1
50
19
-
https://rozsixties.unl.edu/files/original/5e5618ad1b76f3c05ca436bffae65d7e.jpg
82b89686c468e30c3ccc54167a085bce
https://rozsixties.unl.edu/files/original/def1e9b94929256121b43ede2fdeadbe.jpg
e47e44f15b2400242ac283e1db3a38c1
https://rozsixties.unl.edu/files/original/e82bbfb054ae697e2f3175210c2d865d.jpg
a7ceeeea6a3b40ae7a3c57b0f3b3acfc
https://rozsixties.unl.edu/files/original/85960ea2cbe08e223b3b820f4fa0646d.jpg
285a539628e6018b7355c62807327f00
https://rozsixties.unl.edu/files/original/1e9dbec50c2632be93150c816b1335e1.jpg
a309c54a5200c225fec9c92f125938d2
https://rozsixties.unl.edu/files/original/b47f6a89a42c156cf355cd54a92be2d0.jpg
7954b14ed9822c49477007a3f2db1b34
https://rozsixties.unl.edu/files/original/87c1bdfd01dbd2d2a02c64d9c6ed363d.jpg
a918fd95f9cc2427729f2cab48afc12a
https://rozsixties.unl.edu/files/original/2fc98dd8f55ca739cca8d6cd80e5258b.jpg
91c1a9fe3d192d13368774b7b685affa
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Liberation, July 8, 1966, no. 83
Subject
The topic of the resource
New Left
Description
An account of the resource
Liberation was a left periodical published in Paris during the 1960s that served a wider European audience..
Creator
An entity primarily responsible for making the resource
Liberation
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
July 8, 1966
Format
The file format, physical medium, or dimensions of the resource
newspaper
China
Europe
France
Mao Tse-tung
New Left
Paris
radicalism
revolution
student movement
Vietnam War
-
https://rozsixties.unl.edu/files/original/ced0b91454d6882e098f8a083e932c75.png
bdbbe597490677700d6be5566ae72f39
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Newsreel Films
Creator
An entity primarily responsible for making the resource
Newsreel Films
Source
A related resource from which the described resource is derived
Newsreel Films on YouTube
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1960s and 1970s
Format
The file format, physical medium, or dimensions of the resource
film
Description
An account of the resource
Roz Payne was involved in Newsreel Films from the group's inception in New York in 1967. Newsreel created a series of short films documenting various aspects of 1960s-era activism. The items in this collection provide links to each of the Newsreel Films that are currently available to view free on the web.
________
Roz Payne offered the following brief reflection on Newsreel Films in 2002:
"In 1967 a group of independent filmmakers, photographers, and media workers formed a collective to make politically relevant films sharing our resources, skills, and equipment. As individuals we had been covering many of the events that we considered news, demonstrations, acts of resistance, and countless inequities and abuses. Sometimes films were made and sometimes not. Most often they were made too late and did not go to the people who could use them best.
We met in a basement in the lower eastside of New York and later at the alternate U, then more basements until we got an office. The only news we saw was on TV and we knew who owned the stations. We decided to make films that would show another side to the news. It was clear to us that the established forms of media were not going to approach those subjects which threaten their very existence.
I was a school teacher in New Jersey who shot photos. My marriage with Arnold Payne, Mr. Muscle Beach Jr. had broken up, I left a little house on the Palisades, overlooking the boats on the Hudson River right over the Spry sign across from 96th Street. I would sit looking at the burning windows of the NYC skyline as the sun set. That fire and the fire from a GI's Zippo lighter on the straw of a Vietnamese hut helped ignite me. I moved to New York City.
Walking down Second Ave and 10th Street with my camera one afternoon Melvin Margolis , a wild looking hippie stopped me and said, ‘Hey, your a photographer and there's a meeting tonight of all the political film people. You have to go. It is very important. Make sure that you go. I'm not kidding.’ I showed up that night, to the first meeting of Newsreel.
About 30 people met weekly to talk about films, equipment, and politics. I think we were great because we came from various political backgrounds and had different interests. We never all agreed on a political line. We broke down into smaller groups to work on the films. The working groups included anti-Vietnam-war, anti-imperialist, high school, students, women, workers, Yippies, Third World, and the infamous sex, drugs and party committee.
We wanted to make two films a month and get 12 prints of each film out to groups across the country. We wanted to spark the creation of similar news-film groups in other major cities of the United States so that they would distribute our films and would cover and shoot the events in their area.
The first film I worked on was the 1968 student take-over of Columbia University. The students had taken over 5 buildings. We had a film team in each building. We were shooting from the inside while the rest of the press were outside. We participated in the political negotiations and discussions. Our cameras were used as weapons as well as recording the events. Melvin had a W.W.II cast iron steel Bell and Howell camera that could take the shock of breaking plate glass windows.
Newsreel worked to expand the awareness of events and situations relevant to shaping the movement. Our films tried to analyze, not just cover; they explored the realities that the media, as part of the system, always ignores.
In 1967 the FBI started the Counter-intelligence program to try to destroy African Americans, especially the Black Panther Party and the New Left. We worked with Third World groups. We produced various films that these groups could use to tell their stories and to use in organizing in their own communities and workplaces, hopefully serving as catalysts for social change.
Newsreel not only made films but we were among the first to distribute films made in Cuba, Vietnam, Africa, and the Middle East.
As Newsreel grew, we spread out, opened offices and distribution centers across the country. We had offices in San Francisco, Detroit, Boston, Kansas, Los Angeles, Vermont, and Atlanta. We made films and distributed our films in the hope that the audiences who saw them would respond to the issues they raised. We wanted people to work with our films as catalysts for political discussions about social change in America and to relate the questions in the films to issues in their own communities.
We had many struggles in Newsreel around class, women, political education, cultural and worker politics, the haves and have nots. It was hard to hold to the correct political line. Little by little the groups changed from film-maker control to worker control, to women control, to third world control. Today, Third World Newsreel is in New York, California Newsreel is in San Francisco, and there is a Vermont Newsreel Archives.
In 1972, myself and others moved to Vermont. We continue to distribute Newsreel films, shoot videos, use computer graphics, and maintain a film, photo, and document archive. With the easy accessibility of video cameras thousands of people are making their own documents to tell the stories of what is happening around them. I am shooting history of retired FBI agents that worked on COINTELPRO against Don Cox, an exiled Black Panther and the white women who helped him. I teach History of the Sixties, Civil Rights Movement, Women, and Mycology at Burlington College."
In 2019, another original Newsreel Film member, Marvin Fishman, remembered a slightly different version of some of the events Roz related above:
“Roz invariably reminded me that it was her chance encounter with me on 14th Street that led to her attending that meeting [rather than Melvin Margolis]. Melvin, Marvin . . . I always nodded in agreement with her when she reminded me of that, but honestly, my memory is vague on that street encounter, though I always accepted it as true because she seemed so certain. I leave open the possibility that she indeed met Melvin earlier in the day, and that our meeting on 14th Street happened later on, when she was searching for the meeting address. But I do remember bringing her upstairs to the Free School, the site of the meeting.”
Fishman went on, “Also omitted [from Roz’s narrative] is the earlier, actual very first meeting, which was held on December 22, 1967, in Jonas Mekas’ Filmmakers Cinematheque. This is the date and place of what I consider the beginning of the collaborative undertaking among filmmakers. More than 30 people attended. Coincidentally, if I remember correctly, this is the date that Universal Newsreel, a service of Hollywood’s Universal Pictures, closed down.
Perhaps more important for Newsreel’s history, is that the narrative on the website does not mention why the meetings at the Cinematheque and then at the Free School were held. That is, what brought all the filmmakers together to that meeting which led to the formation of Newsreel? In fact, the catalyst for that meeting was the Pentagon Demonstration. To omit this fact is to omit the precipitating event, the traumatic historic milestone which led a disparate bunch of filmmakers and others to unite.”
According to filmmaker and activist, Danny Schechter, “Working in decentralized film collectives in several cities, [Newsreel] produced many, many films, mostly shot on 16 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.
These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the ‘intellectual property’ everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system.”
The UCLA Film & Television Archive adds, “Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verité and poster art. The student movement (Columbia Revolt), racism (Black Panther) and Vietnam (No Game; People's War) were among the subjects Newsreel addressed. Feminist consciousness-raising efforts were documented in films such as The Woman's Film, produced collectively by women, and Makeout. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and Now omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.”
Among the items in this collection is also a 7-page journal article, "Newsreel: Film and Revolution," written by Bill Nichols for Cinéaste in 1973. The article provides a different introduction to Newsreel Films. Nichols also completed an M.A. Thesis by the same title at UCLA in Theater Arts in 1972. That thesis runs more than 300-pages and can be found online for those interested in a much more in-depth exploration of the history of Newsreel:
https://billnichols99.files.wordpress.com/2014/05/newsreel-film-and-revolution.pdf
_________
The following is a list of Newsreel films made and/or distributed by the group during the 1960s-era with a brief description after each one written by Roz Payne. It is reprinted from Roz Payne's website:
Amerika
Against the background of the November 1969 Anti-Vietnam War demonstration in Washington DC., footage from all over the world.
1969 - 45 minutes
Army
US. imperialism needs massive military power capable of maintaining its markets overseas and quelling rebellions at home. This film records the training and indoctrination given to G.I.s to produce this force. The men themselves talk about who the army really serves, and the effect the indoctrination has on them, and the beginnings of resistance to the army and against the war.
Off the Pig (Black Panther)
This is one of the first films made about the Panthers. It contains interviews with Party leaders Huey Newton and Eldridge Cleaver describing why the Party was formed and what its goals are. It also includes footage of Panther recruitment, training and the Party's original 10 Point Program laid out by Chairman Bobby Seale.
1968 - 20 minutes
El Caso Contra Lincoln Center
La Renovacion Urban destruyo los hogares de 35,000 familias puertoriquenasde la ciudad de Nueva York para construir Lincoln Center, una vitrina cultural para las clase dominante de la ciudad. La pelicula explica la coneccion entre esta accion cotidiana y es imperlialismo corporativo norteamericano.
12 minutes
To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families moved into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents.
11 minutes
Columbia Revolt
In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings.
1968 - 50 minutes
The Earth Belongs to the People
An analysis of the ecology crisis, this film dispels the myths that big business and big government have been telling the people about the world-wide ecological crisis. Is there really over-population in the world, or is there an unequal distribution of wealth and food? Do people or large industries ruin the environment? Will the earth survive for the people or for corporate profit????
1971 - 10 minutes
Garbage
Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike.
1968 - 10 minutes
High School Rising
High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today,)
1969 - 15 minutes
Los Siete de la Raza
This film is about the oppression of the Third World community in the Mission district of San Francisco. It deals specifically with seven Latino youths who were recruiting street kids into a college Brown Studies Program. They are accused of killing a plainclothesman. While they become victims of a press and police campaign to "clean-up" the Mission, their defense becomes the foundation of a revolutionary community organization called Los Siete
1969 - 30 minutes.
Available in Spanish and English. Spanish soundtrack is poor quality.
Make Out
The oppressive experience of making-out in a car...from the woman's point of view. Short and sweet. It can be shown a second time with the sound off and the male can make up his own sound track.
1969 - 5 minutes
Up Against the Wall Miss America
A now historical film about the disruption of the Miss America pageant of 1968. With raps, guerrilla theater, and original songs . Women stress the (mis)use of their sisters, by the pageant, as mindless sexual objects. Footage includes Attorney /activist Flo Kennedy.
6 minutes
Richmond Oil Strike
In January, 1969 oil workers in NorthernCalifornia struck. The local police and the Standard Oil goon squads attacked the strikers and their families, killing one and injuring others. The striking students from San Francisco State were asked to join the struggle. For the first time workers and students fight together against their common enemy.
Footage includes speeches of Bob Avakian.
People's Park
In the spring of 1969 , the Berkeley street community initiated a project to transform a barren and unused university-owned Lot into a park for the whole community to enjoy-a People's Park. Because the park threatened the control of the university and presented a challenge to the concept of private property, the police and National Guard were used to brutalize the people and destroy the People's Park.
25 minutes
This film was made by SF Newsreel and was originally rejected as not being political enough. It was too hippie dippy so the beginning five minute rap by Frank Barneke, a Peoples Park politico was added on in the beginning .
Por Primeria Vez (For the First Time)
The Cuban Film Institute sends mobile film units into the rural provinces-young and old delight on seeing movies "for the first time." Modern Times with Charlie Chaplin is shown in a rural village. An enchanting short that leaves you happy and smiling.
10 minutes (Available in Spanish)
Peoples' War
In the summer of 1969, Newsreel went to North Vietnam. From that trip came PEOPLES' WAR. This film moves beyond the perception of the North Vietnamese as victims to a portrait of how the North Vietnamese society is organized. It shows the relationship of the people to their government-how local tasks of a village are coordinated and its needs met. It deals with the reality of a nation that has been at war for twenty-five years, that is not only resisting US aggression and keeping alive under bombing, but that is also struggling to raise its standard of living and to overcome the underdevelopment of centuries of colonial rule. Amid much publicity, the footage was confiscated upon its return to the US. Despite this attempt at suppression, PEOPLE'S WAR has become one of the most sought-after films on Vietnam. Blue ribbon at U.S.A. film festival in Houston, Texas. and the Golden Bear Award, Moscow, USSR
1969 - 40 minutes
R.O.T.C.
The issue of ROTC is uppermost on many college campuses and is a major focus of anti-war activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed.
1969 - 20 minutes
Seventy-Nine Springs of Ho Chi Minh
This film on the life and death of Ho Chi Minh is a skillfully interwoven blend of old still photographs and Newsreel footage of the DRV's (Democratic Republic of Vietnam) founder, a man whose life spans three revolutions, three continents and three wars. It portrays his life: from militant student to revolutionary lead of this country; and his life-long work dedication to the Vietnamese people and their struggle for liberation. This eulogy was made by Cuba's renowned filmmaker, Santiago Alvarez. Musical soundtrack, Spanish titles. (Note: Understanding of the Spanish titles is not necessary for full enjoyment of the film.)
25 minutes
" . . . one of the most moving political films this reviewer has seen . . ." (Lenny Rubenstein, Cineaste)
She's Beautiful When She's Angry
In a skit presented at an abortion rally in New York City, a beauty contestant is pressured to fulfill certain roles in order to be the "ideal woman", a "winner". The skit shows how women, especially minority women, are used in this society for profit. The women who perform also discuss their personal lives and how their struggle as women is expressed in the skit. ( Note: Soundtrack is sometimes difficult to understand. )
1967 - 17 minutes
Strike City
Plantation workers in Mississippi having gone on strike against the extreme exploitation of the plantation system, and decide to form their own collective Their determination to stick together, rather than go back to the plantation or be forced out of the state, is their main resource. After a bitter winter, living in tents, they obtain partial support from private sources and begin building permanent housing. The poverty program backs down on its promise of support in response to Mississippi senators who fear the implications of collectives of back farmers in Mississippi.
1967 - 30 minutes
Summer '68
Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a GI. coffeehouse in Texas, Newsreel's take-over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project--the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities.
1968 - 60 minutes
BDRG: Boston Draft Resistance Group
This film detailed draft resistance organizing in Boston.
1968 - 15 minutes
Troublemakers
In 1965, a group of white organizers went into Newark's central ward to work with the black community, forming the Newark Community Union Project (NCUP). Traditional forms of protest--letters to city officials, demonstrations, electoral politics--were used as tactics for organizing. The film focuses on the action undertaken around three issues. The first is an attempt to get housing code enforcement; the second, to get a traffic light installed at a hazardous intersection. After many months of hallow promises, and inaction on the part of the city government an attempt was made to elect a third party candidate to the City Council. Lacking the resources of the two major parties, this was doomed to failure too The film is an absorbing, informative documentary of the frustrating failures of NCUP and the problem of getting even modest reform within the present political structure. But it goes beyond this--it shows clearly the contradictions in the concept of white groups organizing in black and other third world communities. A good study in some of the early New Left tactics--how and why they failed.
1966 - 53 minutes
The Woman's Film
The film was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself was written from preliminary interviews with the women in the film. Their participation, their criticism, and approval were sought at various stages of production.
"... What we see is not only natural and spontaneous, it is thoughtful and beautiful. It is a film which immediately evokes the sights and sounds and smells of working class kitchens, neighborhood streets, local supermarkets, factories, cramped living rooms, dinners cooking, diaper-washing, housecleaning, and all the other "points of production" and battlefronts where working class women in America daily confront the realities of their oppression. It is . . . a supremely optimistic statement, showing the sinews of struggle and capturing the essential energy and collective spirit of all working people-and especially that advanced consciousness which working class women bring to the common struggle." (Irwin Silber, Guardian)
1971 - 40 minutes
Yippie
Yippie is filmed farce, juxtaposing the brutal police riot at the 1968 Democratic Convention with the orgy scenes from D.W. Griffith's "Intolerance." A clear and energetic no-verbal statement of Yippie politics Hip jive.
1968 - 15 minutes
Young Puppeteers of South Vietnam
"A gift from the youth of South Vietnam to the youth of America." Teenagers in the NLF liberated areas of South Vietnam make beautiful, intricate puppets from scraps of US. war materials. Armed with these puppets, they travel through the liberated zones performing for the local children while our planes "search and destroy". A poignant film that gives a view of the war even more powerful than images of atrocities. English sound track.
25 minutes
Mayday (Black Panther)
On May 1, 1969 the Black Panther Party held a massive rally in San Francisco. Speakers Kathleen Cleaver, Bobby Seale, and Charles Garry present the rally's demands for the release of Huey Newton and all political prisoners. The film includes footage of the police raid on Panther headquarters in San Francisco a few days prior to the rally and the Panther's Breakfast for Children Program.
1969 - 15 minutes
Only the Beginning
For years the sentiment against the war in Vietnam has been growing. The latest polls show that 73% of the US. population want the troops out of Vietnam now G.I.'s are among the most active protesters against the war. In April, l971, thousands of G.I.'s-Marines and regular army, veterans and active duty personnel came to Washington, DC., to denounce their participation in that "dirty war," and to demand it be ended immediately. The film begins with the demonstration in Washington. In front of the Capitol, we see the veterans come before the crowd and throw their medals away. The film moves to Vietnam where the devastating effects of US. bombs are documented. ONLY THE BEGINNING is about the GI. movement to end the war.
1971 - 20 minutes color
Two Heroic Sisters of the Grassland
A cartoon version of a true story about two young sisters who risked their lives to save their commune's sheep heard during a sudden snowstorm. The film gives us a sense both of the values stressed in the new society, and the people's participation at every level in the transformation of China.
