3b.jpg
2cc876f96d362c2c35db74b509936a64
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
An Aquarian Exposition Staff Pass
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
1969
Type
The nature or genre of the resource
Physical Object
Description
An account of the resource
Billed as “3 Days of Peace & Music,” the Woodstock Music and Art Fair took place between August 15 and 18, 1969, in White Lake, New York. A seminal moment in the history of the Sixties-era countercultural movement, an estimated 400,000-500,000 people gathered peacefully in sometimes rainy conditions to listen to musical acts featured at the festival, including Santana, the Grateful Dead, Sly and the Family Stone, The Who, Janis Joplin, Jimi Hendrix, Jefferson Airplane, Crosby, Stills, Nash & Young, Joan Baez, Richie Havens, Ravi Shankar, Country Joe McDonald, Joe Cocker, Creedance Clearwater Revival, She Na Na, Blood, Sweat & Tears, The Band, Paul Butterfield Blues Band, Johnny Winter and others. The logo on the staff pass, which features a dove perched on top of a guitar bridge, was designed by graphic artist, Arnold Skolnick.
These passes were Roz Payne's. Roz was good friends with many of the organizers of the Woodstock music festival.
Creator
An entity primarily responsible for making the resource
Woodstock Music and Art Fair
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
Ticket, Festival Pass
Arnold Skolnick
Blood
counterculture
Country Joe McDonald
Creedance Clearwater Revival
Crosby
Grateful Dead
Janis Joplin
Jefferson Airplane
Jimi Hendrix
Joan Baez
Joe Cocker
Johnny Winter
Music
Nash & Young
Paul Butterfield Blues Band
Pop Art
Ravi Shankar
Richie Havens
Seat & Tears
She Na Na
Sly and the Family Stone
Stills
The Band
The Who
Ticket
Woodstock Music and Art Festival
-
https://rozsixties.unl.edu/files/original/2450d63911b43ebdc1621508311a97dc.jpg
04d5a088e0e28c80bdc6682246d98009
https://rozsixties.unl.edu/files/original/f35737a878683b20dff9418f5253e23e.jpg
ba44734c5bd621d40aaa490ea3fb9eb1
https://rozsixties.unl.edu/files/original/858829e1d260b06f8810d46cbc02e74c.jpg
3efde923a548c0576d900108bd049ebc
https://rozsixties.unl.edu/files/original/b476edb4cb1773a7c9e23b428f02bed1.jpg
34fd4d528968837942721824f4e8ef93
https://rozsixties.unl.edu/files/original/fe96074621d48c70da84f9106607f694.jpg
da677fc0fef5dd4d849ca4247238632d
https://rozsixties.unl.edu/files/original/225a23f078ec92c15433e8597b274b9d.jpg
c3719a342b3a92bba757793475855893
https://rozsixties.unl.edu/files/original/fc2733b8d75ac91512376f064be7cc5d.jpg
6fe2966bb0750df8ad9c0525a0e0bf11
https://rozsixties.unl.edu/files/original/c1aa532337a6cedca482b4025bfbe5a3.jpg
4c78e7157598b4a90faa012d0f1addb3
https://rozsixties.unl.edu/files/original/f5caafe522bd7fc10862c76c5e292e40.jpg
4da2dfce09d546a9624460d93b1838a4
https://rozsixties.unl.edu/files/original/1b84094deacbe3890df393e7437398d7.jpg
76e3d06b546161efe72a3f1ba472a451
https://rozsixties.unl.edu/files/original/c5200d15bf7b9f45c8831e4710d4cb48.jpg
89ba7aacc24ee2171ec4065daab2579c
https://rozsixties.unl.edu/files/original/7fe6f816a6f256ae797d5171396ec616.jpg
4c279881a983fad534a3d1b289ee59fc
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
Booklet
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
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
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1970
Language
A language of the resource
en-US
Type
The nature or genre of the resource
Text
Publisher
An entity responsible for making the resource available
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
-
https://rozsixties.unl.edu/files/original/043da00ef4b509667add5dca69e88234.jpg
e8b1c44a3cd2396ade83571bbad6a504
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photocopy
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
Students of Norwalk - Beautify America - Get a Haircut
Subject
The topic of the resource
Counterculture
Description
An account of the resource
