Rising Up Angry

“Rising Up Angry was a radical youth movement organized as a militant community organization based in working class communities in Chicago, parallelling but not part of the Weatherman Underground and Revolutionary Youth Movement currents in New Left politics at the end of the 1960s. They published a monthly newspaper also called Rising Up Angry from 1969 to 1975, describing itself as ‘a revolutionary organization committed to building a new man, a new woman, and a new world,’ with the masthead motto ‘To love we must fight.’ RUA took their name from the lyrics to the song ‘Shape of Things to Come‘ in the 1968 movie Wild in the Streets. The membership of the organization was of local blue-collar youth recruited out of the neighborhood subcultures called by the paper ‘greasers,’ a term used at the time to describe disaffected white youths stuck nostalgically in the subculture of the 1950s (see Grease). Members were mostly working class youths with union ties and socialist leanings who were disappointed with the efforts of perceived elitist and working class-disconnected groups like the Students for a Democratic Society. Rising Up Angry’s newspaper was distributed throughout the Chicago area by volunteers focusing their distribution on high schools, union halls, university campuses; mostly a youth market. It encouraged radical dissent and featured profiles of figures such as Malcolm X and Fred Hampton, John Dillinger, Bonnie and Clyde, reviews of the Rolling Stones, Stevie Wonder and The Wild Bunch, mixing political and cultural commentary with politically-oriented cartoons by Aaron Fagen and others, montages, discussions of motorcycles and custom cars, and histories of labor activism and guerrilla warfare.”
The Rag Blog – To love we must fight: Serving the people mind, body, and soul, 1969-’76
Rising Up Angry Resources
Radical Newspapers and ‘The Graphic Design of Urgency’

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John Pairman Brown – The Liberated Zone (1969)

“… By the mid-1960s, Berkeley, California had become a center of the ‘hippie’ culture drawing large numbers of transient youth to the area called South Campus, especially Telegraph Ave. A small group of area merchants and clergy of local churches, interested in reconciliation and conflict resolution, conceived the idea of ministry to the needs of these persons. The South Campus Community Ministry was incorporated in May 1967. Richard L. York, recent graduate of the Church Divinity School of the Pacific, and soon to be ordained in the Episcopal Church, was hired as Director. The SCCM quickly emerged as both an alternative social service agency and a ‘Free Church’ as it was called by the kids on the street (‘free’ designating ‘hippie’). The Free Church worked out of a house in the South Campus area which was also where York and his family lived. In the early months, with minimal staff, particularly Glee Bishop, and some volunteers, the Free Church began its ministry by reacting to the immediate needs of the street people. From this grew services such as: a switchboard; counseling and crisis intervention for problems and issues such as runaways, the draft, problems with drugs, and more; providing crash pads; and providing free meals. Eventually, the Free Church helped develop ‘spin off’ projects which took over these services, such as the Berkeley Runaway Center, the Berkeley Free Clinic, and the Berkeley Emergency Food Project. …”
Inventory of the Berkeley Free Church Collection, 1959-1976
Gone #4: Old Weird Telegraph Part Five – Church and State