English track 42 minutes
El Pueblo Se Levanta (THE YOUNG LORDS FILM)
One-third of the Puerto Rican people live in the United States. Most have come in search for the better life promised them by US. propaganda. Instead they found slum housing, poor or miseducation, low-paying jobs, and constantly rising unemployment, in a society determined to destroy their cultural identity The film traces the growth of the Puerto Rican struggle by focusing on the development of the Young Lords Party. A Newsreel crew in New York City worked closely with the Lords for a year and a half-participating and recording the events and programs which the Young Lords are using to make significant advances in the Puerto Rican struggle. The film deals with the main problems in the Puerto Rican community-health, education, food, and housing. These problems become the focus of the Young Lords Party.
The Case Against Lincoln Center
Urban renewal removes 35,000 Puerto Rican families from New Your City's upper West Side to build Lincoln Center, a cultural show-case for the city's middle and ruling class. The film discusses the links between the problems of the city, and the forces of American corporate imperialism.
1968 - 12 minutes (available in Spanish)
No Game
October 21, 1967; The pentagon; 100,000 anti-war demonstrators who had not come prepared for a violent confrontation with the military police and Pentagon guards; for the tear gas, and rifle butts.
Considered the first collective Newsreel film. [According to Marvin Fishman, “This film was shot and edited before Newsreel officially came into existence and was then donated to Newsreel to get the newly formed organization’s distribution service off the ground.”]
1967 - 17 minutes
Pig Power
As student take to the streets in New York and Berkeley, the forces of order illustrate Mayor Daley's thesis that the police are there "to preserve disorder", and we must organize to challenge their control and preserve our lives as well as our life styles. A short impressionistic montage of music and images pointing up the disparity between their force and ours. The function of police repressing Black and white demonstrators alike is emphasized.
6 minutes
Community Control
The struggle for Community Control in Black and Puerto Rican communities in New York City. An examination of colonialism as it manifests itself in many American cities. In two so called experimental districts, police are constantly called in to enforce the political decisions of the state and city bureaucracy, and the striking teachers; union. All ofthis taking place against the legitimate demands of the community (Ocean Hill-Brownsville, and East Harlem). Filmed inside some of the schools involved in the conflict; contains interviews with Herman Ferguson, Minister of Education for the Republic of New Africa, and Les Campbell, director of The Afro-American Teachers Association.
50 minutes
Venceremos
A film shot in Cuba in l970-71 about two brigades of 500 Americans that went to Cuba illegally in order to show support by breaking the blockade and to help with the sugar harvest of ten million tons. They cut cane with brigades that were sent from Vietnam, North Korea, and Latin America. This is the story of their boat ride from St. Johns, Canada and their stay in Cuba.
20 minutes
High School
A film about high school students and how school becomes a prison.
20 minutes (muddled, poor editing)
You Don't Have to Buy the War
A speech by former Miss America, Bess Meyerson presented to the group Another Mother for Peace at a gathering in Beverly Hills. One of the strongest speeches ever given about who is making money out of the war in Vietnam. She gives excellent reasons to boycott many everyday products that women buy.
Open for Children
One of the first films ever made about the need for childcare.
Make It Real
This is what Newsreel considered an energy film. It contains great shots of street actions and hot music. These short films were made to show between our longer films that were "more serious" They were made to give youth a feeling that they could get up and become "street fighting men".
8 minutes
McDonnel-Douglas
A film about the McDonnel-Douglas company and its relationship to the war-machine.
Free Farm
A film made by Newsreel folks that went to live in Vermont. A story about a community free farm on land loaned by a small college. It tell the story of coming together to farm the land and to have Sunday community gatherings. The college calls the cops to kick people off the land in the fall before the harvest and local young men trash the farm. An interesting note is that posters are put up warning that a local cop named Paul Lawrence was setting up and beating up people. Ten years later he was busted for planting drugs and was known as the bad cop that went to jail. A true story of hippies with politics.
1971 - 18 minutes
Inciting to Riot
A quick montage flirtation with the idea of rural guerrilla struggle in the US returning repeatedly to the reality of pig power in the cities and space technology. A flashing image of a state of mind common among hip and political youth.
10 minutes
Don't Bank on America
This is the story of one of the first ecological political actions of the period, the burning of the Bank of America. (Newsreel distributed this film?)
Mighty Mouse and Little Eva
This is a 1930's racist cartoon, taking off on Uncles Tom Cabin. Distributed by Newsreel.
8 Minutes
Ice
A film made by Newsreel member Robert Kramer with a production team made up of Newsreel members. A story of a time in the future when the US is at war with Mexico and the Americans are living in a police state. The film includes a kidnapping, a murder, prison break, takeover of an apartment house for political education, sex, nudity, and violence. and much, much more. 150 Minutes
( a new description of this film will be available soon! although this was perhaps the description in an early NR catalogue, we hope to have more background on these old films. how they were made. the process and reflections of those who worked on them )
_________
This collection includes links to each of the Newsreel Films that is currently available to view on the web. If you find that any of the links are broken, please drop a note to the archive manager (see, Contact tab) and let us know!
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
newsreel
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
18:28
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
ROTC
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
"The issue of ROTC is uppermost on many college campuses and is a major focus of antiwar activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed. " (Roz Payne Archive) <iframe width="640" height="480" src="https://archive.org/embed/6360ROTC01265800" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe>
Creator
An entity primarily responsible for making the resource
Newsreel Film
Source
A related resource from which the described resource is derived
Internet Archive
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
film
Anti-War
Cambridge
Harvard University
Massachusetts
military-industrial complex
New Left
ROTC
student movement
Vietnam War
-
https://rozsixties.unl.edu/files/original/4df7cbcaeda9f6784064184bc450f218.png
0da9d3191917ff10c1df5f3a23321ada
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Newsreel Films
Creator
An entity primarily responsible for making the resource
Newsreel Films
Source
A related resource from which the described resource is derived
Newsreel Films on YouTube
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1960s and 1970s
Format
The file format, physical medium, or dimensions of the resource
film
Description
An account of the resource
Roz Payne was involved in Newsreel Films from the group's inception in New York in 1967. Newsreel created a series of short films documenting various aspects of 1960s-era activism. The items in this collection provide links to each of the Newsreel Films that are currently available to view free on the web.
________
Roz Payne offered the following brief reflection on Newsreel Films in 2002:
"In 1967 a group of independent filmmakers, photographers, and media workers formed a collective to make politically relevant films sharing our resources, skills, and equipment. As individuals we had been covering many of the events that we considered news, demonstrations, acts of resistance, and countless inequities and abuses. Sometimes films were made and sometimes not. Most often they were made too late and did not go to the people who could use them best.
We met in a basement in the lower eastside of New York and later at the alternate U, then more basements until we got an office. The only news we saw was on TV and we knew who owned the stations. We decided to make films that would show another side to the news. It was clear to us that the established forms of media were not going to approach those subjects which threaten their very existence.
I was a school teacher in New Jersey who shot photos. My marriage with Arnold Payne, Mr. Muscle Beach Jr. had broken up, I left a little house on the Palisades, overlooking the boats on the Hudson River right over the Spry sign across from 96th Street. I would sit looking at the burning windows of the NYC skyline as the sun set. That fire and the fire from a GI's Zippo lighter on the straw of a Vietnamese hut helped ignite me. I moved to New York City.
Walking down Second Ave and 10th Street with my camera one afternoon Melvin Margolis , a wild looking hippie stopped me and said, ‘Hey, your a photographer and there's a meeting tonight of all the political film people. You have to go. It is very important. Make sure that you go. I'm not kidding.’ I showed up that night, to the first meeting of Newsreel.
About 30 people met weekly to talk about films, equipment, and politics. I think we were great because we came from various political backgrounds and had different interests. We never all agreed on a political line. We broke down into smaller groups to work on the films. The working groups included anti-Vietnam-war, anti-imperialist, high school, students, women, workers, Yippies, Third World, and the infamous sex, drugs and party committee.
We wanted to make two films a month and get 12 prints of each film out to groups across the country. We wanted to spark the creation of similar news-film groups in other major cities of the United States so that they would distribute our films and would cover and shoot the events in their area.
The first film I worked on was the 1968 student take-over of Columbia University. The students had taken over 5 buildings. We had a film team in each building. We were shooting from the inside while the rest of the press were outside. We participated in the political negotiations and discussions. Our cameras were used as weapons as well as recording the events. Melvin had a W.W.II cast iron steel Bell and Howell camera that could take the shock of breaking plate glass windows.
Newsreel worked to expand the awareness of events and situations relevant to shaping the movement. Our films tried to analyze, not just cover; they explored the realities that the media, as part of the system, always ignores.
In 1967 the FBI started the Counter-intelligence program to try to destroy African Americans, especially the Black Panther Party and the New Left. We worked with Third World groups. We produced various films that these groups could use to tell their stories and to use in organizing in their own communities and workplaces, hopefully serving as catalysts for social change.
Newsreel not only made films but we were among the first to distribute films made in Cuba, Vietnam, Africa, and the Middle East.
As Newsreel grew, we spread out, opened offices and distribution centers across the country. We had offices in San Francisco, Detroit, Boston, Kansas, Los Angeles, Vermont, and Atlanta. We made films and distributed our films in the hope that the audiences who saw them would respond to the issues they raised. We wanted people to work with our films as catalysts for political discussions about social change in America and to relate the questions in the films to issues in their own communities.
We had many struggles in Newsreel around class, women, political education, cultural and worker politics, the haves and have nots. It was hard to hold to the correct political line. Little by little the groups changed from film-maker control to worker control, to women control, to third world control. Today, Third World Newsreel is in New York, California Newsreel is in San Francisco, and there is a Vermont Newsreel Archives.
In 1972, myself and others moved to Vermont. We continue to distribute Newsreel films, shoot videos, use computer graphics, and maintain a film, photo, and document archive. With the easy accessibility of video cameras thousands of people are making their own documents to tell the stories of what is happening around them. I am shooting history of retired FBI agents that worked on COINTELPRO against Don Cox, an exiled Black Panther and the white women who helped him. I teach History of the Sixties, Civil Rights Movement, Women, and Mycology at Burlington College."
In 2019, another original Newsreel Film member, Marvin Fishman, remembered a slightly different version of some of the events Roz related above:
“Roz invariably reminded me that it was her chance encounter with me on 14th Street that led to her attending that meeting [rather than Melvin Margolis]. Melvin, Marvin . . . I always nodded in agreement with her when she reminded me of that, but honestly, my memory is vague on that street encounter, though I always accepted it as true because she seemed so certain. I leave open the possibility that she indeed met Melvin earlier in the day, and that our meeting on 14th Street happened later on, when she was searching for the meeting address. But I do remember bringing her upstairs to the Free School, the site of the meeting.”
Fishman went on, “Also omitted [from Roz’s narrative] is the earlier, actual very first meeting, which was held on December 22, 1967, in Jonas Mekas’ Filmmakers Cinematheque. This is the date and place of what I consider the beginning of the collaborative undertaking among filmmakers. More than 30 people attended. Coincidentally, if I remember correctly, this is the date that Universal Newsreel, a service of Hollywood’s Universal Pictures, closed down.
Perhaps more important for Newsreel’s history, is that the narrative on the website does not mention why the meetings at the Cinematheque and then at the Free School were held. That is, what brought all the filmmakers together to that meeting which led to the formation of Newsreel? In fact, the catalyst for that meeting was the Pentagon Demonstration. To omit this fact is to omit the precipitating event, the traumatic historic milestone which led a disparate bunch of filmmakers and others to unite.”
According to filmmaker and activist, Danny Schechter, “Working in decentralized film collectives in several cities, [Newsreel] produced many, many films, mostly shot on 16 mm. Most were in black and white, as gritty and realistic as the subjects they depicted. These were films of civil rights and civil wrongs, of uprisings in communities and on campuses, about the Vietnam War and the war at home against it. They are in some cases angry films, as alienated from the forms of traditional newscasts as anything that has been produced in our country. Some of the films were produced in the spirit of similar work underway in Cuba and Vietnam. Some were American originals - bringing the voices of change and changemakers to the social movements of the era. These films were revolutionary in spirit and commitment.
These are films that deserve to be seen and learned from. They are part of a dissenting tradition of American film-making. They are also a record of the emotions that made the 60's what they were. Some were agit-prop. Some captured important moments of history. Most were populist in spirit - while others were more intellectual but not in the sense of the ‘intellectual property’ everyone talks about today. These film makers did not seek individual credit or promote themselves as Hollywood wanabees - although some did end up making commercial films. They preferred anonymity and a democratic approach to film making that may seem naive in world where production is characterized by craft unions and a star system.”
The UCLA Film & Television Archive adds, “Shunning the professional polish of mainstream productions, Newsreel embraced the aesthetic of raw immediacy that was prevalent in the newly flourishing underground press, rock music, cinema verité and poster art. The student movement (Columbia Revolt), racism (Black Panther) and Vietnam (No Game; People's War) were among the subjects Newsreel addressed. Feminist consciousness-raising efforts were documented in films such as The Woman's Film, produced collectively by women, and Makeout. Films made in association with Newsreel were strongly influenced by the film style of Santiago Alvarez, who headed Cuban newsreel production units after the 1959 revolution. His films, such as L.B.J. and Now omitted narration in favor of collages of found materials, stills, newsreel footage and fragments from speeches.”
Among the items in this collection is also a 7-page journal article, "Newsreel: Film and Revolution," written by Bill Nichols for Cinéaste in 1973. The article provides a different introduction to Newsreel Films. Nichols also completed an M.A. Thesis by the same title at UCLA in Theater Arts in 1972. That thesis runs more than 300-pages and can be found online for those interested in a much more in-depth exploration of the history of Newsreel:
https://billnichols99.files.wordpress.com/2014/05/newsreel-film-and-revolution.pdf
_________
The following is a list of Newsreel films made and/or distributed by the group during the 1960s-era with a brief description after each one written by Roz Payne. It is reprinted from Roz Payne's website:
Amerika
Against the background of the November 1969 Anti-Vietnam War demonstration in Washington DC., footage from all over the world.
1969 - 45 minutes
Army
US. imperialism needs massive military power capable of maintaining its markets overseas and quelling rebellions at home. This film records the training and indoctrination given to G.I.s to produce this force. The men themselves talk about who the army really serves, and the effect the indoctrination has on them, and the beginnings of resistance to the army and against the war.
Off the Pig (Black Panther)
This is one of the first films made about the Panthers. It contains interviews with Party leaders Huey Newton and Eldridge Cleaver describing why the Party was formed and what its goals are. It also includes footage of Panther recruitment, training and the Party's original 10 Point Program laid out by Chairman Bobby Seale.
1968 - 20 minutes
El Caso Contra Lincoln Center
La Renovacion Urban destruyo los hogares de 35,000 familias puertoriquenasde la ciudad de Nueva York para construir Lincoln Center, una vitrina cultural para las clase dominante de la ciudad. La pelicula explica la coneccion entre esta accion cotidiana y es imperlialismo corporativo norteamericano.
12 minutes
To keep the well-to-do from continuing to flee the city and depleting its tax base, city, state, and federal government, and the Rockefellers, Morgans, and Mellons finance the prestigious Lincoln Center for the Performing Arts. It was built in the middle of a Puerto Rican ghetto, displacing thousands of families and a lively street culture. Upper-income families moved into high-rise apartment houses and gourmandise the "humanities," financially inaccessible and culturally irrelevant to the lives of the former residents.
11 minutes
Columbia Revolt
In May 1968, the students of Columbia University went on strike after the administrators repeatedly ignored their demand for open discussion of the university's involvement in racist policies, exploitation of the surrounding community of Harlem. This is the story of our first major student revolt, told from inside the liberated buildings.
1968 - 50 minutes
The Earth Belongs to the People
An analysis of the ecology crisis, this film dispels the myths that big business and big government have been telling the people about the world-wide ecological crisis. Is there really over-population in the world, or is there an unequal distribution of wealth and food? Do people or large industries ruin the environment? Will the earth survive for the people or for corporate profit????
1971 - 10 minutes
Garbage
Bringing the revolution to the Ruling Class, the Up Against the Wall Motherfuckers export garbage from their Lower East Side ghetto to the halls of Lincoln Center for the Performing Arts-all the while, New York was in its longest bitterest sanitation workers strike.
1968 - 10 minutes
High School Rising
High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today,)
1969 - 15 minutes
Los Siete de la Raza
This film is about the oppression of the Third World community in the Mission district of San Francisco. It deals specifically with seven Latino youths who were recruiting street kids into a college Brown Studies Program. They are accused of killing a plainclothesman. While they become victims of a press and police campaign to "clean-up" the Mission, their defense becomes the foundation of a revolutionary community organization called Los Siete
1969 - 30 minutes.
Available in Spanish and English. Spanish soundtrack is poor quality.
Make Out
The oppressive experience of making-out in a car...from the woman's point of view. Short and sweet. It can be shown a second time with the sound off and the male can make up his own sound track.
1969 - 5 minutes
Up Against the Wall Miss America
A now historical film about the disruption of the Miss America pageant of 1968. With raps, guerrilla theater, and original songs . Women stress the (mis)use of their sisters, by the pageant, as mindless sexual objects. Footage includes Attorney /activist Flo Kennedy.
6 minutes
Richmond Oil Strike
In January, 1969 oil workers in NorthernCalifornia struck. The local police and the Standard Oil goon squads attacked the strikers and their families, killing one and injuring others. The striking students from San Francisco State were asked to join the struggle. For the first time workers and students fight together against their common enemy.
Footage includes speeches of Bob Avakian.
People's Park
In the spring of 1969 , the Berkeley street community initiated a project to transform a barren and unused university-owned Lot into a park for the whole community to enjoy-a People's Park. Because the park threatened the control of the university and presented a challenge to the concept of private property, the police and National Guard were used to brutalize the people and destroy the People's Park.
25 minutes
This film was made by SF Newsreel and was originally rejected as not being political enough. It was too hippie dippy so the beginning five minute rap by Frank Barneke, a Peoples Park politico was added on in the beginning .
Por Primeria Vez (For the First Time)
The Cuban Film Institute sends mobile film units into the rural provinces-young and old delight on seeing movies "for the first time." Modern Times with Charlie Chaplin is shown in a rural village. An enchanting short that leaves you happy and smiling.
10 minutes (Available in Spanish)
Peoples' War
In the summer of 1969, Newsreel went to North Vietnam. From that trip came PEOPLES' WAR. This film moves beyond the perception of the North Vietnamese as victims to a portrait of how the North Vietnamese society is organized. It shows the relationship of the people to their government-how local tasks of a village are coordinated and its needs met. It deals with the reality of a nation that has been at war for twenty-five years, that is not only resisting US aggression and keeping alive under bombing, but that is also struggling to raise its standard of living and to overcome the underdevelopment of centuries of colonial rule. Amid much publicity, the footage was confiscated upon its return to the US. Despite this attempt at suppression, PEOPLE'S WAR has become one of the most sought-after films on Vietnam. Blue ribbon at U.S.A. film festival in Houston, Texas. and the Golden Bear Award, Moscow, USSR
1969 - 40 minutes
R.O.T.C.