One of the key themes of the 1960s was generational tension. Youth culture styles and fashion were a consistent target from various authorities, from parents, to media commentators, to law enforcement and school officials. Long hair on men became a particular point of contention. To some adults, long hair symbolized opposition to the War in Vietnam, or an acceptance of countercultural values, like drug use, premarital sex, and resistance to traditional authority. During the late-1960s, several school attempted to compel young white men to cut their hair. In 1968, for instance, the principle of a New Hampshire Catholic school marched 18 students from class to a local barbershop for a haircut. That same year, school officials at Brien McMahon High School in Norwalk, Connecticut, suspended 53 male students because their hair covered their ears or hung over their collars. They also restricted young women from wearing thigh-high mini-skirts. 18 male students complied, but others resisted, protesting outside the school with signs that read, “”It’s 1968, not 1984,” “Is Hair Unfair?” “Does Society Hang by a Hair?” and “Unconstitutional Harassment.” The ACLU represented four of the students in a court challenge, but lost. The school principle argued that long hair was a major classroom distraction, while the ACLU cited the Magna Carta and U.S. Constitution, claiming the restrictions violated fundamental individual rights and had nothing to do with education. The judge skirted the constitutional issues, justifying his decision by saying it would be unfair to the 18 students who complied with the order if he ruled for the four who refused to comply. In a separate 1970 case in Massachusetts, though, a judge sided with the students, writing, “We see no reason why decency, decorum and conduct require a boy to wear his hair short. Certainly eccentric hair styling is no longer a reliable sign of perverse behavior. We do not believe that mere unattractiveness in the eyes of some parents, teachers, or students, short of uncleanliness, can justify the proscription. Nor, finally, does such compelled conformity to conventional standards of appearance seem a justifiable part of the educational process.”
This slipping from the February 6, 1968, New York Times shows a billboard in Norwalk ridiculing long-haired youth.
Creator
An entity primarily responsible for making the resource
New York Times
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 6, 1968
Format
The file format, physical medium, or dimensions of the resource
article clipping
ACLU
Connecticut
counterculture
generational divide
hair
long-hair
Massachusetts
New Hampshire
New York Times
Norwalk
-
https://rozsixties.unl.edu/files/original/af56aadcc5f10d2310a5599b522c39e7.jpg
c455ed1c80d3569bf39c09f43e0850fc
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographs
Description
An account of the resource
Roz Payne was a photographer and took hundreds of images of activism during the Sixties. The images in this collection include more than 500 photographs of the protests outside the 1968 Democratic National Convention in Chicago. Other seminal events captured here include the 1967 anti-war demonstration at the Pentagon, the 1968 student take-over at Columbia University, the 1968 Huey Newton and Panther 21 trials, the Yippies and the Venceremos Brigade. Photos include famous Sixties figures, like Abbie Hoffman, Jerry Rubin, Eldridge Cleaver, H. Rap Brown, Bobby Seale, Kathleen Cleaver, Phil Ochs, Norman Mailer, A.J. Muste, Dick Gregory, Jean Genet, William Burroughs, Richard Daley, Mark Rudd, Dhoruba Bin Wahad and others. There are numerous other photos of lesser-known moments and activists, as well.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photograph
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
Speed Kills Graffiti (1 image)
Subject
The topic of the resource
counterculture
Description
An account of the resource
Unidentified graffiti in New York City
Creator
An entity primarily responsible for making the resource
Roz Payne
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
National Mobilization Committee to End the War in Vietnam
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. late-1960s or early-1970s
counterculture
drugs
graffiti
-
https://rozsixties.unl.edu/files/original/dedcdda77c404376a56ea179f0ff925f.jpg
4b441619009e15159ee0e3db7f8a0bfb
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.