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My Lai Massacre

“The Mỹ Lai Massacre was the Vietnam War mass killing and gang rape of between 347 and 504 unarmed Vietnamese civilians in South Vietnam on March 16, 1968. It was committed by U.S. Army soldiers from Company C, 1st Battalion, 20th Infantry Regiment, 11th Brigade, 23rd (Americal) Infantry Division. Victims included men, women, children, and infants. Some of the women were gang-raped and their bodies mutilated. Twenty-six soldiers were charged with criminal offenses, but only Lieutenant William Calley Jr., a platoon leader in C Company, was convicted. … The incident prompted global outrage when it became public knowledge in November 1969. The My Lai massacre increased to some extent domestic opposition to the U.S. involvement in the Vietnam War when the scope of killing and cover-up attempts were exposed. Initially, three U.S. servicemen who had tried to halt the massacre and rescue the hiding civilians were shunned, and even denounced as traitors by several U.S. Congressmen, including Mendel Rivers, Chairman of the House Armed Services Committee. … Mỹ Lai holds a special place in American and Vietnamese collective memory. A 2.4-hectare (5.9-acre) Sơn Mỹ Memorial dedicated to victims of the Sơn Mỹ (My Lai) massacre was created in the village of Tịnh Khê, Sơn Tịnh District, Quảng Ngãi Province of Vietnam. The graves with headstones, signs on the places of killing and a museum are all located on memorial site. The War Remnants Museum in Ho Chi Minh City has an exhibition on My Lai. Some American veterans chose to go on pilgrimage to the site of the My Lai massacre to heal and reconcile. On the 30th anniversary of the My Lai massacre (March 16, 1998), a groundbreaking ceremony for the My Lai Peace Park was held 2 km (1 mi) away from the site of the massacre. Many Vietnam era veterans, including Hugh Thompson, Jr. and Larry Colburn from the helicopter rescue crew, were at the ceremony. …”
New Yorker: The Scene of the Crime By Seymour M. Hersh (March 30, 2015)
New Yorker: Coverup—I By Seymour M. Hersh (January 22, 1972)
Democracy Now – My Lai Revisited: 47 Years Later, Seymour Hersh Travels to Vietnam Site of U.S. Massacre He Exposed (Video)
amazon: American Experience – My Lai, My Lai 4 – Seymour M. Hersh

Pham Thanh Cong, the director of the My Lai Museum, was eleven at the time of the massacre. His mother and four siblings died. “We forgive, but we do not forget,” he said. (New Yorker)

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Our Bodies, Ourselves

Our Bodies, Ourselves is a book about women’s health and sexuality produced by the nonprofit organization Our Bodies Ourselves (originally called the Boston Women’s Health Book Collective). First published in the late 1960s, it contains information related to many aspects of women’s health and sexuality, including sexual health, sexual orientation, gender identity, birth control, abortion, pregnancy and childbirth, violence and abuse and menopause. The most recent edition of the book was published in 2011. This informational book about women’s health advised women to claim their sexuality for their own pleasure, and included chapters about reproductive health and rights, and lesbian sexuality and independence. This was revolutionary because the move toward women’s active engagement with their actual sexual desires was contradicting the popular gendered myth of  ‘women as docile, and passive,’ and ‘men as active and aggressive’ in a sexual relationship. The book has been translated and adapted by women’s groups around the world and is available in 29 languages. Sales for all the books exceed four million copies. The New York Times has called the seminal book ‘America’s best-selling book on all aspects of women’s health’ and a ‘feminist classic’. The organization has also created two single-topic books. Our Bodies, Ourselves: Menopause was published in 2006, and Our Bodies, Ourselves: Pregnancy and Birth in 2008. … The book arose out of a 35-cent, 136-page booklet called Women and Their Bodies, published in 1970 by the New England Free Press, and written by twelve Boston feminist activists. The booklet was originally intended as the basis for a women’s health course, the first to be written for women by women. The health seminar that inspired the booklet was organized in 1969 by Nancy Miriam Hawley at Boston’s Emmanuel College. …”
Our Bodies, Ourselves: History
[PDF] Our Bodies, Ourselves
Research Guides – Schlesinger Library on the History of Women in America: Boston Women’s Health Book Collective
‘Our Bodies, Ourselves’ Turns 40: Why the Women’s Sexual Health Book Still Matters

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Music from Big Pink – The Band (1968)