The issue of ROTC is uppermost on many college campuses and is a major focus of anti-war activity. In an interview with the head of Harvard ROTC, the University's ties to the military industrial complex and how ROTC serves this relationship is exposed.
1969 - 20 minutes
Seventy-Nine Springs of Ho Chi Minh
This film on the life and death of Ho Chi Minh is a skillfully interwoven blend of old still photographs and Newsreel footage of the DRV's (Democratic Republic of Vietnam) founder, a man whose life spans three revolutions, three continents and three wars. It portrays his life: from militant student to revolutionary lead of this country; and his life-long work dedication to the Vietnamese people and their struggle for liberation. This eulogy was made by Cuba's renowned filmmaker, Santiago Alvarez. Musical soundtrack, Spanish titles. (Note: Understanding of the Spanish titles is not necessary for full enjoyment of the film.)
25 minutes
" . . . one of the most moving political films this reviewer has seen . . ." (Lenny Rubenstein, Cineaste)
She's Beautiful When She's Angry
In a skit presented at an abortion rally in New York City, a beauty contestant is pressured to fulfill certain roles in order to be the "ideal woman", a "winner". The skit shows how women, especially minority women, are used in this society for profit. The women who perform also discuss their personal lives and how their struggle as women is expressed in the skit. ( Note: Soundtrack is sometimes difficult to understand. )
1967 - 17 minutes
Strike City
Plantation workers in Mississippi having gone on strike against the extreme exploitation of the plantation system, and decide to form their own collective Their determination to stick together, rather than go back to the plantation or be forced out of the state, is their main resource. After a bitter winter, living in tents, they obtain partial support from private sources and begin building permanent housing. The poverty program backs down on its promise of support in response to Mississippi senators who fear the implications of collectives of back farmers in Mississippi.
1967 - 30 minutes
Summer '68
Draft resistance organizing in Boston, a Boston organizer's trip to North Vietnam -- a GI. coffeehouse in Texas, Newsreel's take-over of Channel 13 in New York -- following the production of the Rat's special issue on Chicago -- and Chicago during the Democratic Convention, the planning and carriage out of five days of protest. Each section focuses on an organizer central to each project--the attempt is to define the nature of commitment to "the Movement" against a backdrop of 1968's summer activities.
1968 - 60 minutes
BDRG: Boston Draft Resistance Group
This film detailed draft resistance organizing in Boston.
1968 - 15 minutes
Troublemakers
In 1965, a group of white organizers went into Newark's central ward to work with the black community, forming the Newark Community Union Project (NCUP). Traditional forms of protest--letters to city officials, demonstrations, electoral politics--were used as tactics for organizing. The film focuses on the action undertaken around three issues. The first is an attempt to get housing code enforcement; the second, to get a traffic light installed at a hazardous intersection. After many months of hallow promises, and inaction on the part of the city government an attempt was made to elect a third party candidate to the City Council. Lacking the resources of the two major parties, this was doomed to failure too The film is an absorbing, informative documentary of the frustrating failures of NCUP and the problem of getting even modest reform within the present political structure. But it goes beyond this--it shows clearly the contradictions in the concept of white groups organizing in black and other third world communities. A good study in some of the early New Left tactics--how and why they failed.
1966 - 53 minutes
The Woman's Film
The film was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself was written from preliminary interviews with the women in the film. Their participation, their criticism, and approval were sought at various stages of production.
"... What we see is not only natural and spontaneous, it is thoughtful and beautiful. It is a film which immediately evokes the sights and sounds and smells of working class kitchens, neighborhood streets, local supermarkets, factories, cramped living rooms, dinners cooking, diaper-washing, housecleaning, and all the other "points of production" and battlefronts where working class women in America daily confront the realities of their oppression. It is . . . a supremely optimistic statement, showing the sinews of struggle and capturing the essential energy and collective spirit of all working people-and especially that advanced consciousness which working class women bring to the common struggle." (Irwin Silber, Guardian)
1971 - 40 minutes
Yippie
Yippie is filmed farce, juxtaposing the brutal police riot at the 1968 Democratic Convention with the orgy scenes from D.W. Griffith's "Intolerance." A clear and energetic no-verbal statement of Yippie politics Hip jive.
1968 - 15 minutes
Young Puppeteers of South Vietnam
"A gift from the youth of South Vietnam to the youth of America." Teenagers in the NLF liberated areas of South Vietnam make beautiful, intricate puppets from scraps of US. war materials. Armed with these puppets, they travel through the liberated zones performing for the local children while our planes "search and destroy". A poignant film that gives a view of the war even more powerful than images of atrocities. English sound track.
25 minutes
Mayday (Black Panther)
On May 1, 1969 the Black Panther Party held a massive rally in San Francisco. Speakers Kathleen Cleaver, Bobby Seale, and Charles Garry present the rally's demands for the release of Huey Newton and all political prisoners. The film includes footage of the police raid on Panther headquarters in San Francisco a few days prior to the rally and the Panther's Breakfast for Children Program.
1969 - 15 minutes
Only the Beginning
For years the sentiment against the war in Vietnam has been growing. The latest polls show that 73% of the US. population want the troops out of Vietnam now G.I.'s are among the most active protesters against the war. In April, l971, thousands of G.I.'s-Marines and regular army, veterans and active duty personnel came to Washington, DC., to denounce their participation in that "dirty war," and to demand it be ended immediately. The film begins with the demonstration in Washington. In front of the Capitol, we see the veterans come before the crowd and throw their medals away. The film moves to Vietnam where the devastating effects of US. bombs are documented. ONLY THE BEGINNING is about the GI. movement to end the war.
1971 - 20 minutes color
Two Heroic Sisters of the Grassland
A cartoon version of a true story about two young sisters who risked their lives to save their commune's sheep heard during a sudden snowstorm. The film gives us a sense both of the values stressed in the new society, and the people's participation at every level in the transformation of China.
English track 42 minutes
El Pueblo Se Levanta (THE YOUNG LORDS FILM)
One-third of the Puerto Rican people live in the United States. Most have come in search for the better life promised them by US. propaganda. Instead they found slum housing, poor or miseducation, low-paying jobs, and constantly rising unemployment, in a society determined to destroy their cultural identity The film traces the growth of the Puerto Rican struggle by focusing on the development of the Young Lords Party. A Newsreel crew in New York City worked closely with the Lords for a year and a half-participating and recording the events and programs which the Young Lords are using to make significant advances in the Puerto Rican struggle. The film deals with the main problems in the Puerto Rican community-health, education, food, and housing. These problems become the focus of the Young Lords Party.
The Case Against Lincoln Center
Urban renewal removes 35,000 Puerto Rican families from New Your City's upper West Side to build Lincoln Center, a cultural show-case for the city's middle and ruling class. The film discusses the links between the problems of the city, and the forces of American corporate imperialism.
1968 - 12 minutes (available in Spanish)
No Game
October 21, 1967; The pentagon; 100,000 anti-war demonstrators who had not come prepared for a violent confrontation with the military police and Pentagon guards; for the tear gas, and rifle butts.
Considered the first collective Newsreel film. [According to Marvin Fishman, “This film was shot and edited before Newsreel officially came into existence and was then donated to Newsreel to get the newly formed organization’s distribution service off the ground.”]
1967 - 17 minutes
Pig Power
As student take to the streets in New York and Berkeley, the forces of order illustrate Mayor Daley's thesis that the police are there "to preserve disorder", and we must organize to challenge their control and preserve our lives as well as our life styles. A short impressionistic montage of music and images pointing up the disparity between their force and ours. The function of police repressing Black and white demonstrators alike is emphasized.
6 minutes
Community Control
The struggle for Community Control in Black and Puerto Rican communities in New York City. An examination of colonialism as it manifests itself in many American cities. In two so called experimental districts, police are constantly called in to enforce the political decisions of the state and city bureaucracy, and the striking teachers; union. All ofthis taking place against the legitimate demands of the community (Ocean Hill-Brownsville, and East Harlem). Filmed inside some of the schools involved in the conflict; contains interviews with Herman Ferguson, Minister of Education for the Republic of New Africa, and Les Campbell, director of The Afro-American Teachers Association.
50 minutes
Venceremos
A film shot in Cuba in l970-71 about two brigades of 500 Americans that went to Cuba illegally in order to show support by breaking the blockade and to help with the sugar harvest of ten million tons. They cut cane with brigades that were sent from Vietnam, North Korea, and Latin America. This is the story of their boat ride from St. Johns, Canada and their stay in Cuba.
20 minutes
High School
A film about high school students and how school becomes a prison.
20 minutes (muddled, poor editing)
You Don't Have to Buy the War
A speech by former Miss America, Bess Meyerson presented to the group Another Mother for Peace at a gathering in Beverly Hills. One of the strongest speeches ever given about who is making money out of the war in Vietnam. She gives excellent reasons to boycott many everyday products that women buy.
Open for Children
One of the first films ever made about the need for childcare.
Make It Real
This is what Newsreel considered an energy film. It contains great shots of street actions and hot music. These short films were made to show between our longer films that were "more serious" They were made to give youth a feeling that they could get up and become "street fighting men".
8 minutes
McDonnel-Douglas
A film about the McDonnel-Douglas company and its relationship to the war-machine.
Free Farm
A film made by Newsreel folks that went to live in Vermont. A story about a community free farm on land loaned by a small college. It tell the story of coming together to farm the land and to have Sunday community gatherings. The college calls the cops to kick people off the land in the fall before the harvest and local young men trash the farm. An interesting note is that posters are put up warning that a local cop named Paul Lawrence was setting up and beating up people. Ten years later he was busted for planting drugs and was known as the bad cop that went to jail. A true story of hippies with politics.
1971 - 18 minutes
Inciting to Riot
A quick montage flirtation with the idea of rural guerrilla struggle in the US returning repeatedly to the reality of pig power in the cities and space technology. A flashing image of a state of mind common among hip and political youth.
10 minutes
Don't Bank on America
This is the story of one of the first ecological political actions of the period, the burning of the Bank of America. (Newsreel distributed this film?)
Mighty Mouse and Little Eva
This is a 1930's racist cartoon, taking off on Uncles Tom Cabin. Distributed by Newsreel.
8 Minutes
Ice
A film made by Newsreel member Robert Kramer with a production team made up of Newsreel members. A story of a time in the future when the US is at war with Mexico and the Americans are living in a police state. The film includes a kidnapping, a murder, prison break, takeover of an apartment house for political education, sex, nudity, and violence. and much, much more. 150 Minutes
( a new description of this film will be available soon! although this was perhaps the description in an early NR catalogue, we hope to have more background on these old films. how they were made. the process and reflections of those who worked on them )
_________
This collection includes links to each of the Newsreel Films that is currently available to view on the web. If you find that any of the links are broken, please drop a note to the archive manager (see, Contact tab) and let us know!
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
newsreel
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
16:38
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
High School Rising
Subject
The topic of the resource
Student Protests
Description
An account of the resource
"High school corridors patrolled by narcotics agents and police, distortion of the history of black, brown, and poor white people, provoked student attacks on the tracking system. Stills, live footage and rock music. (Note: This film is not technically excellent, but it is very useful in understanding the problems occurring in most high schools across the nation today.)" (Roz Payne Archives) <iframe width="560" height="315" src="https://www.youtube.com/embed/lDS-LcFPWIU" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Creator
An entity primarily responsible for making the resource
Newsreel Films
Source
A related resource from which the described resource is derived
YouTube
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
film
education
Racial Justice
repression
student movement
-
https://rozsixties.unl.edu/files/original/5f8e6251ad87cc27f9b1aaba799ebd9e.jpeg
e4b0aed915a14e43115ca01537212788
https://rozsixties.unl.edu/files/original/ed8f7fb175581a58abe0c0f1e709e400.jpeg
21e9f1c432c7a2aa51561402afc342de
https://rozsixties.unl.edu/files/original/93dae37c84386d7521aa3f94361af242.jpeg
d5980a134e19c0df005de0f686c6b8a7
https://rozsixties.unl.edu/files/original/d0fcafe987b45af48b888a7766caa6d5.jpeg
59c6ee55b611020b7de55d5c3f4272ab
https://rozsixties.unl.edu/files/original/c9cfceb69c2720cd4339df567a7f1170.jpeg
d991dc1bdd8aa2cebdd493d8649d75fc
https://rozsixties.unl.edu/files/original/948b3bf435d8ab34a30a29af8f1c910b.jpeg
336f7e30b529e3f4131cb4f3f13dd36b
https://rozsixties.unl.edu/files/original/39d13b693d3c29ed251e94cf71a079f5.jpeg
50ddf33df43f4d8e56b93589fa213e28
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographs
Description
An account of the resource
Roz Payne was a photographer and took hundreds of images of activism during the Sixties. The images in this collection include more than 500 photographs of the protests outside the 1968 Democratic National Convention in Chicago. Other seminal events captured here include the 1967 anti-war demonstration at the Pentagon, the 1968 student take-over at Columbia University, the 1968 Huey Newton and Panther 21 trials, the Yippies and the Venceremos Brigade. Photos include famous Sixties figures, like Abbie Hoffman, Jerry Rubin, Eldridge Cleaver, H. Rap Brown, Bobby Seale, Kathleen Cleaver, Phil Ochs, Norman Mailer, A.J. Muste, Dick Gregory, Jean Genet, William Burroughs, Richard Daley, Mark Rudd, Dhoruba Bin Wahad and others. There are numerous other photos of lesser-known moments and activists, as well.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photographs
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Siege at Columbia (7 images)
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Roz Payne
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Description
An account of the resource
The “Siege at Columbia,” as some called it, refers to the 1968 take-over of two buildings at Columbia University by white and black student radicals. It was a part of the broader global student revolt of that year.
In early March of 1967, Columbia SDS activist, Bob Feldman, uncovered documents that linked the university to U.S. military involvement in Vietnam, sparking a year of anti-war protests on campus. Around the same time, opposition grew to a plan by Columbia to construct the Morningside Park gymnasium. Some were critical of the university’s appropriation of public park land in Harlem to build the new facility, while others labelled a proposal to create a separate “back-door” entrance for local community members, most of whom were African American and Puerto Rican, “Gym Crow,” claiming it was segregationist and discriminatory. Columbia, a major land-owner in the area, had a decades-long history of displacing local black and brown residents and applying stricter scrutiny to community members who used their facilities.
On March 27, 1968, student anti-war activists staged a peaceful demonstration inside Low Library. In response, university administration placed six activists on probation for violating a Columbia ban on indoor protests. Tensions grew between university administrators and student activists. On April 12, Columbia University president, Grayson Kirk, stated, “Our young people, in disturbing numbers, appear to reject all forms of authority, from whatever source derived, and they have taken refuge in a turbulent and inchoate nihilism whose sole objectives are destruction. I know of no time in our history when the gap between the generations has been wider or more potentially dangerous.” On April 22, Columbia SDS leader, Mark Rudd, replied, “Dear Grayson, . . . You call for order and respect for authority; we call for justice, freedom, and socialism. There is only one thing left to say. It may sound nihilistic to you, since it is the opening shot in a war of liberation. I’ll use the words of LeRoi Jones, whom I’m sure you don’t like a whole lot: 'Up against the wall, motherfucker, this is a stick-up.'"
On April 23, members of SDS and Columbia’s Student Afro Society (SAS) led a second attempt to protest inside Low Library, but were prevented by university police. Following the campus confrontation, activists marched to the gymnasium construction site and attempted to block work there, resulting in scuffles with local police and some arrests. SDS and SAS members then returned to campus, where they occupied Hamilton Hall, which housed classrooms, as well as administrative offices. Activists detained Dean Henry Coleman (and released him 24 hours later) and issued six demands:
1) Disciplinary actions against the six originally charged must be lifted and no reprisals taken against anyone in this demonstration.
2) Construction of the Columbia gym on Harlem land must stop NOW.
3) The University must use its good offices to see that all charges against persons arrested at the gym site be dropped.
4) All relations with IDA must be severed, including President Kirk’s and Trustee William Burden’s membership on the Executive Board.
5) President Kirk’s edict on indoor demonstrations must be dropped.
6) All judicial decisions should be made in an open hearing with due process judged by a bipartite committee of students and faculty.
Soon after the occupation began, though, racial friction among the activists emerged. Black student activists requested that white radicals separate themselves from African American demonstrators. Black militants wanted to maintain a single focus on the construction of the new gymnasium, whereas white student activists also wanted to protest the broader issue of the university’s links to the war effort. In addition, members of SAS opposed the destruction of property, whereas SDS members did not. African American militants were concerned that destruction of property would play into long-standing racial stereotypes about black people. Ultimately, the two groups came to an agreement with white activists retreating from Hamilton Hall and occupying, instead, the President’s office in Low Library, along with three other buildings on campus. The siege at Columbia attracted significant national and even international attention, as well as the participation of community members, students from other campuses, and other activists, like SDS founder, Tom Hayden. On Friday, April 26, Black Power leaders, Stokely Carmichael and H. Rap Brown arrived on campus.
The stand-off between occupying student activists and the administration continued for a week, with wrangling over terms of a possible resolution. An Ad Hoc faculty committee desperately tried to broker a deal, but student activists, administrators and local politicians consistently rejected their efforts. Despite a majority of students and local community seeming to support the occupying students, a groups of student athletes and conservative students formed what they called the “Majority Coalition” and formed a cordon around the occupied buildings in an effort to block food and water from entering the buildings to “starve out” the activists. In response, supportive faculty created a buffer between the Majority Coalition and the buildings.