Physical Dimensions
The actual physical size of the original image
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
May Day Gathering of Tribes in Atlanta
Description
An account of the resource
This poster is a promotional piece for the 1967 Atlanta May Day Gathering of Tribes. The artifact does not include a year. The May Day Collective was loose-knit anti-war organization that eschewed national leadership and promoted local organizing. The group played a key role in massive protests that took place in Washington, D.C., in May of 1971.
Creator
An entity primarily responsible for making the resource
May Day Collective
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
1967
Subject
The topic of the resource
Counterculture
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
poster
Anti-War
Atlanta
counterculture
Gathering of Tribes
Gay Liberation
Mayday
MayDay Collective
Vietnam War
Women's Liberation
-
https://rozsixties.unl.edu/files/original/5464dc486500e4bc79f13f5b9ec8f961.jpg
782edf25dbfbebd37731807b3412115f
https://rozsixties.unl.edu/files/original/1b30c39b6136a3df9cc3f46464aa3d0d.jpg
6d1f55283c60bd1783e3133d290aef79
https://rozsixties.unl.edu/files/original/beaaf0c8a702e62084d8ff207ab8ead3.jpg
8e7648d175be9ff6cf6a56f67fcca2fc
https://rozsixties.unl.edu/files/original/c37c63ff680edc29d4681825d1478aa7.jpg
bc8f5e23aac1290ac6e948dac9145a44
https://rozsixties.unl.edu/files/original/76e260fc55a8dd3370d587c6ce16d55f.jpg
3ef38d9abbcea5ed2f5ae47ffe3da2fd
https://rozsixties.unl.edu/files/original/d4ad265ff8a0dd6f9f31f9fce0b39c87.jpg
d88eb5c5a40befedbcd9aaaba6646f06
https://rozsixties.unl.edu/files/original/d5ef28e56b69101530ac751f47e64c20.jpg
a2064743682b04501b85117074b04788
https://rozsixties.unl.edu/files/original/7cf1f454883d98a0b83daaef38f0ff6e.jpg
df3074734952694a6a0b96abd1c7a509
https://rozsixties.unl.edu/files/original/2f650d9a80011761eb71769dd3df2b64.jpg
d99a2ce216670b447fd4f064a17f31a7
https://rozsixties.unl.edu/files/original/664911452cf8774030ed60d3fe42a387.jpg
3d9d80f9a5a7b31685bffad34dc2bf37
https://rozsixties.unl.edu/files/original/94328a5a790befa83768e5a52db36a78.jpg
eb4d8be348b2aaa20586a09b419fa58f
https://rozsixties.unl.edu/files/original/6c3d5e91c93907a5af4090e2a139469d.jpg
a5742a729d74b7f286e97d3744638d5c
https://rozsixties.unl.edu/files/original/5aeac99388d4e14afd51447c4a59efd7.jpg
10430291726f11c24b4dfbec592e0e50
https://rozsixties.unl.edu/files/original/0c108aebfb06bd2ab046a9e16aa2b74f.jpg
a0e16664ab756ca34983474f3f80910b
https://rozsixties.unl.edu/files/original/154926c9657323a91c8285e028cec30d.jpg
f3b491263dfd531c066af8119176fd6f
https://rozsixties.unl.edu/files/original/67ec1cf225f5dfdbb4792a4c2fb2059e.jpg
6ab0a254c4774416e4aa7b49aa9f2e26
https://rozsixties.unl.edu/files/original/014bd365f2f83d8743e2e0ce887a6058.jpg
6dc563c3df42b217487457e2baa01dd5
https://rozsixties.unl.edu/files/original/8865b72659b6ffc9e48f3a6985f14956.jpg
5dde9e73c82a404c3ad2422dc4366e9f
https://rozsixties.unl.edu/files/original/2695788e79309db644aa3951e96f75af.jpg
111554743e7d5ddd89cd55b18d3ab722
https://rozsixties.unl.edu/files/original/14e1242d83b16e6a04c728e923ca0cbc.jpg
3539f0b5925e50b10bbcef55f816b8da
https://rozsixties.unl.edu/files/original/ae69bb2d5ab735969932cdac16df798e.jpg
3243ef41955dde9eee0c1aef85702edc