Music from Big Pink is the debut studio album by the Band. Released in 1968, it employs a distinctive blend of country, rock, folk, classical, R&B, and soul. The music was composed partly in ‘Big Pink‘, a house shared by Rick Danko, Richard Manuel and Garth Hudson in West Saugerties, New York. The album itself was recorded in studios in New York and Los Angeles in 1968, and followed the band’s backing of Bob Dylan on his 1966 tour (as the Hawks) and time spent together in upstate New York recording material that was officially released in 1975 as The Basement Tapes, also with Dylan. The cover artwork is a painting by Dylan.The Band began to create their distinctive sound during 1967, when they improvised and recorded with Bob Dylan a huge number of cover songs and original Dylan material in the basement of a pink house in West Saugerties, New York, located at 56 Parnassus Lane (formerly 2188 Stoll Road). The house was built by Ottmar Gramms, who bought the land in 1952. The house was newly built when Rick Danko found it as a rental. Danko moved in along with Garth Hudson and Richard Manuel in February 1967. … Though widely bootlegged at the time, the recordings Dylan and the Band made were first officially released in 1975 on The Basement Tapes, and then released in their totality in 2014 on The Basement Tapes Complete. By the end of 1967 The Band felt it was time to step out of Dylan’s shadow and make their own statement. …”
The Band, Bob Dylan and Music From Big Pink – the full story
YouTube: Music from Big Pink 11 Videos

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SDS – Kirkpatrick Sale (1973)

“Social scientists and historians, not to mention college administrators and police agencies, continue to puzzle over how a student movement as radical as SDS could have emerged from the wizened anti-Communist League for Industrial Democracy, and then grown to such proportions without tight organization, and finally, despite a credo of democracy and humanity, degenerate into the bestiality of the Weathermen — all in one quite short decade. Sale does not solve the paradoxes; he does, however, provide a weighty history compiled from SDS files, interviews with former leaders, and New Left news sources. The presentation of SDS materials is unusually penetrating: reports, letters, and personal accounts are skillfully extracted and juxtaposed to catch the essence of factional fights, day-to-day operational crises, and the mushrooming of the student movement. Sale pinpoints the crucial 1966-67 shift to student syndicalism led by Calvert and Davidson which spurned solidarity with the civil rights movement as ‘fighting other people’s battles’ and demanded ‘a revolutionary self-identity.’ This shift eventually dissolved into counterculture affinities and the Weathermen. With fine irony Sale contrasts FBI and press slanders with the actual events, and records the hysteria and brutality of police-university attempts to squash the movement. But Sale’s view tends to be that of an SDS insider, exhibiting the strengths and weaknesses of that position. …”
Kirkus Reviews
W – Kirkpatrick Sale
[PDF] Kirkpatrick Sale – SDS

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Wes Wilson

“Wes Wilson is generally acknowledged as the father of the 60s rock concert poster. In 1968, he received an award from the National Endowment for the Arts for ‘his contributions to American Art.’ He pioneered what is now known as the psychedelic poster. … As Carr’s assistant and partner, Wes Wilson did the basic layout and design for most of the work Carr brought in through contacts in San Francisco’s North Beach coffeehouse poetry and jazz club scene. In 1965, Contact Printing was well-positioned to serve San Francisco’s burgeoning counterculture. It produced handbills for the San Francisco Mime Troupe fundraising benefits, the so-called ‘Appeal’ parties, as well as for the Merry Prankster Acid Tests. Both were linked to the newly reborn dance-hall venues through a series of benefit concerts, so it is no surprise that the dance-hall promoters soon found their way to the Contact press. Wes Wilson’s first poster was self-published. Done in 1965, it features a swastika within an American flag motif, a protest by Wilson to the ever-increasing U.S. involvement in the Vietnam War.  Wilson designed the handbill for the Trips Festival. He attended the event and was deeply moved by what he saw and experienced. Wes Wilson had also been doing the posters for promoter Chet Helms’ shows at the Straight Theatre. It was Wilson who designed the original logo for the Family Dog and who did the posters for the brief series of Family Dog shows at the Fillmore Auditorium, and then for the first series of Family Dog shows at the Avalon Ballroom. Soon he was doing that work plus doing the posters for Bill Graham’s shows at the Fillmore. …”
Classic Posters
Psychedelic Poster Pioneer Wes Wilson on The Beatles, Doors, and Bill Graham
Smithsonian American Art Museum
When Art Rocked: San Francisco Music Posters, 1966-1971
Wes Wilson

Posted in Bill Graham, Counterculture, Grateful Dead, Jazz, Merry Pranksters, Poetry, Street theater, The Beatles, The Fugs, Vietnam War | Tagged , , , , , , , , , | Leave a comment