On Tuesday, April 30, an estimated 1,000 police entered campus to clear the occupied buildings. Fearful of a race riot in Harlem just a few weeks after civil disorder had hit the community in the wake of Dr. King’s murder, a contingent of African American law enforcement dealt gingerly with SAS activists. As SAS leader, Raymond Brown recalled, “They must have had half the black senior officers in New York on-site at Hamilton Hall, led by Assistant Chief Inspector Waithe. I think there was a great determination that they were not going to kick any black students in their butts.” Barnard SAS member, Karla Spurlock-Evans said, “The police came into Hamilton Hall and handled us very gently—not at all characteristic of police officers in general. They loaded us onto buses and took us downtown to the Tombs.” By contrast, police stormed the buildings controlled by white radicals with clubs swinging indiscriminately. According to Columbia faculty member, Michael Rosenthal, “They started beating the shit out of people. No one was resisting. I was standing next to the 64-year-old English professor Fred Dupee when he was punched in the face.” Future New York governor, Goerge Pataki, who was a Columbia law student at the time and member of the “Majority Coalition,” remembered, “From around the back of Low library comes this wave of T.P.F. guys just clubbing everybody in sight. I guess their orders were to clear the campus, which was incredibly stupid and counterproductive because many of the people outside the buildings were the anti-radicals—the pro-cop people. The radicals were all inside the buildings.” Nancy Biberman, a Barnard SDS member, stated, “I saw the university rabbi being beaten by police, and I saw random students who were beaten for just being outside on campus. These cops had been sitting on the perimeter of campus all week, pent up, waiting and waiting. As soon as they were allowed on campus, there was a mêlée. It was called a police riot, and I believe it. It was terrifying.” Police officer, Gary Beamer, agreed, saying, “The police were forced to stand outside the campus for several days and watch crimes being committed—assaults, destruction of property, and preventing students who wanted to get an education from going to class. It didn’t sit well with most of the police. So naturally, when the green light finally came for the police to go in and restore order, they were pretty eager to do it.” And Columbia student, Hilton Obenzinger, told reporters years later, “I remember vividly a cop with a frozen grin on his face going up to a girl, a Barnard student. He lifted up his very long utility flashlight and slammed it on her head. And it wasn’t just once—it was again, and again, and again. She fell down and he kept beating her.” Conflict between students and police continued into the next day. In the end, 132 students, 4 faculty members and 12 police officers were injured and roughly 700 arrested. An estimated 30 students were suspended. After another round of campus protests between May 17-22, police beat 51 and arrested 177 more students. Following the spring demonstrations, Columbia university did scrap the Morningside Park gymnasium and severed some of their ties to the military-industrial complex.
Barnard College
Black Power
Bob Feldman
Columbia University
Fred Dupee
Gary Beamer
George Pataki
Grayson Kirk
Gym Crow
H. Rap Brown
Hamilton Hall
Harlem
Henry Coleman
Hilton Obenzinger
Karla Spurlock-Evans
LeRoi Jones
Low Library
Majority Coalition
Michael Rosenthal
military-industrial complex
Morningside Park gymnasium
Nancy Biberman
New Left
New York
police
police repression
Raymond Brown
SAS
SDS
Siege at Columbia
Stokely Carmichael
Student Afro Society
Student for a Democratic Society
student movement
Tom Hayden
-
https://rozsixties.unl.edu/files/original/342632ef1f75574cb6fceac8779ea4a7.jpeg
e0ba78aced836b093779d1bfd8498781
https://rozsixties.unl.edu/files/original/e4244eb4b36235ad135672f6b459638f.jpeg
9602eccd5bf56c350ebb446fd5c24116
https://rozsixties.unl.edu/files/original/69a8e71fe4bcf779368e12c195740db0.jpeg
3ce1b45ac2f71a1fa763de16b3c9636c
https://rozsixties.unl.edu/files/original/aa971ab4edd9dc9c2138f1de2d53a09a.jpeg
45202fc744f2707da647f80fabada6fb
https://rozsixties.unl.edu/files/original/0aad9eae6d7c4a943cb14d066e60496f.jpeg
b25024bbc1afc365166ae789d2231712
https://rozsixties.unl.edu/files/original/3b6cd251c77becb99b744aa1efce68d6.jpeg
fc3a9747809b8e1f0fc818f3eb7b25fb
https://rozsixties.unl.edu/files/original/fe1a1b77136000490df7ff5175cfcbf0.jpeg
7071ddf5880f3fb37ddefd1aca0deeb5
https://rozsixties.unl.edu/files/original/d795bc94e5a82467e91efac8686b8367.jpeg
7b8f0759763257e9cb50fb0d3c7a4250
https://rozsixties.unl.edu/files/original/9fceb8224cc3550b795d826868c98834.jpeg
ef7b0674bee8e3375f04850f9ae03f56
https://rozsixties.unl.edu/files/original/b816ae2c180d4f19b1fd3e73159314ee.jpeg
2a9114d313be8cb4a09fffaf16b08f08
https://rozsixties.unl.edu/files/original/cae206c997db3c1234cdd70c43eec311.jpeg
62e69fdc2f4fa8cf129220c81d042ab6
https://rozsixties.unl.edu/files/original/e83877c6e84773a75e78a40617ec8e6b.jpeg
2554baaca57fa6f72e2c489d7648e1f6
https://rozsixties.unl.edu/files/original/7514e14f1cf4e2d54a2f4fcd2eabca91.jpeg
d621b5ce79389b8e4e25a2696472cdf5
https://rozsixties.unl.edu/files/original/ce3609cf07d4a7f81995c97e446f33a3.jpeg
6fc57f4c72bf21e8ea64512a4900b779
https://rozsixties.unl.edu/files/original/79dc5466e1cf9d15fb2b9831fe801161.jpeg
c1930b59cf7c94fecb92cf298f107aa5
https://rozsixties.unl.edu/files/original/541afbbfe771b48e6fd78eb0f83c7d1f.jpeg
49823dbd160ba2b45466abe5e36d4460
https://rozsixties.unl.edu/files/original/e50d752ab6383ced495b12e1a554634b.jpeg
4cfc0ba944ab79172bd5d7bd908f8bd4
https://rozsixties.unl.edu/files/original/fe74a922ccebdb18d6de46d7b8059bc6.jpeg
17614723148b82822f8e439da89552fa
https://rozsixties.unl.edu/files/original/7ea1b370962441e00255f5cfeb656f05.jpeg
ec5c2d14c6b8a01d7b9bf49fb138219d
https://rozsixties.unl.edu/files/original/f75fde3c7bde01f6811785b6246c5e62.jpeg
9fa628f0eef372aa3bfac7220587e5be
https://rozsixties.unl.edu/files/original/147b8d8c47cad2e0a95c249c1ac3f614.jpeg
5a7130a791edf79e3aaffa3c6e3df0d8
https://rozsixties.unl.edu/files/original/984d0ee412ab6ad9448d580753e4f02f.jpeg
e8b7ff0bb1f934c583e687c4fef223ae
https://rozsixties.unl.edu/files/original/23e7ab0edac1c0d780f7c97cddd631c4.jpeg
7ce1312df7463d06f19397445090c940
https://rozsixties.unl.edu/files/original/24b61e4358f4fd3c0eb054fb4c76c3f8.jpeg
aa22841b352d93382366a8efcb82f090
https://rozsixties.unl.edu/files/original/646f4085fa8ba478907bef1db02bd247.jpeg
704644450a380c96f6058d82bd927b50
https://rozsixties.unl.edu/files/original/aa5efcd8736beb9621186f1d28a18b88.jpeg
8c6b2ab84c8f43bf0fd0c68583ff2b9e
https://rozsixties.unl.edu/files/original/47b675e9cf53b5e74f21342fd0cbab72.jpeg
643e9e16a61c2679a438316e22a4933d
https://rozsixties.unl.edu/files/original/db304fc655990021b8aa72105f8b0016.jpeg
a69a87acf157ddcd0af1aa1f75069e5b
https://rozsixties.unl.edu/files/original/5323a0f88657d6d364235414f98c9310.jpeg
53937942a53b7959821846f798a385a5
https://rozsixties.unl.edu/files/original/b864bdd4f4445453e1ade18fc4665d14.jpeg
dfbfb6da6f8a04d5926537c0b31f428c
https://rozsixties.unl.edu/files/original/330dab957a9c33d150e1e0add7fd9710.jpeg
7a72254518349a604ddb186e3a26c504
https://rozsixties.unl.edu/files/original/26623c6afc3f6e550887e358c9acaaf9.jpeg
ce811ef2c3997f3a256e3cc506b38abb
https://rozsixties.unl.edu/files/original/78aa72564cfb11bfe72f4fe8b73f8384.jpeg
bdbebf2b9cbe631610b904d37826d4cf
https://rozsixties.unl.edu/files/original/6ab7691308ab4cefa0157d14eadbb6e7.jpeg
300893092290334068460a481494cae2
https://rozsixties.unl.edu/files/original/514d9511242ad41c16e091a2f9066f10.jpeg
138be025ad18593d6bd470668b9bba2a
https://rozsixties.unl.edu/files/original/a820bfd7805852b8e4f3e87583fd2492.jpeg
9918de65adb1aecab03a190e11357910
https://rozsixties.unl.edu/files/original/fbb2bea3fb475833047cbfc75d873526.jpeg
6ca5aaf449d93ff04414ce5e8e943007
https://rozsixties.unl.edu/files/original/119948433a8334b8472b9b96494b7a2d.jpeg
2599ac66b7b2181622e5f01ebec7f3f9
https://rozsixties.unl.edu/files/original/d3921a9832b31d043fd3da6660cdfc63.jpeg
3316beb3269aa648c205fc25ba99f293
https://rozsixties.unl.edu/files/original/fca4b453b3071a5576a4a17e26d1a0d7.jpeg
b414d7c89cd585a0ef2956e5305d8d6f
https://rozsixties.unl.edu/files/original/f64fdb6fbaab3c2013c9d841d1ca8c48.jpeg
76255341814400e270e964cf7c6f46a3
https://rozsixties.unl.edu/files/original/a2c2127be61c9372eeceef9b1e78bc5b.jpeg
dc187560fa0d6c26dac8f0c4afdd57a9
https://rozsixties.unl.edu/files/original/fe0446e558f92499f92e109e21c56ccf.jpeg
22777637ca346ccd50cf5f27aa14e390
https://rozsixties.unl.edu/files/original/e25a2f49bd0de841cb4bf097f1cf8d59.jpeg
415c91f940ea8a21bf2617d6ef4df4b7
https://rozsixties.unl.edu/files/original/8a2c3c24e7531430b887566f91dcd46d.jpeg
46e5c509542079d80d142dc6312baf43
https://rozsixties.unl.edu/files/original/68ce116468b23242147a02f297ad945c.jpeg
d994ab004f2a6aac6664c756f4a1a797
https://rozsixties.unl.edu/files/original/59db4edd5ad89cb06ade4d31a2cf9d34.jpeg
33a4c9c1fba0521857267fd06b6e26cd
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.
Text
Any textual data included in the document
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
Center for Participation Education Catalogue, Spring 1970
Subject
The topic of the resource
NewLeft/Student Movement
Creator
An entity primarily responsible for making the resource
Center for Participant Education
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
catalogue
Description
An account of the resource
The Center for Participation in Education (CPE) was a university supported experimental college at the University of California-Berkeley aimed at empowering students to devise innovative classes that focused on pressing contemporary issues. The CPE was a response to growing activism and pressure for reform on campus. CPE pioneered courses in Black Studies, Latin American and Latino Studies, Native American Studies, Women's Studies, Environmental Studies, etc. Founded in 1967 from a broader administrative mandate to the Board of Educational Development at UC-Berkeley to initiate and approve experimental courses “for which neither departmental or college support is appropriate or feasible,” by 1969, administrative support had been fatally curtailed.
This catalogue from the Spring of 1970 illustrates the dire straights the program found itself in and lists the classes available that term.
Berkeley
Black Studies
California
Center for Participation Education
CPE
ecology
education
environmentalism
Latino Studies
Native American Studies
student movement
University of California
Women's Studies
-
https://rozsixties.unl.edu/files/original/9c7ff1d39a3e510bd061e6750a419b39.jpeg
aaaee2eb8c49adb6c5bd91e247ca0c3d
https://rozsixties.unl.edu/files/original/12b0014ac95f5e89d3639f737f96a13f.jpeg
cacf30644912a08380fbce35a52753ba
https://rozsixties.unl.edu/files/original/9a5dfe90c554c97c4fd60af3bc31d778.jpeg
3f17f4b883b54d109fa23296b14c2526
https://rozsixties.unl.edu/files/original/75de07d2d170ec74a18e7f1dca7c3f49.jpeg
5837279a726c80ef040394b3208e2f9e
https://rozsixties.unl.edu/files/original/749429b3523d748c16116b62ed7cdb23.jpeg
89c79d9305fcf6a1dc05ae90fd7af978
https://rozsixties.unl.edu/files/original/536bd3a7ba3e10aefdc7e687e17cac22.jpeg
c43c62a4ee9370fa90597744022c6c42
https://rozsixties.unl.edu/files/original/4bc664563e53406c678b661492bd54ea.jpeg
26e06de3f3c9c45f4edd9685d37786e7
https://rozsixties.unl.edu/files/original/fbc6301688b8561c927d4307556f907b.jpeg
a72ab878f5fdcda754aa7f9f98fe9b04
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
Center for Participation Education Catalogue, Winter 1969
Subject
The topic of the resource
Student Movement
Creator
An entity primarily responsible for making the resource
Center for Participant Learning
Source
A related resource from which the described resource is derived
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
catalogue
Description
An account of the resource
The Center for Participation in Education (CPE) was a university supported experimental college at the University of California-Berkeley aimed at empowering students to devise innovative classes that focused on pressing contemporary issues. The CPE was a response to growing activism and pressure for reform on campus. CPE pioneered courses in Black Studies, Latin American and Latino Studies, Native American Studies, Women's Studies, Environmental Studies, etc. Founded in 1967 from a broader administrative mandate to the Board of Educational Development at UC-Berkeley to initiate and approve experimental courses “for which neither departmental or college support is appropriate or feasible,” by 1969, administrative support had been fatally curtailed.
This catalogue lists the classes available in the winter of 1969.
Berkeley
Black Studies
California
Center for Participation in Education
CPE
education
environmentalism
Latino Studies
student movement
University of California
Women's Studies
-
https://rozsixties.unl.edu/files/original/110432477ae1ae0f66dbb0069d25bb34.jpeg
2617e89fde80a8dab1c3d881a731f990
https://rozsixties.unl.edu/files/original/1dbe8d096709a942a742c64617d5bbc0.jpeg
582a6888782ca900c7b94619c1f7acf7
https://rozsixties.unl.edu/files/original/bf76a18f28af5db7fa8f1ed025e323cf.jpeg
016f0e23ed1ba7437f0a0bf5caba7d81
https://rozsixties.unl.edu/files/original/d67cdec3dd3c2eda9bf5d5ddf3ed51ba.jpeg
da2bfcd1e95b8098a44791426f2ac818
https://rozsixties.unl.edu/files/original/7d53a78521b2f6b9fa40ba9da3c21487.jpeg
18b901b6bbb5d9e80dcf4a3ad1cf9e87
https://rozsixties.unl.edu/files/original/15d49fd337d911fdabf58c2a313e8bbd.jpeg
1749e0dd6437f483faba62c1674bb30c
https://rozsixties.unl.edu/files/original/3c1ea442c964061dbe2c86bf4265fee4.jpeg
e7be55612d6b3907942f9f1c0f8436c0
https://rozsixties.unl.edu/files/original/712c8a3ccd6bcd3f8015db8843d29ca2.jpeg
ccea697a6860217f29cd27cb9a2da379
https://rozsixties.unl.edu/files/original/98aba374d640558c448ca50d31020975.jpeg
41a93ce0d16b33bee323a04a96525116
https://rozsixties.unl.edu/files/original/04b62876908e7fdc4a8d950d4da3b15f.jpeg
cf499532d1075de1192e197fe392a185
https://rozsixties.unl.edu/files/original/c99b2dd6e414a3233a3f8abd549bbefb.jpeg
a9eb2ea456036c51becaf7e7cbd1db45
https://rozsixties.unl.edu/files/original/adc16f63815bdc1ccacaa58f00b771e0.jpeg
b0e2951750516c20db94b0076dc73fba
https://rozsixties.unl.edu/files/original/af9193f1faa2eebc774a28a6d2de1311.jpeg
2c6c74142fd5fe64265d727212e5a1a3
https://rozsixties.unl.edu/files/original/0b6b7bc6fc6232e05a5ad3238e1e5cc4.jpeg
a6d9e773f3f6afce6588e511e57bda20
https://rozsixties.unl.edu/files/original/9dc52002f63cf6c757648cc4ac0e3d98.jpeg
4848d9c87e88f9ec1018331ce29d68c5
https://rozsixties.unl.edu/files/original/e5e564f832c7927331a018e8dc65d5bc.jpeg
04fb4078c7a78853d65935e395bd5a19
https://rozsixties.unl.edu/files/original/f5f5e0297e8273555a3e4868d302c819.jpeg
eaf28570cd9d04d4e34603c86d4cfd6e
https://rozsixties.unl.edu/files/original/390cb027b945bb1977b61f1fb285b383.jpeg
98a8a4cd6d4fad04a1bd3c4fb52e72a6
https://rozsixties.unl.edu/files/original/1e971dd93e8f5cba572202f28a352ab8.jpeg
513a8cfcbe6d5143717fa00d746edc8e
https://rozsixties.unl.edu/files/original/f75a3bed3f811d465af3d723c1370331.jpeg
59f44cf9e8efde0ccc84b64ee5e01ac3
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
Center for Participation Education Catalogue, Fall 1969
Subject
The topic of the resource
Student Movement
Creator
An entity primarily responsible for making the resource
Center for Participant Education
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Format
The file format, physical medium, or dimensions of the resource
catalogue
Description
An account of the resource
The Center for Participation in Education (CPE) was a university supported experimental college at the University of California-Berkeley aimed at empowering students to devise innovative classes that focused on pressing contemporary issues. The CPE was a response to growing activism and pressure for reform on campus. CPE pioneered courses in Black Studies, Latin American and Latino Studies, Native American Studies, Women's Studies, Environmental Studies, etc. Founded in 1967 from a broader administrative mandate to the Board of Educational Development at UC-Berkeley to initiate and approve experimental courses “for which neither departmental or college support is appropriate or feasible,” by 1969, administrative support had been fatally curtailed.
This catalogue lists the classes available in the fall of 1969.