https://rozsixties.unl.edu/files/original/886fc86777744a2c3539b5c46be0bc38.jpg
d78c266bdff857dd591d586b3ef61db0
https://rozsixties.unl.edu/files/original/317952e34e1c654b49d3c187f3516775.jpg
136ce5240fdcd464612b3142bfafbc38
https://rozsixties.unl.edu/files/original/cebd2eb422b5705507189914b68aa98e.jpg
0f0bc564098994dc8612e854c928f019
https://rozsixties.unl.edu/files/original/7b303461aed79a475f43b77d7d895273.jpg
a70f8ec1919fec2d96d8ae556b249eaf
https://rozsixties.unl.edu/files/original/4c47a4ae2f2b3557f0719b48b9263d6c.jpg
3356eabc3f40533eea565311f81a11a3
https://rozsixties.unl.edu/files/original/fdfe096caff1d5d4323ad977c940fc1d.jpg
dd324bdbf74caf8d896fd622ce894741
https://rozsixties.unl.edu/files/original/3dafb2a8336271777eca11bf0cf24013.jpg
b51c9722b43dab44c45eeb637e969496
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
Ten Days That Shook the University
Description
An account of the resource
This 1966 pamphlet was originally published in French at the University of Strasbourg by students of the university and members of the Situationist International. The SI was an international organization of "social revolutionaries" that included avant-garde artists, intellectuals, and political theorists. The group was prominent in Europe from its establishment in 1957 to its disbandment in 1972. "Ten Days That Shook the University" attacked the subservience of university students, as well as the strategies of student radicals. It was sharply critical of student radicals that took on particular issues, rather than the broad destruction of the system. The document caused significant stir and led to the dissemination of Situationist ideas across Europe and into the United States. The pamphlet is credited with precipitating the mass protests and campus take-overs in May of 1968 in France.
Creator
An entity primarily responsible for making the resource
Situationist International
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
1966
Subject
The topic of the resource
Counterculture and Student Movement
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
pamphlet
campus radicalism
counterculture
France
Situationist International
Strasbourg University
student protest
-
https://rozsixties.unl.edu/files/original/3b8cad90fcc5b9212f1996f97f7a69e3.jpg
21f28dd276604c23ace6f3db24304783
https://rozsixties.unl.edu/files/original/62205cd09476636a018fba703a972ae9.jpg
7a9899ddd4dc8e1d07fea6316b775c86
https://rozsixties.unl.edu/files/original/5ffb85e34733fa58564697f61856fa66.jpg
af16a40af1d76ed4718c93da638c17e0
https://rozsixties.unl.edu/files/original/ab64175e9299eb9b9d020ec9700a2b9a.jpg
ea6f2bbeeb16a4e2de7392d1e533c473
https://rozsixties.unl.edu/files/original/12f9ce6dd9ac0c1e513158a51d34f0db.jpg
b363b438049daa04d052b354c57a0361
https://rozsixties.unl.edu/files/original/50532df2fcd67f03de72937d0b7a7520.jpg
4cd647b7d1cfd57c602c6cc04ba211cd
https://rozsixties.unl.edu/files/original/05878251f16882ddd5e3ee51939c49e4.jpg
b332fc7aa5ceb51c203c0222079d1cc6
https://rozsixties.unl.edu/files/original/336b9e28f68f1cb35477aff1a73afe58.jpg
ee9bfe5dd4e39a42f0013d273a3389cf
https://rozsixties.unl.edu/files/original/80cfd8c51d7633dca9195fcca3a2519d.jpg
f720982f0b827ab9b8d96c9accfbd5b9
https://rozsixties.unl.edu/files/original/1363da787dc5aa177a0f8b47fce50e3d.jpg