Berkeley
Center for Participation in Education
education
student movement
University of California
-
https://rozsixties.unl.edu/files/original/e3743a8f863189effe33bd84a7842be0.jpg
2359108307573ce4ab1ae83df5c96570
https://rozsixties.unl.edu/files/original/c24d9ce5f9da01404d88347c16d65173.jpg
3a8e83db922a5c0c1436d19fecbe3b73
https://rozsixties.unl.edu/files/original/c36e4b33530ed6de63cdf8bae8d3fdc4.jpg
d90f82beec3d0ede4a420811e00b9a7b
https://rozsixties.unl.edu/files/original/180f67f6177dd217758c05cc4e157c5e.jpg
1f8612084397fdf9d27b5f143f22d8fa
https://rozsixties.unl.edu/files/original/d44c97998e2991f833affcb0d3f9479d.jpg
d874f5173be80245d180e5a14e7520f0
https://rozsixties.unl.edu/files/original/cddab4d9959411863e959d7ccdc37c29.jpg
0fba63a8ea20e4115acdf815bb4347cf
https://rozsixties.unl.edu/files/original/df880b0961d493d2871260e2b06ca1b4.jpg
a61ae1a7cb7caf8450bf3d550831b4d0
https://rozsixties.unl.edu/files/original/f8d21447a9b3afc54d38b92caeaabf8c.jpg
aeb952d0ee2555631522351f4851c795
https://rozsixties.unl.edu/files/original/e2a298bc8886c0c8a3ceae5c1d78d7fd.jpg
99591d65117b48b72a09e3ccc2e824f8
https://rozsixties.unl.edu/files/original/54ccaa4fb10491483ab74c246f5b28ff.jpg
ebdb8142588710448b42da2ee47389df
https://rozsixties.unl.edu/files/original/c73ab1c5ede9431471e16d38851260f5.jpg
3371b50d5cfb08f72754a598ad837aff
https://rozsixties.unl.edu/files/original/56c5dda50bf46bef7cce2700a3f075bc.jpg
f99481021be006a33f5a9cb7b094c734
https://rozsixties.unl.edu/files/original/686e501e20b628256ab76ede42863db7.jpg
251a6ccb430c2ae3dcd162261a8da293
https://rozsixties.unl.edu/files/original/73fe6b4b5a64e564506f9bceeffa5282.jpg
b5aca1f7109f11b1424dcda7fe8e1ef0
https://rozsixties.unl.edu/files/original/44d4fe0173e4342f8ba6defb46558137.jpg
b6aef566221f854e5a5656c69850211e
https://rozsixties.unl.edu/files/original/f7ebf92dca583ca6a1980d4889bacd9b.jpg
40c0369eb9f8057f2ae84295f82ac8d5
https://rozsixties.unl.edu/files/original/cf30b757183daebb005ea216f40776e2.jpg
185c5fb54c9082b594631b44a93e0199
https://rozsixties.unl.edu/files/original/946e3db273c59f5b20a766911490fc42.jpg
13df6ab1bbbd4070bdc17b9ff2b2955e
https://rozsixties.unl.edu/files/original/a65fb6baab5978d09c2894758d7e747c.jpg
742824208ee40b04aa6170630e7d80f1
https://rozsixties.unl.edu/files/original/147185fa83b63b078a651b2a76673c53.jpg
7496152fda53df8bc4bd0ed89e53083b
https://rozsixties.unl.edu/files/original/4373e7ffb42cc5214a3dc05fc5581061.jpg
02d04d7cd9bddcfab02bdcc070bf36cc
https://rozsixties.unl.edu/files/original/f65ea18e56ca837d7d2d492aa57b6fed.jpg
8898af29e40f7f9a9483670b0ecf24f2
https://rozsixties.unl.edu/files/original/b9bc4a2a8d99fff31b6f7147aa08039e.jpg
a968d5fe11dc23a0de5bfae1f21df73a
https://rozsixties.unl.edu/files/original/e5090fc62ca313744b60c51d8ec87c54.jpg
d957d1e225eeda3b58a8311328c87bf4
https://rozsixties.unl.edu/files/original/53092f337ca167799896abaf207592e1.jpg
3d934fc45cb7b291d1fc0b77301ab584
https://rozsixties.unl.edu/files/original/058ce0caed3ba37a788f95acc470c558.jpg
516c74a1c322e0b3078d33fc2c7326ff
https://rozsixties.unl.edu/files/original/b610831644cbc634b157ea5a953d419b.jpg
7ece1dacb2969ce3de9eb04293a5fcd5
https://rozsixties.unl.edu/files/original/a02b433a88f94bc53472b43dab9fa582.jpg
3cb01c6a79569f70a61301bd766c9f76
https://rozsixties.unl.edu/files/original/3ea3f50b2392ec3f7a0d87c0adc75479.jpg
4e396d4f96ce2e7bcb0522afd1dc5d0f
https://rozsixties.unl.edu/files/original/a0cb2692bd712508d866b7cd3aeedff5.jpg
6b26a106bd37d7f7ce99660fa2ce3687
https://rozsixties.unl.edu/files/original/88915f530e85e920c13b75945c38bf3c.jpg
9eb32234b20bf30301c00a97eb10e230
https://rozsixties.unl.edu/files/original/173e3fbdc06e77c060a881de8ae15f6e.jpg
4ecf26c54e1ca6ff3c22af5f9a010ec8
https://rozsixties.unl.edu/files/original/d39c9c9ce8b5869cfb628b6ea0ee462a.jpg
bd01c44b365a289972097194c2d798db
https://rozsixties.unl.edu/files/original/bda8ffcd4cfea2594158d14f3bfe9f84.jpg
7c7be2fd583fc78dc5db7ff933c2a34e
https://rozsixties.unl.edu/files/original/574ce60ef6c7f69035fbea21696b2df5.jpg
6e56f1fcf03229f85cce06c202cde3a0
https://rozsixties.unl.edu/files/original/ceabd6ed614d6f369e3982a5f3b17fd1.jpg
f6c1f7f152db0e5f4cb26058fb3c8aa3
https://rozsixties.unl.edu/files/original/81cc2ed137c4a7856d0ca35babc20d25.jpg
24abc5c05924a9abb998755d9f94efab
https://rozsixties.unl.edu/files/original/55ad7bad3feaba8e4e31b7d8de36c437.jpg
a3e239d59f9b7bcc2cafcbe85af35582
https://rozsixties.unl.edu/files/original/5b481e45fa6f75b283538a0d5f9dafbf.jpg
2cf48f3005e98b1ecc26214524096940
https://rozsixties.unl.edu/files/original/520d7312a67d85a21a295cc8b7ceb99a.jpg
56058134aaf5ed397cc39b96af24947b
https://rozsixties.unl.edu/files/original/d8497f6d733df3a98bb63ee0f71704c3.jpg
cf75f91d6f6bc446b3b69e67de4e388c
https://rozsixties.unl.edu/files/original/7a9fcfe9d22ad112b56ef9575747e526.jpg
aa753c1ab32297cf667c56ada7c819c5
https://rozsixties.unl.edu/files/original/fdb6849646ae39b0e7fb09d8bbfb6cac.jpg
c5b6aa57eaca33bc6f0dab9d26d828ba
https://rozsixties.unl.edu/files/original/069712ed6881bdc5375ee75b45e3571a.jpg
b4371aad75a4786e32d9ca6ec160483f
https://rozsixties.unl.edu/files/original/4cb8ffb5c228161048935b5445e2c17e.jpg
70ce4f13b73a1bf18a2c2d200614f6f5
https://rozsixties.unl.edu/files/original/e186386057221ec1635057a3258acdfc.jpg
5b28d7a8463990a3dd4233666375aa0e
https://rozsixties.unl.edu/files/original/d4af32f57181c00e2a4f8d6086d799d2.jpg
04b8aa4c0d9f0e31727416156858786b
https://rozsixties.unl.edu/files/original/de5cab0457167848b2582ccd38723b98.jpg
163cc01bbe08ad1f0d8315f5cb6999b9
https://rozsixties.unl.edu/files/original/dd61215d77f384abed40d77d38f28811.jpg
07956244074397abc3a9b4ad69e2baea
https://rozsixties.unl.edu/files/original/f55f10609cb85d1882731328fcf1759a.jpg
9ea6435165c7052f4eeb8c4ca9bc0c34
https://rozsixties.unl.edu/files/original/7ded051bd409c98abc860935d55db7bc.jpg
64e60806e3d91d5e1dc575fda62622dd
https://rozsixties.unl.edu/files/original/5d175a11188d8e57ed97eab76198807f.jpg
908f8ae4bb7bcf5efdbe48c8d90055ad
https://rozsixties.unl.edu/files/original/a841cd3561471581f1bc1860ab03150a.jpg
afebae39b57ba3bbbe9052b30e07fce1
https://rozsixties.unl.edu/files/original/474733be2b4a86a575c3790e7cd4de5c.jpg
ce57b7e231f4665eb0b8ed59e9daf014
https://rozsixties.unl.edu/files/original/c7a7b0bd0384fcdd538258e8c437fada.jpg
b7ab6ce1117fff5a958ac0a9d2e4b945
https://rozsixties.unl.edu/files/original/88e9fd0e0f4507406022a85f9c35521f.jpg
26030109b42f0be1edba1bee76601442
https://rozsixties.unl.edu/files/original/a78d8f6e48671e2a6e3f8bd11aafc196.jpg
6b38e450c3e0d03283a75767f48d5215
https://rozsixties.unl.edu/files/original/aec0dc0c30423acc6e15d11716d61ea9.jpg
86c077efc65589d2f58632fb0e6183f7
https://rozsixties.unl.edu/files/original/d58577f371b87129950d05e40d5ffcba.jpg
806292aa19edb88ccf86cb157361be34
https://rozsixties.unl.edu/files/original/c140a65de02c28f3793d3abe37ebe2a4.jpg
e4a4d93c2db9610a9b82803cb2ae2336
https://rozsixties.unl.edu/files/original/2bce3eca332802ce6c1edfc3546dfb4d.jpg
df0fe4bc0c9d8f0b7e4581971ec92130
https://rozsixties.unl.edu/files/original/d9a6918bf6aeb52a1c8a9d582497c033.jpg
03931d852edfd7478a88294453473e9f
https://rozsixties.unl.edu/files/original/287e20d32e625e7e46e6c2797a562c1a.jpg
7fed59cce78dde3afff68dcf05d623d7
https://rozsixties.unl.edu/files/original/471818df41a4d98c0254a9427732a871.jpg
e6371e99cabebdc47b7e9d7dbdd45af1
https://rozsixties.unl.edu/files/original/bed0d51a4ec0bc81057d5e0602b7c431.jpg
3ffedc366f26bbfdb9c5c0a657f819ff
https://rozsixties.unl.edu/files/original/f5ca19f9e0d76a550e487f9337b7fd0c.jpg
3a08f953dcb6ff3fe04c3aff5765013c
https://rozsixties.unl.edu/files/original/cbaae5cde4c5936cbe09d96a85a21116.jpg
b78ad83d2adde719902dba5b3e7247c5
https://rozsixties.unl.edu/files/original/cdb4dcbfa1a33e23c64f8ddbd9c3196a.jpg
5d7915d717a3665bd5ed0200698c54a0
https://rozsixties.unl.edu/files/original/2922b777c229486e647e62548e972f30.jpg
158c7d48b6ab19e8b1a4730a6c72a60c
https://rozsixties.unl.edu/files/original/9af49dee200d2875e7d5f0c5c99aff02.jpg
e6d3f4e0b6f21470d1319c3cd73f9064
https://rozsixties.unl.edu/files/original/549838481e15609100786d75b8a6caa1.jpg
003790d7c3b0f788cb5965e9033b018e
https://rozsixties.unl.edu/files/original/be3188e30dfd7fa49ffaf48b446e2c62.jpg
7140874b2e337f9920eaccbde42fc46e
https://rozsixties.unl.edu/files/original/70be9987d25f8406f7dec286ac25d3ad.jpg
4dee5810968a015370e29874ed146aa3
https://rozsixties.unl.edu/files/original/c096f48d00270a8ec244037a378e02b9.jpg
2c492208489ef64897a3326ecb0abc9a
https://rozsixties.unl.edu/files/original/bc3d193ea1078803d3f8cfb2945e3384.jpg
f1314ec81d46cc752bbe13c3b7960ec0
https://rozsixties.unl.edu/files/original/021f23c35e377d6b38098b51faa96c4b.jpg
3aaa94b43e07ec6659af898f3d8c3b4f
https://rozsixties.unl.edu/files/original/330917b3d2a9359a719f0af4554c36d9.jpg
a098761c0857b3fdd2f95a578f228b43
https://rozsixties.unl.edu/files/original/f507dfe94c971076e4147573a456d5f9.jpg
09717ac819f1fb2aee811729f1a46c63
https://rozsixties.unl.edu/files/original/6a6fb9ddf8cd20628a246d55de8bb10a.jpg
1996499741442ced029b8efe7588c63c
https://rozsixties.unl.edu/files/original/a0414712764d72447eafd23b242665df.jpg
5236cdf837fdf0defde4c83c1fd10ca2
https://rozsixties.unl.edu/files/original/034eba1f44064896daaf36e308ac7da5.jpg
f12be0db08437a85d60bccae6f9e1366
https://rozsixties.unl.edu/files/original/3a1687c16635cf2eb6eeceb14a4eb113.jpg
e300cf7a711a9d5f1a9da0c3607294d7
https://rozsixties.unl.edu/files/original/aa1dab38f8355d5c32ca5f0420d08fcb.jpg
26bd1eb3b43c1af86fb63e9c02284aca
https://rozsixties.unl.edu/files/original/844c049fa4bfd147e83b671da57f3aaf.jpg
5d1bd090da6ea05f6a7bbfe9a86883ea
https://rozsixties.unl.edu/files/original/a9948c1af554697e3ef5a5fd70340266.jpg
9c9601737f10c6f9e4e39fa7efd5f957
https://rozsixties.unl.edu/files/original/7f25a546a352e82d771d9d19de78fb17.jpg
15afe4776b39c40bd9247da878d7d620
https://rozsixties.unl.edu/files/original/965beb7f88dbf6d4147182f8c7ed622d.jpg
433f489d636ebc3bcd6f7b3917b0accc
https://rozsixties.unl.edu/files/original/3873f4c56824de8ab26efe05492ccb15.jpg
4543acab014fb72c875f184d1b62dcf4
https://rozsixties.unl.edu/files/original/52eb460c9fa42c37cb2eb2e4e2df064f.jpg
1d911ce7797852a37c5108f4f51a406f
https://rozsixties.unl.edu/files/original/484d9cf699b874003055037f78289cc0.jpg
9d42cefaaafdec9ea13da78d54d2b05a
https://rozsixties.unl.edu/files/original/7ea0d7bbc4c3b88e2221ac906788a3ea.jpg
15b87d133a1d122a078fd9d3bbaad74c
https://rozsixties.unl.edu/files/original/1c8e9c6c051f3418b72b524e6b073cf6.jpg
3d157cac3e62ba4dac06aa840e987409
https://rozsixties.unl.edu/files/original/5e4a72a7ad8b82c93c4704b3f46c211f.jpg
831aad48fbc2d4cd5ff120eba70c5ba2
https://rozsixties.unl.edu/files/original/bd4f7e4a6c6ae825f7e77f43165a229d.jpg
15cfb044f90e94c79aa347ff71e77989
https://rozsixties.unl.edu/files/original/0eb3458210096d6bc261e49538e2f10d.jpg
6dc5376cbb4f495ba3b536ead35173ed
https://rozsixties.unl.edu/files/original/ca65a652a82bbab3761790f2626d5dbe.jpg
9eb1f4226f24ca76f9b635495bfd21cb
https://rozsixties.unl.edu/files/original/23d1f40d2b4b0f6477b9fc67b6d6e4b3.jpg
e418f471dc326e351a06153545ce9a41
https://rozsixties.unl.edu/files/original/91a3e96689f68b1360e4cda75b2f7e2f.jpg
2674f812c00b996da26274ac6825503b
https://rozsixties.unl.edu/files/original/14979f508d92d76fe88eca05665464a7.jpg
3731b629ce2a93e607f8b0e9b5363bf2
https://rozsixties.unl.edu/files/original/c13baa4270cdf72e2badd27c1605a73d.jpg
aa736e09baabec017e643b61e47d39f6
https://rozsixties.unl.edu/files/original/1ceb89fca5bacc85d6087619d6b43a47.jpg
fbadb1da26ad6009c018812fe2feadf9
https://rozsixties.unl.edu/files/original/c6819295e1ce06840275914d5ee75cb1.jpg
ddbf30af990ce20a508fe2863855a431
https://rozsixties.unl.edu/files/original/f609d50efd0932cd25af174edd22055e.jpg
ff810537a77fefc466af0de4fc36eea0
https://rozsixties.unl.edu/files/original/dc3bfe44dd50ba1512a1fbb84728d364.jpg
accc015f29f772f2ce84be2d5da5cc50
https://rozsixties.unl.edu/files/original/8549864066279d90fe8dc7b088759a5a.jpg
1a8f2e258f7b212167e33901b7d43330
https://rozsixties.unl.edu/files/original/9b56d21eccd9457593a4fa49d9dc2109.jpg
ee7ed8fbf3913ae0a2e8c4cd8a414033
https://rozsixties.unl.edu/files/original/51bbcf319736ad3f0ebc879251aec373.jpg
c9fa27af1d6d6f9230ee96e442ec8379
https://rozsixties.unl.edu/files/original/f555b3f6bff25cb6141de359d235384f.jpg
c1ea7f44b8df66db9fdd17589ba324d9
https://rozsixties.unl.edu/files/original/ba12fa5e3dc0d76ac1e0b78509e9fd95.jpg
2d92ae7c4a50ec1edfccc969ee50c46e
https://rozsixties.unl.edu/files/original/3b648dc1e59b41db95e2d28ca7ffd862.jpg
12c1887a67dcf1f91746bc72bceace60
https://rozsixties.unl.edu/files/original/c48485f987ec016625adc9a232e8dd5e.jpg
80631af64ada9715fdd138020a5505b0
https://rozsixties.unl.edu/files/original/ce95974adfc19d51eee5924a75ed1322.jpg
c9000b13b5de5e5c8272b8bdf482d73e
https://rozsixties.unl.edu/files/original/0e371c623243923ec708199081bc6d97.jpg
d5e88efa5aab67a96f4c39eecbd16c18
https://rozsixties.unl.edu/files/original/09933072f3f34e2bcdbc87d296395c1b.jpg
a15965ae3b2c4feb2d01e3d86b494140
https://rozsixties.unl.edu/files/original/69bdb11a463151afe055d3d51eb24ba9.jpg
aea49698a864585d406a374548779d70
https://rozsixties.unl.edu/files/original/fdb5afa9bfe8f473dd132dfc6268305f.jpg
afbfe1b5dfb156b7684e528857629ffd
https://rozsixties.unl.edu/files/original/e9ac5500204d8a752b8e0d4b695b4c8e.jpg
28e8028a0f5d633706fffc53033860f5
https://rozsixties.unl.edu/files/original/ecd497030e7f1f1a8f07967539eb0f59.jpg
3a5d1fae95ec50bbc08ad8db2a31640d
https://rozsixties.unl.edu/files/original/cc0d33ba183274aac5443cc185b47e7f.jpg
9bf28ccdea540fda07a3635bdf519fc0
https://rozsixties.unl.edu/files/original/3883a42bddde583bc194c375b0ddb55c.jpg
f6cefcd84b6f0879b1f3aafd08e175f0
https://rozsixties.unl.edu/files/original/975b35fe9db425a209975939c74105ae.jpg
87d159bff2775e0c2b9a132a5583e2ff
https://rozsixties.unl.edu/files/original/10267284908d1bec018f24709a7a6c4c.jpg
5333e9fb975270aee241b6f5e25ef9f7
https://rozsixties.unl.edu/files/original/26b330b4ae84c62d3206322b201d45d6.jpg
06280498b0f92c7ea59e5963c3e4a176
https://rozsixties.unl.edu/files/original/e1b8b885d5b632c25d94641bbd2a66fa.jpg
e831bc72ce553b2d3c9998e1c771206e
https://rozsixties.unl.edu/files/original/001d6a5019fc54ec85958c97d750d2f2.jpg
c7e4d856937f5e6cc1ce3a5e171d9cbd
https://rozsixties.unl.edu/files/original/df5e34416b7cb1217c3b005324c18f4d.jpg
faf0db2451e88c3bd9297f899084faff
https://rozsixties.unl.edu/files/original/d9e444b1ee0cc1509d178b935d61d840.jpg
8745a6156702ba6f19017f32f32e16d3
https://rozsixties.unl.edu/files/original/8a69374c51058e67d12cfa533c75fc4b.jpg
0ec6993e58935e5a0ed64b9251709baf
https://rozsixties.unl.edu/files/original/4450e22990fdd4bb826a51e20bc6092e.jpg
ce262bf44422a84cfc54367d39b82a37
https://rozsixties.unl.edu/files/original/1af604eb77ac12369ebede62c0643597.jpg
44a960b7cfad613dddf6d14e3d9b85ff
https://rozsixties.unl.edu/files/original/4dde4298d80c9dd684d9bfc3d6292538.jpg
2504b1978564cd4917f4ef6dba8c3212
https://rozsixties.unl.edu/files/original/e2b71fb304ddecd711810c58b2c27d15.jpg
9f1715e3f28b5cb3014d228d606253f1
https://rozsixties.unl.edu/files/original/05e1f09044bd13c6d51100c921285cbc.jpg
fff7fa98f9c2bcfad564af1be12fab79
https://rozsixties.unl.edu/files/original/8e801e7c872c4e5043f86e9cb58fb5ad.jpg
7bf3e7cc86ed7eb6e8d1c7582721df5e
https://rozsixties.unl.edu/files/original/fb9b4bc70646edf047cd0647a38df0c9.jpg
5681918d8129fbc7c687d767bfb95054
https://rozsixties.unl.edu/files/original/39fa6a8bf71803122866297d96b7658d.jpg
4e1bbfccccce91693d51653104b5435d
https://rozsixties.unl.edu/files/original/13543779318f2347edf0588779b70ef2.jpg
19f24a5f713c440d1b77512729b29560
https://rozsixties.unl.edu/files/original/d68d1ac8132c66903b55382b101913dd.jpg
605cbaf532feab7e7dcedc3af6362dc8
https://rozsixties.unl.edu/files/original/39962b765298d199cd4bb82871e9a0fa.jpg
f1c1606de15ad21400f80cedbc481442
https://rozsixties.unl.edu/files/original/12dca493378ffbb600b7ef43a265808a.jpg
e96b5b91aab14d8a70ab6e619d42dd45
https://rozsixties.unl.edu/files/original/bc710ecbd33e8f3304fd8dba73b8c60b.jpg
36151d26400ca164620334a2ed6f4f9a
https://rozsixties.unl.edu/files/original/99d91a9f689098e49c9280f647024195.jpg
4b921f152a68156c3ac54bfb4025c6e7
https://rozsixties.unl.edu/files/original/ce37d5ed207228cb12d431a71f6938c3.jpg
2ca2cf1c411da410ed82f81f51a49b33
https://rozsixties.unl.edu/files/original/e4480fff401b414fba35384781c5612a.jpg
51480df571b0be63bb06c4a21d1fe594
https://rozsixties.unl.edu/files/original/79b225c3c978eb659c4b64fd9db41634.jpg
f948719ff54e44c5377e97ce8ed22fc9
https://rozsixties.unl.edu/files/original/0053cebe4e2ea28cfbf6053a3348be10.jpg
840a01157b8562cc4ad21981c68b403a
https://rozsixties.unl.edu/files/original/97c5c0c7d69e8729b5eaea1444d6073c.jpg
779057e9fc23da6d0105f121398aabf3
https://rozsixties.unl.edu/files/original/e202751a031c6e73d2c5b396b751dd3b.jpg
89a29f07dd1273405a121bfa66ab06db
https://rozsixties.unl.edu/files/original/0225c7be3758bcae7fcceb0981685dae.jpg
2badd8d2ca9444708750ce9f7503e578
https://rozsixties.unl.edu/files/original/bfe502bfb48b6d6e66a7a0a4a7a11ec6.jpg
6622c83ad44b17f9bd871dc99914f54e
https://rozsixties.unl.edu/files/original/4e21cf5d60549dfb673256273609442b.jpg
6b533f5926914d57b6a3bf1b5fb3f1cb
https://rozsixties.unl.edu/files/original/07f797920db352165fd3196b82c036c1.jpg
db9e51b711decc5ae731cdc60a2742fe
https://rozsixties.unl.edu/files/original/fc75f2dd863575e3c9aaafc25639a682.jpg
676baed63b8b904f7c8176dabd6e6805
https://rozsixties.unl.edu/files/original/8183ca05e8ef2cbf6671bfdee3681593.jpg
db78b59e6069a465c7dd158a510ea07e
https://rozsixties.unl.edu/files/original/4296a02c14b313492617b502495f7fc8.jpg
4d28d00f439e706a7e334054c4b459c4
https://rozsixties.unl.edu/files/original/2f7870e4e1569b790b3c2ec3d0d6a3bd.jpg
ddba98408bea42ddd2229c8a67172a29
https://rozsixties.unl.edu/files/original/8a29debf850e6c2b2737a8caf4d14364.jpg
ab402308b3a3885ab8ed225382a4ed0e
https://rozsixties.unl.edu/files/original/eba7f8a3d0b84156a92e8ed27dddc614.jpg
9c706b2e56213d180070fa3c981797fc
https://rozsixties.unl.edu/files/original/d6d884fab531c8e0faf010a48b1ff671.jpg
4e144730da90ae5531cd6fc49557289f
https://rozsixties.unl.edu/files/original/46b5ef9a40333257817479523ebc3431.jpg
516ca5ee3a6da7feb948a53f2e5d1e61
https://rozsixties.unl.edu/files/original/d29cb15f00762929e5c24eb302a90285.jpg
c3a55fb5bd7531da0cccbf5051112840
https://rozsixties.unl.edu/files/original/b4a29bf4fd63532136d29ba794457825.jpg
1e13870a635816511228117623042131
https://rozsixties.unl.edu/files/original/33073a4c4062384682aa864309aca8fd.jpg
f64acdc79b15e6e81832e1163ffddb9f
https://rozsixties.unl.edu/files/original/349e332415a4d28919da6da10e1ae1d7.jpg
903741650a00eadc08f84f01c8ce170e
https://rozsixties.unl.edu/files/original/0e3a496859f6467679da8686f76e5d5a.jpg
da6d0c399fa1ea61fcc2ec3cb92fb8b9
https://rozsixties.unl.edu/files/original/5f36e99fbacfa35568d0238feb119442.jpg
9a47653c9205b7c9f617cd0a1beb5cd3
https://rozsixties.unl.edu/files/original/6884331a85d051d39590e256324f3425.jpg
717228ddfa4538c3a8ca108da43e51bd
https://rozsixties.unl.edu/files/original/45330c2cb377a1d6ced86046718303b6.jpg
a03673614d47eff564afddbc6a62fd00
https://rozsixties.unl.edu/files/original/5c03bfde1cac5bade2c6671c35c14461.jpg
726ce8975e2ac1ad89547c8d3b3e2466
https://rozsixties.unl.edu/files/original/71b23b75f0bca3b93085efdd96072634.jpg
2259a2da0e31a300cf831750e1129217
https://rozsixties.unl.edu/files/original/607effa545e4718f64f6db6c127d4fd4.jpg
3603aa5223e834a482a64cef38a7ef35
https://rozsixties.unl.edu/files/original/1632bb25b08ac53edb90dda812f39ff4.jpg
5f40b332deda3a4a2b4a27772b945297
https://rozsixties.unl.edu/files/original/bebc6c6d19d310d85c6108793866f43e.jpg
a0fa848c4ac0ac32fdfaa52cea339acb
https://rozsixties.unl.edu/files/original/2633c3a37c75c4e6d5763fb3b78fdd96.jpg
f7c785fadf7f64b1802be94fa129ea82
https://rozsixties.unl.edu/files/original/339ab14f90b227552e6e89a3f2928823.jpg
65339c77e4c8ed5f0488c5ca2985d9b6
https://rozsixties.unl.edu/files/original/5a8396c33a9a7efc20336c8a25e12965.jpg
a774cef9302a850234ccf877c344156b
https://rozsixties.unl.edu/files/original/cf832ccc19a3f1df8ecd43c2af5ba200.jpg
d938721bb6d0a85f5ccd8ebe65a5f877
https://rozsixties.unl.edu/files/original/3029b7f22591390fe34e71d958d4c9dc.jpg
a774cef9302a850234ccf877c344156b
https://rozsixties.unl.edu/files/original/81d8c18da218e53197413d238d661010.jpg
14cf302249f2f81f345f959ddd4509d7
https://rozsixties.unl.edu/files/original/bccde2401267bd72a60161776fb5082c.jpg
bbf54b17960a20714c4203efd9427d04
https://rozsixties.unl.edu/files/original/48861456877c15a57f4a9cdb6f2a6feb.jpg
7012530e6576863baccdb60b527072f7
https://rozsixties.unl.edu/files/original/09c021743127976ddf5ed3239c68c5b1.jpg
01a22c387ad5bac71069faca860fa140
https://rozsixties.unl.edu/files/original/c01279dcee9210daa6cdf6b9128e8dac.jpg
ab1cf9106be41cdb2eb103cea50adad1
https://rozsixties.unl.edu/files/original/589e5bcf137e584df96285ffc79d4d34.jpg
8a720c086eea06cf1b0584fa169c4288
https://rozsixties.unl.edu/files/original/2a4997bab914e7b004f135998efbba90.jpg
99c7feec34ac96fa9b45db03b69f5733
https://rozsixties.unl.edu/files/original/3d5c7b60147c055e9b87c446d0d228db.jpg
674aab5b5881cefba58313381a84d279
https://rozsixties.unl.edu/files/original/75f8c5f41b756b3765cc7c7d547fedef.jpg
812bed0f92b40907a3add4c8b70cc73d
https://rozsixties.unl.edu/files/original/585da831167ffb9a5fa43a84893fcdf7.jpg
4fb5c3f9d2b840dca777fef8057342e3
https://rozsixties.unl.edu/files/original/4708064fd850861bedf91c5c825bdd5c.jpg
c0f9f66aa244d469d140b4d9286be4b7
https://rozsixties.unl.edu/files/original/0dbdf240f975da223786fbb238c58593.jpg
1a2d58e510362b3b563a13a912fc1797
https://rozsixties.unl.edu/files/original/2cfdb4e498197fbd2049bec375297948.jpg
88ce116eef4c4a1d31dde9593f33ad76
https://rozsixties.unl.edu/files/original/c64f4b9f41f239930cce92d022397778.jpg
f8d47627169a689bcd1a14c9686c7c02
https://rozsixties.unl.edu/files/original/d83f0d9ad1f4fb0df6d3251779d30075.jpg
53e1980b5843f95ffc8144a5b0859cf3
https://rozsixties.unl.edu/files/original/059dce80460dc39f9f0513fcb580356c.jpg
f3f80f67f731e7730f4e6c26d72dfac0
https://rozsixties.unl.edu/files/original/8f28efe4f38f97c9ca6590f2b67a6ef9.jpg
9f2a1b2154bdd2f0c156c8e54484c4aa
https://rozsixties.unl.edu/files/original/4f856039c52072ac6ae2bed7f44dca5b.jpg
39d99cb9b60842e608f6ce358d6568a5
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographs
Description
An account of the resource
Roz Payne was a photographer and took hundreds of images of activism during the Sixties. The images in this collection include more than 500 photographs of the protests outside the 1968 Democratic National Convention in Chicago. Other seminal events captured here include the 1967 anti-war demonstration at the Pentagon, the 1968 student take-over at Columbia University, the 1968 Huey Newton and Panther 21 trials, the Yippies and the Venceremos Brigade. Photos include famous Sixties figures, like Abbie Hoffman, Jerry Rubin, Eldridge Cleaver, H. Rap Brown, Bobby Seale, Kathleen Cleaver, Phil Ochs, Norman Mailer, A.J. Muste, Dick Gregory, Jean Genet, William Burroughs, Richard Daley, Mark Rudd, Dhoruba Bin Wahad and others. There are numerous other photos of lesser-known moments and activists, as well.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photographs
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Eldridge Cleaver Controversy at UC-Berkeley
(196 images)
Subject
The topic of the resource
Black Power
Description
An account of the resource
The University of California-Berkeley was one of the key sites of 1960s-era campus activism. During the early and mid-1960s, Cal students participated in the southern civil rights struggle and protested the House UnAmerican Activities Committee. In 1964, a conflict near Sather Gate sparked the Free Speech Movement. The Students for a Democratic Society were strong on campus and led student activists into the anti-Vietnam war era. During the late-1960s and early-1970s, UC-Berkeley played a pivotal role in the rise of the Black Studies and Third World Student movements.
In 1966, African Americans made up a mere 1% of the student population at the University of California-Berkeley. At the time, the Afro-American Student Union (AASU) was the lone black student political group on campus. On October 29, 1966, SDS sponsored a conference at the Greek Theater, titled, “Black Power and It’s Challenges,” which was attended by an estimated 12,000 overwhelmingly white students and featured keynote speakers, Ron Karenga (US Organization), James Bevel (Southern Christian Leadership Conference) and Stokely Carmichael (Student Nonviolent Coordinating Committee), who called UC-Berkeley the “white intellectual ghetto of the West.” AASU opposed the conference, calling it “farcical,” “insidious” and “detestable.”
By 1968, the number of African American students on campus began to rise. Early that year, a coalition of black student activists and local community members demanded the creation of a Black Studies Department. In a March, 1968 issue of the Daily Californian, the group wrote, “We demand a program of ‘BLACK STUDIES,’ a program that will be of and for black people. We demand to be educated realistically and that no form of education which attempts to lie to us, or otherwise mis-educate us will be accepted.” In response Chancellor Roger Heyns promised the establishment of a new department by the Fall of 1969. In the meantime, African American students worked with the College of Letters and Sciences to offer a selection of courses on the “Black Experience” during the 1968 school year, including a course titled, “Social Analysis 139X: Dehumanization and Regeneration of the American Social Order,” which was co-organized by four university faculty, but was to be guest taught by controversial Black Panther Minister of Information, Eldridge Cleaver. The 10-lecture class was sponsored by the Center for Participation in Education (CPE), a university supported effort to empower students to help devise classes that focused on pressing contemporary issues. Yet, as students began to enroll in the course, conservative Governor, Ronald Reagan, and state legislators pressured the Board of Regents to pass a new rule stating that classes could only include one guest lecture per semester, an obvious ploy to severely limit Cleaver’s platform on campus. The move set off a new controversy over academic freedom on campus and helped spur the mobilization of the Third World Liberation Front, a coalition of black students, Latin American students, Asian American students and Mexican American students that organized the longest student strikes in U.S. history. Ultimately, Cleaver gave six lectures on campus in 1968.
These photos, taken by Roz Payne show Eldridge Cleaver lecturing, as well as Kathleen Cleaver on campus, Ronald Reagan at Regents meetings and some of the campus protests surrounding Cleaver's lectures and the broader Third World Liberation Front activism on campus.
Creator
An entity primarily responsible for making the resource
Roz Payne
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1968-1969
AASU
Afro-American Student Union
Anti-War
Berkeley
Black Panther Party
Black Power
Black Studies
Center for Participation in Education
CPE
Daily Californian
Eldridge Cleaver
Free Speech Movement
Greek Theater
House UnAmerican Activities Committee.