a9349c91e393baac2f8a7fcc68a9b00a
https://rozsixties.unl.edu/files/original/5adc2b86d8f312975232dcebd77e0a1b.jpg
38a9b5ea92e0c8670c11a03c5b88a396
https://rozsixties.unl.edu/files/original/3840049ee5bbd6c6513d91d6e68fff2c.jpg
acc5eea2502e0ba7b1c4db4f959e785b
https://rozsixties.unl.edu/files/original/e5f8d2931ff90b72843d267354f73fdf.jpg
fedea73c2cb5584037253ed1a67baf59
https://rozsixties.unl.edu/files/original/462a0f89002408aeac01aaf8d49a0a1c.jpg
b57dd01c0cde67a1a5af96c9ca7bf8be
https://rozsixties.unl.edu/files/original/9e7851c32d31b4d8872ef98a91b253d4.jpg
1f9afc282338ca3a2c51df34f6ed0fef
https://rozsixties.unl.edu/files/original/ea1d805f5d932a956b296f570f46b979.jpg
56d69cd8f8755606a5910b9278009f4d
https://rozsixties.unl.edu/files/original/0cbfa8f2b4c6e030da4265f258e2a052.jpg
c3dbe8e01d5c47c724e1298368d6331c
https://rozsixties.unl.edu/files/original/9a2a63640d4710956b5afb4b9f477dc0.jpg
f27146f639cb9d7854d2f72286b0207e
https://rozsixties.unl.edu/files/original/356d5d6151e9625fd9141a1666fda159.jpg
5da54298ecfff3b0b452360b0a1ad70c
https://rozsixties.unl.edu/files/original/a752a830bf54d08ebd057f594818be1c.jpg
82918820008e76942db641f944a1bf21
https://rozsixties.unl.edu/files/original/075988e4bc15dd045a3da5c438a550b4.jpg
0724e8e3254191d92c1de4f19bf2c537
https://rozsixties.unl.edu/files/original/77453e57e6ae759641728282d0dad2ac.jpg
41ab1751707ea6b16bfbe2f91c72cd9f
https://rozsixties.unl.edu/files/original/1a94859b0839726ec9b480631a4018b4.jpg
ee14e307a4052e4253dac17e944b479d
https://rozsixties.unl.edu/files/original/ed0c31e5497e52614882484a727c31d7.jpg
0dd1c0c51c4fbc626476c40aaaa1ceeb
https://rozsixties.unl.edu/files/original/6207a57ac21d2a3dad2d8c686ee32180.jpg
2d72d8b1abc16a36f769d460c7504f2c
https://rozsixties.unl.edu/files/original/594dbf1c0fce6d843f2a07ae5022c9f9.jpg
d6cd201b893df4596a081311bc8219a6
https://rozsixties.unl.edu/files/original/c97d457045ec84a8220e50355b9b9ca6.jpg
26f94c594528ba29d3036c2c1c21064f
https://rozsixties.unl.edu/files/original/179016c214e44ee6c36c2e7e58fdade9.jpg
748f90665c56bdf427e2f011db3ca301
https://rozsixties.unl.edu/files/original/8067c986627cb96e58ee57434806779d.jpg
89fd41cd4c3595dee91b13b2bb8ae1d6
https://rozsixties.unl.edu/files/original/4231bd14f798d31c969197d869b514ec.jpg
ca23b368119f6478cf33878907e49ce1
https://rozsixties.unl.edu/files/original/8c84db0475509a7ef69e8251e1157779.jpg
f207c06cb4795aef138ca2886e5abd8c
https://rozsixties.unl.edu/files/original/671b8027d06d429939382dfd9666ce05.jpg
b15472a80dd2738aa6edfed894e2c889
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
Fuck the System
Description
An account of the resource
This pamphlet was made in 1967. The author is given as George Metesky, a notorious criminal nicknamed the "Mad Bomber," but it is widely assumed that Abbie Hoffman used this as his nom de plume, given the similarity to this work with his later book length treatise Steal This Book.
Creator
An entity primarily responsible for making the resource
Abbie Hoffman
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
1967
Subject
The topic of the resource
Counterculture
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
pamphlet
Abbie Hoffman
counterculture
George Metesky
Steal This Book
Yippies
Youth International Party