James Bevel
Kathleen Cleaver
Minister of Information
Roger Heyns
Ron Karenga
Ronald Reagan
SDS
Social Analysis 139X
Southern Christian Leadership Conference
Stokely Carmichael
student movement
Student Nonviolent Coordinating Committee
Students for a Democratic Society
Third World Liberation Front
University of California
US Organization
Vietnam War
-
https://rozsixties.unl.edu/files/original/fd7b5461e5777de41b958f712d0c4f35.jpg
d54a6bc4a3032775616c403019fb14da
https://rozsixties.unl.edu/files/original/a3c2f7c939c9445027779ca04c745685.jpg
ee7a9e8cc68b0e66a5650c61c9711c70
https://rozsixties.unl.edu/files/original/87a3863ad05e8c62096832958c3c2b8f.jpg
c9831040e5c4d29fc49a03515275f06c
https://rozsixties.unl.edu/files/original/45861d52b6851cce844b017a29d90beb.jpg
d843360ced1668be319ef9f2d5a9de92
https://rozsixties.unl.edu/files/original/048d4f3e8ba2f8823e51328351a01904.jpg
634902318c7909e0f1a6aea094f303c8
https://rozsixties.unl.edu/files/original/6ad87da2b50ad52f6497136f02eb7ca2.jpg
c471c0917e0b1b77d799bcdff8a7554f
https://rozsixties.unl.edu/files/original/e6ef74b57919b34c88af2ff47dd136d8.jpg
8f4c50cc10b2f73d90b7394de5526c2a
https://rozsixties.unl.edu/files/original/700654fbd0bd487ba2b7f0e1cb933070.jpg
9b89d18c109ecced066dbe0ea5bd858c
https://rozsixties.unl.edu/files/original/fa5a9164f6ca6eedb3a4f09a2ecb1178.jpg
f474d7e6360e72f8e25533191c6e1886
https://rozsixties.unl.edu/files/original/ab7d52d9c9cdcd514720d75403a7b5a5.jpg
a5695af1ff442791ca630e4aafa6efba
https://rozsixties.unl.edu/files/original/254dce025a01826d14158b398c889561.jpg
59bd1020f0a7223a5645cdc98d599e33
https://rozsixties.unl.edu/files/original/218ff86e2f170148e3b21130c6e02f72.jpg
c37fe3bcdfd42fcf8625914e92d3030b
https://rozsixties.unl.edu/files/original/6e5ac0e8160baa7b17548c267ab3693d.jpg
1d03bc507dfac58a47112af74f671489
https://rozsixties.unl.edu/files/original/0e24639db7d3839fbc7f3297189c5ce5.jpg
990552f95c23e4dc4ad26d325b60b516
https://rozsixties.unl.edu/files/original/9d7033d94416780ea699dd5a5b0539fa.jpg
40cbef5800aeabe294202e7c5cfa6a42
https://rozsixties.unl.edu/files/original/38a33234a5f43fa2b13e0a073187315c.jpg
fb573f12a036fde8700bfcf542aa4a84
https://rozsixties.unl.edu/files/original/06b74ff629cac110ece064426824db6f.jpg
8539bfd4be6d210f8a55f2defd63548f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographs
Description
An account of the resource
Roz Payne was a photographer and took hundreds of images of activism during the Sixties. The images in this collection include more than 500 photographs of the protests outside the 1968 Democratic National Convention in Chicago. Other seminal events captured here include the 1967 anti-war demonstration at the Pentagon, the 1968 student take-over at Columbia University, the 1968 Huey Newton and Panther 21 trials, the Yippies and the Venceremos Brigade. Photos include famous Sixties figures, like Abbie Hoffman, Jerry Rubin, Eldridge Cleaver, H. Rap Brown, Bobby Seale, Kathleen Cleaver, Phil Ochs, Norman Mailer, A.J. Muste, Dick Gregory, Jean Genet, William Burroughs, Richard Daley, Mark Rudd, Dhoruba Bin Wahad and others. There are numerous other photos of lesser-known moments and activists, as well.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photographs
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
SDS National Conference in Austin (17 images)
Subject
The topic of the resource
New Left
Creator
An entity primarily responsible for making the resource
Roz Payne
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
Description
An account of the resource
Like many campuses, the University of Texas at Austin saw an increase in student activism and protest during the mid- and late-1960s. The student Free Speech Movement, anti-war activism, African American and Latino student protest, women’s liberation organizing and the counterculture were all present. White New Left activism was particularly significant, with UT being an important site of what came to be known as “Prairie Power,” a faction within Students for a Democratic Society that was critical of the national office and advocated a more decentralized structure for the organization and a greater emphasis on campus organizing and the war in Vietnam. Jeff Shero, Thorne Dreyer, Carol Neiman, Gary Thiher, Alice Embree, Grace Cleaver, Robert Pardun, Larry Jackson and Greg Calvert were all notable Texas New Left activists. Austin was also home of The Rag, which author John McMillian called “a spirited, quirky, and humorous paper, whose founders pushed the New Left's political agenda even as they embraced the counterculture's zeal for rock music, psychedelics, and personal liberation.” Former Rag staffer, Alice Embree, remembered, "The Rag covered what was not covered by the 'straight' press. The writers participated in the political and cultural uprising and also wrote about it. And they told you where to get a chicken dinner for 35 cents." White student activists at UT were increasingly working with black and Latino activists, enlisted military soldiers at Fort Hood and the local labor movement. According to historian, Beverly Burr, student activists, “tied many issues together in a comprehensive critique of the American government, the economic system and socialization.”
Between 1967 and 1969, the relationship between student activists and the university administration became increasingly contentious. In May of 1967, six student activists were censured for their role in an anti-war protest that disrupted a visit by Vice-President Hubert Humphrey. The following year, the administration fired, Professor Larry Caroline, who served as the faculty adviser for SDS, after he told a group of anti-war protesters that only revolution would bring a solution to racism and militarism in the U.S. Caroline had also led a successful effort to integrate the faculty lounge, supported African American activist and graduate student, Larry Jackson, and pushed for other structural reforms at the university that rankled not only administrators, but also some of his fellow faculty members. These conflicts raised a variety of issues related to free speech and academic freedom. At the same time, African American and Latino students demanded a series of reforms, including the creation of Black Studies and Chicano Studies programs. Countering the rising tide of student militancy, the state legislature and university Board of Regents passed new “disruptive activities” bills in early 1969, hoping to head off upcoming protests by black, Chicano and anti-war campus activists. Beverly Burr explained, “The bill basically prohibits pickets, strikes, sit-ins, and anything the university deems ‘disruptive to administrative, educational or other authorized activity.’” The Regents also refused a request by SDS to hold their national convention at the Student Union, announcing "we are not about to let the university be used by subversives and revolutionaries." A March 1969 article in The Rag quoted President, Norman Hackerman, claiming SDS’s "intention of destroying the American educational system" and a lack of meaningful educational purpose for the decision by the Board of Regents. Following legal wrangling, the SDS National Convention ultimately took place at the Catholic Student Center and was attended by more than 800 activists. Beyond the conflict with university officials, the 1969 SDS gathering was notable for the growing factionalization within the group. Burr wrote, “A ten-point proposal for the liberation of schools was passed which called for among others: an end to the tracking system, an end to flunkouts and disciplinary expulsions, a new teaching of history in such a way as to truly expose the injustice of 'this racist, capitalist society' and support for the Black Panthers.”
Alice Embree
Anti-War
Austin
Beverly Burr
Black Panther Party
Black Power
Black Studies
Carol Neiman
Chicano movement
Chicano Studies
counterculture
factionalization
Free Speech Movement
Gary Thiher
Grace Cleaver
Greg Calvert
Hubert Humphrey
Jeff Shero
John McMillian
Larry Caroline
Larry Jackson
New Left
Norman Hackerman
Prairie Power
Robert Pardun
SDS
student movement
Students for a Democratic Society
Texas
The Rag
Thorne Dreyer
University of Texas
Vietnam War
Women's Liberation
-
https://rozsixties.unl.edu/files/original/c56f15c9b8304e75194327617116d246.jpg
a73abfcfed5a95aeb4675219723fdb9e
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
Radical Student Movement Leaflet
Description
An account of the resource
Two pages of an article includes subheadings, “Middle Class Also Affected” and “Radical Movement Not Immune.” Both sections discuss the gendered politics and economics which existed in the radical student movement. This leaflet critiques arguments presented by some radical student organizations on the issue of familial relationships and roles as distracting from the discussion of male chauvinism in the movement.
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
Type
The nature or genre of the resource
article
Subject
The topic of the resource
Women's Liberation and Student 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. late-1960s or early-1970s
Format
The file format, physical medium, or dimensions of the resource
mimeograph
family
feminism
gender roles
Radical Student Movement
student movement
Women's Liberation
-
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/6316592e8bfdc9406568ddf365c8f31e.jpg
65f9179f6035f5f8f3cb049bfd9be942
https://rozsixties.unl.edu/files/original/4d57e6538b06bd678d665d91a2adfdf1.jpg
94a5ecbf43198a4eb7f4e92b7224a448
https://rozsixties.unl.edu/files/original/9c1898505556ed5cf6a29f30a7f2ef98.jpg
777e21d6202d28b9bf3915daf5b5d25c
https://rozsixties.unl.edu/files/original/afd392771b1869a884ccdeafd5ec3878.jpg
91fc7e9a60d0b999b4d4147be41749fc
https://rozsixties.unl.edu/files/original/7d6bbbb68eb8488d7686dda3cbbe87c6.jpg
f8062c09f1550f2cf0258ea12d3ee709
https://rozsixties.unl.edu/files/original/8a7c1f5ee7174643e58f394e6e1a833c.jpg
3f2e6c3a2e41494ba7cee7c5e4adbcb3
https://rozsixties.unl.edu/files/original/859d52938b335e3f1184c612c7f65436.jpg
ef5ee0e4f0dfa2a8e06ecef6e7b7b75c
https://rozsixties.unl.edu/files/original/54ef8722f4d26d5cb20070a3a1ea87e8.jpg
eb27dd9a06075bd6adf693e94d51e34e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Underground Press
Description
An account of the resource
One of the key characteristics of the various movements of the 1960s-era was the creation of alternative, or "underground," newspapers. These newspapers were not clandestine, though. Quite the opposite. They were important public organizing tools for New Left movements, crucial to disseminating information, educating activists and promoting events. In addition to articles, they also often included comix and other graphics, advertisements and sometimes even personals. This collection contains a range of underground newspapers, some focused on a particular movement, like the women's movement, others offering broader coverage of the many movements taking place at the time.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
newsletter
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Glass Onion
Description
An account of the resource
This newsletter advertises the organization of the Bridgeport High School Student Union based in Bridgeport, Connecticut. Protesting the organization and administrative authority in the local educational system, this newsletter underlines issues concerning high school students such as the draft board, the militarization of campus law enforcement, war spending, women’s education, and the authoritative structure of secondary education.
Creator
An entity primarily responsible for making the resource
The High School Free Press
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. early-1970s
Subject
The topic of the resource
Student Movement
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Type
The nature or genre of the resource
underground press
Bridgeport High School Student Union
Draft Resistance
Educational Reform
gay liberatiom
homosexuality
Radical Student Movement
student movement
The Glass Onion
The High School Free Press
Vietnam War
Women's Liberation
-
https://rozsixties.unl.edu/files/original/82f3d55ef3ee2cd070824281922d6dbe.jpg
a4673b80fce775e76c0d98f67fe80d99
https://rozsixties.unl.edu/files/original/63957d73c6f428755b1d857073f80b6e.jpg
a4407e8504cee97cbea32329a08e03c3
https://rozsixties.unl.edu/files/original/9ff54f5ca0606ff6c39d332e952d03d6.jpg
3643bed89448b656903af3326dd1015a
https://rozsixties.unl.edu/files/original/8ded72b8d46ab8a1b8d85202449f09d0.jpg
61609d5e0ea584b033e7a489248de7a5
https://rozsixties.unl.edu/files/original/042037fb2467fcff62a0e68729c3ce6b.jpg
2aec666cd224aab163655c14f38ab59d
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
Initiation Rites for Students
Subject
The topic of the resource
Student Movement
Description
An account of the resource
This document analyzes higher education in the United States as a manufacturing process. It details "orientation," "the function of the capitalist university," "the means" and confrontation."
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
mimeograph
capitalism
indoctrination
militarism
New Left
student movement
-
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/c020e08a129e744b92d14bf5272b9ac5.jpg
e9b425c4dd84c6d4695d430231bc075a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Leaflets, Flyers, Broadsides and Article Reprints
Description
An account of the resource
The social movements of the Sixties produced hundreds of leaflets, flyers, broadsides and reprinted articles. These items were an important part of movement culture and another important organizing tool for activists and organizations. They were mimeographed and circulated widely at meetings, through the mail and by hand.
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
photo card
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Season's Greetings!
Subject
The topic of the resource
Columbia Revolt
Description
An account of the resource
This object was photographer Maury Englander's holiday card from the late-1960s. The iconic image on the artifact is from the student revolt at Columbia University in 1968, which Englander took. The image was also featured prominently on a pamphlet that SDS put out on the protest.
Creator
An entity primarily responsible for making the resource
Maury Englander
Source
A related resource from which the described resource is derived
Roz Payne
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1968
Format
The file format, physical medium, or dimensions of the resource
printed card
campus radicalism
Columbia University
Maury Englander
New York
Revolt at Columbia
SDS
student movement
-
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/c40283827450378f834867926c815bb5.jpg
7c85fb8f435ddc6069104847862bd119
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Buttons
Description
An account of the resource
Buttons were one of the most popular and pervasive forms of political messaging during the 1960s, combining brief messaging and memorable graphic designs. Buttons were inexpensive to produce on a mass basis and easy to distribute. They afforded any individual an opportunity to voice their opinions and, potentially, reach a broad audience. As Hunter Oatman-Stanford has written, “From discreet lapel pins to oversized buttons on purses or backpacks, pinbacks invite conversation by declaring potentially controversial viewpoints to complete strangers.” In this way, buttons were (and still are) a particularly democratic form of political propaganda.
As button collector, John Aisthorpe, has put it, buttons offer “a little snapshot of history.” During the 1960s, buttons were vital to the visual identity of a range of movements. “There were many protest groups who put their views on buttons,” Aisthorpe recalls, “from the early ’60s with the Free Speech Movement (FSM) to the Student Nonviolent Coordinating Committee (SNCC), Students for a Democratic Society (SDS) and, later, the Veterans for Peace, the Fifth Avenue Vietnam Peace Parade Committee, and the Yippies.” The political impact of buttons in the 1960s is hard to gauge, though their popularity suggests some modicum of significance. And, as Aisthorpe has asserted, “It’s hard to say what impact they had, but the text of buttons worn at protests were often used as antiwar chants, like ‘Hell no, we won’t go!’… They must have had some effect.” The buttons of the 1960s have remained some of the most enduring relics from this important past.
This collection includes buttons from a wide array of movements from the Sixties, including the student movement, civil rights and Black Power movements, women's liberation, environmentalism, the anti-nuclear movement, gay liberation, electoral politics, the Chicano movement, the labor movement and the counterculture, with a strong emphasis on the anti-war movement. In addition, a few buttons date from Roz Payne’s activist efforts in the 1970s and 1980s, including the early political campaigns of Vermont politician, Bernie Sanders.
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Free the Universities
Description
An account of the resource
This button underscores the campus-based student movement of the 1960s-era.
Creator
An entity primarily responsible for making the resource
F.U.N.Y.
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Format
The file format, physical medium, or dimensions of the resource
Button
Type
The nature or genre of the resource
Physical Object
Subject
The topic of the resource
Student Movement
Date
A point or period of time associated with an event in the lifecycle of the resource
unknown
campus radicalism
New York
student movement
-
https://rozsixties.unl.edu/files/original/eb6659017915612ea004e4e1a4b8ae72.jpg
864c69762d02c7454926d3965d386783
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
Free Vermont
Subject
The topic of the resource
Anti-Vietnam War Movement
Description
An account of the resource
A New Left poster from Burlington, Vermont, that offers a variation on German Lutheran pastor Martin Niemöller's poem, "First they came ..." The poem offers a critique of the cowardice of German intellectuals who failed to act as the Nazis rose to power, targeting group after group, until the tragedy of fascism and holocaust was upon them. In this case, activists were protesting a visit by President Richard Nixon to Burlington in 1970. In Nixon's arrival speech, he said:
October 17, 1970
Governor Davis, Senator Prouty, Congressman Stafford, all of the distinguished guests on the platform, and all of the distinguished members of this audience:
As you probably are aware, this is the first campaign stop that I have had the opportunity to make in 1970, and I am proud that it is in the State of Vermont. There are personal reasons for that statement that would be of interest, I am sure, to the young people here. My two daughters have very fond memories of their visit to this State to Camp Teela Wooket. I am glad to be back because of that.
The other reason is that as I look back on the record of the State of Vermont, in a personal sense, again, on all the occasions that I have been on the national ticket, I have lost some States but I have always carried Vermont. Thank you very much.
A third reason is that I am very proud to be here on a special day which is nonpolitical in one respect, certainly, the homecoming day of the University of Vermont. I also want to say that, speaking of the university, lets pay our respects to the Rice Memorial [High School] Band over here. How about that? And to the Canadian Geese 1 in the back. The Vermont Turkeys are going to go up to Canada on an exchange visit for the Canadian Geese next week.
1 The Canadian Geese Rock Band of Saint Michael's College, Winooski, Vt.
But there is a more fundamental reason in this year 1970 that I am very happy to be here to open this campaign in Vermont. It has to do with the fact that I have enormous respect for the men who are candidates on your ticket here this year. Let me mention them each briefly. Bob Stafford, who has been formerly your Governor, then a Congressman.
One thing that you know about the people from Vermont is this--and it is true of all of those representing Vermont in Washington and in the statehouse-whether it is George Aiken, who is a man whose wise counsel I have benefited from as President of the United States and prior to that time, or whether it is a case of Bob Stafford, a man who came to the Congress in the 87th Congress, and all of the Congressmen in the country who were elected that year elected him as their leader.2
2Representative Robert T. Stafford was president of the 87th Club which was made up of freshmen Republican Members of the 87th Congress.
That is an indication of what they think of Vermont and Bob Stafford in Washington, D.C.
I have had the opportunity to meet all the Governors of the 50 States at various Governors' Conferences, and I respect them all. But there are some who stand out and one who stands out is your Governor because he has courage, the courage to do what is right for his State, to take a mess fiscally and clean it up in the State of Vermont.
There is another reason that I admire your Governor and also your Congressman and your Senator, and that is their tenacity. When anything involves the State of Vermont, they are down there in my office pounding on that door until we do something about it.
For example, over these past 2 weeks they have expressed concern about a possible fuel oil shortage in the State of Vermont. Let me tell you I talked to General Lincoln, the head of the Office of Emergency preparedness before I left Washington.
There will be no fuel oil shortage--we will see to that, thanks to what your Governor has told us and your Senator and your Congressman--in the State of Vermont.
Now I come to your Senator, Win Prouty, the man who is running in this State for reelection. Can I speak to all of you now about the importance of this one man, this one vote, and your one vote in this State of Vermont?
Let us understand that in 1968 the country elected a new President, called for new leadership. We also recognized that at that time we had the Congress, both the House and the Senate, under the control of Members of the other party. Nevertheless, we worked with that Congress. Sometimes they voted against, sometimes for.
But in the United States Senate particularly-and all of you, particularly you who studied political science at the university and those who studied it also in high school will know, and all of you who read your papers and listen to television-the United States Senate on the great issues, the issues that involve whether we are going to have a program to bring lasting peace in the world, the issues that involve whether or not we are going to have a program that will stop the ruinous inflation that is robbing your pocketbooks and making it impossible to balance your family budget--when we look at all of these problems we find that in the United States Senate on vote after vote a majority of one determines the outcome.
A shift of one Senator, sometimes two, will determine whether the President's program goes through or whether it doesn't go through. I want to say to you, without Win Prouty's vote I couldn't stand here today and speak with pride of a record of accomplishment in this great field. He is providing that majority of one.
I would like to take the three issues, and I think I am going to take the hardest one first. I hear some of the young people here say stop the war, and I heard it said outside. I understand that.
Let me tell you what we found and then you judge the record and you judge Win Prouty on the basis of that record. When we came into office, we found 550,000 Americans in Vietnam. There was no plan to bring them home. There was no plan to end the war. There was no peace plan that had been submitted.
And what have we done? Let me tell you. We have implemented a plan to bring Americans home, and during the spring of next year half of the men that were in Vietnam when we got there will be coming home. That is what we are going to do.
Second, we wound down the fighting by the strong stand that we took to clean up the sanctuaries in Cambodia. We have cut American casualties to the lowest level in 4 ½ years.
I am not going to be satisfied until not one American is killed in Vietnam, but we are cutting them down and we are going to continue on that course.
And third, my friends, we have presented to the North Vietnamese, over national television--and I am sure many of you heard it--a far-reaching peace plan. We have offered a cease-fire without conditions. We have offered to negotiate all the political settlements with regard to South Vietnam, one that would allow all those in that country to participate in the making of that settlement. We have offered also a plan that would provide for the release of war prisoners on both sides. We have offered a conference on all of Indochina.
Now let me tell you exactly where it stands today. As I stand before you today, I can say confidently the war in Vietnam is coming to an end, and we are going to win a just peace in Vietnam. It will come to an end either--if the enemy accepts our proposal for a cease-fire, it can come to an end more quickly.
If it does not accept that proposal, then we will bring it to an end by continuing to withdraw Americans and replacing them with Vietnamese and allowing the Vietnamese to have the right to choose their own government without having it imposed by North Vietnam or by the United States. Now, isn't that the fair thing to do?
Now let us see what the other side of the argument is. I know the people in this State. My good friend Consuelo Bailey, 3 who has always advised me about Vermont, she has said to me from time to time, "The people up in this State, they want to hear both sides of the argument and want to make up their minds."
3 Consuelo Northrop Bailey, National Republican Committeewoman for Vermont and Secretary of the Republican National Committee.
Let me tell you the other side. I know there are people who say: Why this long road? Why don't we just end the war? I could have done it the day I came into office.
I could have brought all the Americans home. Let me tell you ending a war isn't very difficult. We ended World War I. We ended World War II. We ended Korea. And yet, in this century we have not had a generation of peace.
My friends, what we want to do is to end the war so that the young people that are shouting "Stop the War" will have a generation of peace, and that is the kind of plan that we are trying to implement. So that is what we are doing.
We are ending the war in a way that will discourage those who might start a war.
We are ending the war in a way that will bring permanent peace in the Pacific. It is that kind of program that Win Prouty has stood firmly by.
So I say let us work for what all of us want, not just peace for the next election but peace for the next generation so that the younger brothers and the sons of those who have fought in Vietnam won't have to be fighting in some other Vietnam sometime in the future.
So there is the choice. It is a clear one. Win Prouty, who stands for a just peace and a generation of peace, and those on the other side who say without regard to the future, let's simply end the problems that we are in today.
This is real statesmanship. That is one of the reasons I am here for him.
Let me turn to another subject of equal interest, equal interest in the sense that it affects the pocketbooks of everybody and every family budget. You all know what has happened to prices. You know that when we came into office we found prices going up and up.
You will find also that the reason they were going up and up was that in the years previous to our coming into office that the previous administrations had spent $50 billion more than the economy would have produced in terms of taxes at full employment.
And what did that do? Because Washington spent more than it was taking in or that it could have taken in in full employment, it raised the prices for everybody.
I said when we came into office we were going to stop that. That is why I had to veto some measures--that I felt people were poor in many instances.
Let me just say this: What we have to realize is that we need Senators and Congressmen who have the courage to vote against spending programs that may benefit some of the people but that raise prices and taxes for all people. That is the kind of a program that we stand for. That is the kind of fiscal responsibility that your Governor stands for. It is the kind of fiscal responsibility that Win Prouty stands for.
And we come to a third area, the area of progress. The great choice that the American people had in 1968 and that we now have a chance to reaffirm in 1970 is this: Do we continue to pour good money into bad programs so that eventually we end up with both bad money and bad programs or do we reform the programs of America? That is why this administration says let's reform the welfare system, let's reform our educational system, let's reform our health system, so that America can move forward on a new road. That is the kind of proposal that we offer.
And here the issue is clear. On the one side there are those who say keep pouring the same amount of money, billions, into the welfare program. Let me tell you what I think. I say that when a program makes it more profitable for a man not to work than to work, it is time to get rid of it and get another program. And that is why Win Prouty's strong support of the Family Assistance Program in which we provide help for all of those who need it, but in which we provide that those who are able to work will not only have an incentive to work but a requirement to work--let them work, I say, and if they cannot work then, of course, the welfare will be provided. It is that kind of reform that we stand for.
I could go on in other fields. Take the environment. I noticed that as the plane came down and I looked down on this magnificent countryside, and I know that pretty soon the tourists, the winter tourists, will be coming in, the summer influx having gone home. I can only say to you this, that as I look over America, and I fly over it many, many times, of course, on the way to California, to Florida, and to other States, this is a beautiful country. But, my friends, what we have to realize is that because of our wealth, what we are doing is that we are poisoning our water. We are also poisoning our air. We are having our cities choked with traffic and terrorized by crime. So what we have to do now is to clean up the environment of America.
That is why we have presented to the Congress an historic new program to clean up the air, to clean up the water, to provide open spaces for these young people to go to in the years ahead.
And, my friends, that is the kind of progressive legislation that Win Prouty supports, and that is another reason we need him in the United States Senate.
Then one other program I should mention-and Governor Davis, you will be interested in this and all of your fellow Governors--I think back to the history of this country, to the fact that Vermont has played a proud role from the time of the beginning of America. I think back to the fact, too, that when America was young the States felt that they had responsibilities and then power began to flow, particularly in this century, from the people and the counties and the cities and the States up to Washington, D.C. And Government in Washington got bigger and bigger and bigger, and government in the States found that they didn't have the funds to handle their problems, and taxes, particularly on your property, went up and up and up. So I said this has got to change.
That is why we have authorized and asked the Congress to approve, and they will not yet act on it, a program of revenue sharing, where the Federal Government will turn over to the States funds that the States can use to handle their own problems.
Let me tell you why this is important. For 190 years, my friends, power has been flowing from the people, from you, and from the States, to Washington. I say that it is time now for power to flow back from Washington to the States and to the people of America. That is the kind of a program, again, that Win Prouty supports.
Now one final point. I realize that in this year 1970 there are those who have very deep disagreements with our country's policy, whether it is abroad or at home. I know there are those who demonstrate and say that America is a sick society, that everything is wrong.
Just let me say this: I can tell you, my friends, I have seen this country, and I have also been abroad. I have just finished a trip to Europe. I was in a Communist country, Yugoslavia, and 350,000 people stood out in the rain cheering, not for me but for the United States of America. I was in Spain, in Italy, in Ireland, in England, and the same thing happened. The same thing happened in Asia last year, in India, and other countries.
Let me tell you something: Yes, there are those that criticize America, many abroad among leaden criticize our policies. But to millions of people ca this earth we can be proud of the fact that the United States of America--not because simply we are the strongest country and the richest country but because we are a country that provides the greatest freedom and the greatest opportunity for people in the history of the world--the United States is respected, and let's be worthy of that respect.
Now the question is: The voices are being heard in the year 1970. You hear them. You hear them night after night on your television, people shouting their obscenities about America and what we stand for. You hear those who shout against speakers and shout them down, who will not listen. And then you hear those who engage in violence. You hear those, and see them, who, without reason, kill policemen and injure them, and the rest. And you wonder: Is that the voice of America?
I say to you it is not. It is a loud voice, but, my friends, there is a way to answer: Don't answer with violence. Don't answer by shouting the same senseless words that they use. But answer in the powerful way that Americans have always answered. Let the majority of Americans speak up, speak up on November 3d, speak up with your votes. That is the way to answer.
My friends, the people in this great State may well determine whether or not on the great issues which will determine whether we can have a program that will bring lasting peace for a generation, progress in the field of the environment and welfare, and all these other areas that I have described, a program of strong and fair law enforcement whether or not we have that majority of one in the United States Senate, a majority that crosses party lines, may well determine on what you do in the State of Vermont. I say this to you because Win Prouty not only provides that vote but because this quiet, confident man has such enormous respect among his colleagues.
Let me tell you something. I have known the Senate and the House, served in both, and anybody who has known those bodies will agree with me that there are the doers and the talkers. Win Prouty isn't a talker; he is a doer. He gets things done. He works for the elderly. He works for progress. He works for education. He is a man who for 20 years has given his life. There isn't a man in that Senate that works harder than he does for Vermont and America.
And because he is a doer and not a talker, send him back and give us that majority of one.
Thank you.
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
1970
Format
The file format, physical medium, or dimensions of the resource
poster
Anti-War
Black Panther Party
Free Vermont
New Left
poetry
radicalism
Richard Nixon
student movement
Vermont
Vietnam War
-
https://rozsixties.unl.edu/files/original/c12ea94750fc633a1db22a4356d62787.jpg
e3db76a5e95bef6f2032db50672a8f35
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
Assata Shakur - Free All Black Liberation Fighters
Subject
The topic of the resource
Black Power
Description
An account of the resource
Assata Olugbala Shakur is a political activist, author, fugitive and aunt of hip-hop artist, Tupac Shakur. She was born in 1947 in New York City, JoAnne Deborah Byron. Following her parents’ divorce, Byron spent much of her childhood moving between her grandparents and other family in Wilmington, North Carolina, and New York City, where her mother moved after she remarried. As a student at the Borough of Manhattan Community College and then City College of New York, Byron was exposed to African American history and Black Nationalism, which made a significant impact on her political development. She met her husband, Louis Chesimard, and began participating in the student movement, anti-war activism and the struggle for black liberation. In 1970, while visiting Oakland, California, Byron met members of the Black Panther Party and joined the Harlem branch upon her return to New York, where she worked with the breakfast program. Frustrated with the Black Panther Party’s unwillingness to work with other black radical organizations, Byron left the party in 1971 and joined the Black Liberation Army, an underground Black Power group whose goal was to “take up arms for the liberation and self-determination of black people in the United States.” In her autobiography, she wrote, “the Black Liberation Army was not a centralized, organized group with a common leadership and chain of command. Instead there were various organizations and collectives working together and simultaneously independent of each other.” The group believed "the character of reformism is based on unprincipled class collaboration with our enemy" and asserted the following principles:
1. That we are anti-capitalist, anti-imperialist, anti-racist, and anti-sexist.
2. That we must of necessity strive for the abolishment of these systems and for the institution of Socialistic relationships in which Black people have total and absolute control over their own destiny as a people.
3. That in order to abolish our systems of oppression, we must utilize the science of class struggle, develop this science as it relates to our unique national condition.
It was also at this time that Byron changed her name to Assata (“she who struggles”) Olugbala (“love for the people”) Shakur (“the thankful”).
In 1972, the FBI issued a warrant for Shakur’s arrest for alleged crimes committed by the BLA and was the subject of a multi-state manhunt by law-enforcement. During a traffic stop on the New Jersey Turnpike in 1973, Sundiata Acoli Zayd Malik Shakur and Assata Shakur got into an altercation with two police officers, Werner Foerster and James Harper. The incident resulted in the deaths of Zayd Shakur and Foerster. Harper and Assata Shakur were also wounded in the shoot-out. Over the next few years, beteen 1973 and 1977, Shakur was charged with a variety of crimes related to the 1973 incident and others, including murder, attempted murder, armed robbery, bank robbery and kidnapping. Six of the charged were ultimately dismissed, though she was convicted of Foerster’s murder and seven other felonies related to that incident in 1977 and sentenced to life in prison plus thirty years. Many black liberation and New Left activists argued that Shakur did not receive a fair trial. In 1979, three members of the BLA helped Shakur escape from prison. For the next few years, Shakur lived underground, ultimately fleeing the U.S. for Cuba in 1984, where she was reunited with her daughter, who had been born in prison while she was on trial. Shakur continues to live in Cuba and remains on the FBI’s list of “most wanted terrorists.”
The quotation printed on this poster is from a letter Shakur wrote on July 4, 1973 from prison. The full letter is here:
Black brothers, Black sisters, i want you to know that i love you and i hope that somewhere in your hearts you have love for me. My name is Assata Shakur (slave name joanne chesimard), and i am a revolutionary. A Black revolutionary. By that i mean that i have declared war on all forces that have raped our women, castrated our men, and kept our babies empty-bellied.
I have declared war on the rich who prosper on our poverty, the politicians who lie to us with smiling faces, and all the mindless, heart-less robots who protect them and their property.
I am a Black revolutionary, and, as such, i am a victim of all the wrath, hatred, and slander that amerika is capable of. Like all other Black revolutionaries, amerika is trying to lynch me.
I am a Black revolutionary woman, and because of this i have been charged with and accused of every alleged crime in which a woman was believed to have participated. The alleged crimes in which only men were supposedly involved, i have been accused of planning. They have plastered pictures alleged to be me in post offices, airports, hotels, police cars, subways, banks, television, and newspapers. They have offered over fifty thousand dollars in rewards for my capture and they have issued orders to shoot on sight and shoot to kill.
I am a Black revolutionary, and, by definition, that makes me a part of the Black Liberation Army. The pigs have used their newspapers and TVs to paint the Black Liberation Army as vicious, brutal, mad-dog criminals. They have called us gangsters and gun molls and have compared us to such characters as john dillinger and ma barker. It should be clear, it must be clear to anyone who can think, see, or hear, that we are the victims. The victims and not the criminals.
It should also be clear to us by now who the real criminals are. Nixon and his crime partners have murdered hundreds of Third World brothers and sisters in Vietnam, Cambodia, Mozambique, Angola, and South Africa. As was proved by Watergate, the top law enforcement officials in this country are a lying bunch of criminals. The president, two attorney generals, the head of the fbi, the head of the cia, and half the white house staff have been implicated in the Watergate crimes.
They call us murderers, but we did not murder over two hundred fifty unarmed Black men, women, and children, or wound thousands of others in the riots they provoked during the sixties. The rulers of this country have always considered their property more important than our lives. They call us murderers, but we were not responsible for the twenty-eight brother inmates and nine hostages murdered at attica. They call us murderers, but we did not murder and wound over thirty unarmed Black students at Jackson State—or Southern State, either.
They call us murderers, but we did not murder Martin Luther King, Jr., Emmett Till, Medgar Evers, Malcolm X, George Jackson, Nat Turner, James Chaney, and countless others. We did not murder, by shooting in the back, sixteen-year-old Rita Lloyd, eleven-year-old Rickie Bodden, or ten-year-old Clifford Glover. They call us murderers, but we do not control or enforce a system of racism and oppression that systematically murders Black and Third World people.
Although Black people supposedly comprise about fifteen percent of the total amerikkkan population, at least sixty percent of murder victims are Black. For every pig that is killed in the so-called line of duty, there are at least fifty Black people murdered by the police.
Black life expectancy is much lower than white and they do their best to kill us before we are even born. We are burned alive in fire-trap tenements. Our brothers and sisters OD daily from heroin and methadone. Our babies die from lead poisoning. Millions of Black people have died as a result of indecent medical care. This is murder. But they have got the gall to call us murderers.
They call us kidnappers, yet Brother Clark Squires (who is accused, along with me, of murdering a new jersey state trooper) was kidnapped on April z, 1969, from our Black community and held on one million dollars' ransom in the New York Panther 21 conspiracy case. He was acquitted on May 13, 1971, along with all the others, of 156 counts of conspiracy by a jury that took less than two hours to deliberate. Brother Squires was innocent. Yet he was kidnapped from his community and family. Over two years of his life was stolen, but they call us kidnappers. We did not kidnap the thousands of Brothers and Sisters held captive in amerika's concentration camps. Ninety percent of the prison population in this country are Black and Third World people who can afford neither bail nor lawyers.
They call us thieves and bandits. They say we steal. But it was not we who stole millions of Black people from the continent of Africa. We were robbed of our language, of our Gods, of our culture, of our human dignity, of our labor, and of our lives. They call us thieves, yet it is not we who rip off billions of dollars every year through tax evasions, illegal price fixing, embezzlement, consumer fraud, bribes, kickbacks, and swindles. They call us bandits, yet every time most Black people pick up our paychecks we are being robbed. Every time we walk into a store in our neighborhood we are being held up. And every time we pay our rent the landlord sticks a gun into our ribs.
They call us thieves, but we did not rob and murder millions of Indians by ripping off their homeland, then call ourselves pioneers. They call us bandits, but it is not we who are robbing Africa, Asia, and Latin America of their natural resources and freedom while the people who live there are sick and starving. The rulers of this country and their flunkies have committed some of the most brutal, vicious crimes in history. They are the bandits. They are the murderers. And they should be treated as such. These maniacs are not fit to judge me, Clark, or any other Black person on trial in amerika. Black people should and, inevitably, must determine our destinies.
Every revolution in history has been accomplished by actions, al-though words are necessary. We must create shields that protect us and spears that penetrate our enemies. Black people must learn how to struggle by struggling. We must learn by our mistakes.
I want to apologize to you, my Black brothers and sisters, for being on the new jersey turnpike. I should have known better. The turnpike is a checkpoint where Black people are stopped, searched, harassed, and assaulted. Revolutionaries must never be in too much of a hurry or make careless decisions. He who runs when the sun is sleeping will stumble many times.
Every time a Black Freedom Fighter is murdered or captured, the pigs try to create the impression that they have quashed the movement, destroyed our forces, and put down the Black Revolution. The pigs also try to give the impression that five or ten guerrillas are responsible for every revolutionary action carried out in amerika. That is nonsense. That is absurd. Black revolutionaries do not drop from the moon. We are created by our conditions. Shaped by our oppression. We are being manufactured in droves in the ghetto streets, places like attica, san quentin, bedford hills, leavenworth, and sing sing. They are turning out thousands of us. Many jobless Black veterans and welfare mothers are joining our ranks. Brothers and sisters from all walks of life, who are tired of suffering passively, make up the BLA.
There is, and always will be, until every Black man, woman, and child is free, a Black Liberation Army. The main function of the Black Liberation Army at this time is to create good examples, to struggle for Black freedom, and to prepare for the future. We must defend ourselves and let no one disrespect us. We must gain our liberation by any means necessary.
It is our duty to fight for our freedom.
It is our duty to win.
We must love each other and support each other.
We have nothing to lose but our chains.
Creator
An entity primarily responsible for making the resource
Right edge has "Jackrabbit Press 464 Willamette Eugene Oregon" printed in black and a black stamp for the Assatta Shakur Defense Committee.
Source
A related resource from which the described resource is derived
Roz Payne
Publisher
An entity responsible for making the resource available
Center for Digital Research in the Humanities, University of Nebraska-Lincoln
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1973
Format
The file format, physical medium, or dimensions of the resource
poster
Angola
anti-imperialism
Anti-War
Assata Shakur
Attica Prison
Bedford Hills Prison
Black Liberation Army
black nationalism
Black Panther Party
Black Power
Borough of Manhattan Community College
Cambodia
City College of New York
Clark Squires
COINTELPRO
Cuba
Emmett Till
FBI
George Jackson
James Chaney
James Harper
JoAnne Deborah Byron
Jr.
Leavenworth Prison
Louis Chesimard
Malcolm X
Martin Luther King
Medgar Evers
MLK
Mozambique
Nat Turner
New Jersey
New York
North Carolina
Pigs
San Quentin Prison
Sing Sing Prison
South Africa
student movement
Sundiata Acoli
Third World liberation
Tupac Shakur
Vietnam
Vietnam War
Watergate
Werner Foerster
Wilmington
Zayd Malik Shakur