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Work for the People (or Forget about Fred Hampton) "If you ever think about me, & if you ain’t gonna do no revolutionary act, forget about me. I don’t want myself on your mind if you’re not gonna work for the people." — Fred Hampton Work/Play, More Power to the People Introduction On August 23rd, 1968, the eve of the Democratic National Convention in Chicago, members of the Youth International Party nominated a pig for president of the United States. The ring leaders of this gesture, the Chicago Seven, were put on trial for disorderly conduct in what has since become one of the most iconic farces of criminal justice in United States history. On August 23rd, 2018, the trial was restaged at Maria’s Packaged Goods & Community Bar in Bridgeport. 50 years after her nomination, Pigasus flew again. So too would the memories, lessons, riots, murders, celebrations, & mournings of her age. A few blocks down Morgan Street, a small group of gallerists were planning their own tribute to the year nineteen hundred & sixty-eight. Local & national artists & revolutionaries occupied the Co-Prosperity Sphere via body & object from August 31st to September 30th - a month of unearthing pasts, undermining presents, & conjuring futures. This document hopes to bring these objects & happenings into one of these futures: one where they are unnecessary - redundant - dated; a future which learns from futures past & present; a prescient future; & a future which allows anniversaries to become celebrations. - Luke Cimarusti Participating Artists: Brandon Alvendia, Sofia Córdova, Jim DeRogatis, Jim Duignan, Chris Duncan, Lise Haller Baggesen, Robby Herbst, the Justseeds Artists’ Cooperative, Jason Lazarus, Jesse Malmed, Nicole Marroquin, Jennifer Moon, Josh Rios + Anthony Romero + Matthew Joynt, Emilio Rojas, Dan S. -
EL JUICIO DE LOS 7 DE CHICAGO (The Trial of the Chicagos Seven) Dir
EL JUICIO DE LOS 7 DE CHICAGO (The trial of the Chicagos seven) DIR. AARON SORKIN SINOPSIS En 1969 se celebró uno de los juicios más populares de la Historia de Estados Unidos, en el que siete individuos fueron juzgados tras ser acusados de conspirar en contra de la seguridad nacional. Este hecho traería una serie de conflictos sociales (manifestaciones, movimientos ciudadanos) que pasarían a la posteridad en una época de grandes cambios en todos los niveles del pueblo norteamericano. FICHA ARTÍSTICA Tom Hayden .......................................................................................................... EDDIE REDMAYNE Rennie Davis ....................................................................................................................ALEX SHARP Abbie Hoffman ..............................................................................................SACHA BARON COHEN Jerry Rubin ..............................................................................................................JEREMY STRONG David Dellinger .............................................................................................. JOHN CARROLL LYNCH Bobby Seale ................................................................................................YAHYA ABDUL-MATEEN II FICHA TÉCNICA Dirección .................................. AARON SORKIN Distribuidora ........................... Netflix/TriPictures Guion....................................... AARON SORKIN Género .........................................Drama/Thriller Producción -
Fighting Injustice
Fighting Injustice by Michael E. Tigar Copyright © 2001 by Michael E. Tigar All rights reserved CONTENTS Introduction 000 Prologue It Doesn’t Get Any Better Than This 000 Chapter 1 The Sense of Injustice 000 Chapter 2 What Law School Was About 000 Chapter 3 Washington – Unemployment Compensation 000 Chapter 4 Civil Wrongs 000 Chapter 5 Divisive War -- Prelude 000 Chapter 6 Divisive War – Draft Board Days and Nights 000 Chapter 7 Military Justice Is to Justice . 000 Chapter 8 Chicago Blues 000 Chapter 9 Like A Bird On A Wire 000 Chapter 10 By Any Means Necessary 000 Chapter 11 Speech Plus 000 Chapter 12 Death – And That’s Final 000 Chapter 13 Politics – Not As Usual 000 Chapter 14 Looking Forward -- Changing Direction 000 Appendix Chronology 000 Afterword 000 SENSING INJUSTICE, DRAFT OF 7/11/13, PAGE 2 Introduction This is a memoir of sorts. So I had best make one thing clear. I am going to recount events differently than you may remember them. I will reach into the stream of memory and pull out this or that pebble that has been cast there by my fate. The pebbles when cast may have had jagged edges, now worn away by the stream. So I tell it as memory permits, and maybe not entirely as it was. This could be called lying, but more charitably it is simply what life gives to each of us as our memories of events are shaped in ways that give us smiles and help us to go on. I do not have transcripts of all the cases in the book, so I recall them as well as I can. -
Welcome to Chicago
doi: https://doi.org/10.26262/exna.v1i2.6738 Welcome to Chicago Jonathan Gross DePaul University, U.S.A. __________________________________________________________________________________________ Abstract Mic One’s 1998 version of Graham Nash’s 1971 hit has been much imitated by other rap artists, including Gangsta Nation and Beanie Sigel. This essay explores the politics of appropriation and sampling, arguing that musical borrowings work both ways. The outpouring of grief that attended Mic One’s death in Norridge contrasts with the CNN special entitled Chicagoland. Rap music’s local knowledge, as shown by graffiti, murals, and rap music offers a counter narrative to more widely disseminated news reports such as “Chicagoland” that purport to represent the windy city. Keywords: white rap, “Welcome to Chicago,” Chicagoland, CNN, Arts Education, 1969. _________________________________________________________________________________________ Fig. 1. https://www.youtube.com/watch?v=EbCTgwZeDZc Ex-centric Narratives: Journal of Anglophone Literature, Culture and Media; Issue 2, 2018; eISSN: 2585-3538. ©2018 The Authors. This is an open-access article distributed under the terms and conditions of the Creative Commons Attribution ShareAlike 4.0 International License (CC-BY-SA 4.0). See http://creativecommons.org/licenses/by-sa/4.0/. Welcome to Chicago 145 This essay explores the career of rapper Mic One, placing his suicide in the context of a white underground rap movement in Chicago.1 Offering a close reading of Jacob Parson’s mural commemorating Mic One’s death, I argue that Mic One and the DJ with whom he worked, Chad Sorenson (also known as Risky Bizness), utilized the history of Chicago, particularly Graham Nash’s 1971 hit single, “Welcome to Chicago,” to repurpose Nash’s lyrics for Mic One’s 1998 album, “Who’s the Illest?” (Nelson). -
Theater in the Courtroom, the Chicago Conspiracy Trial
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarly Commons at Boston University School of Law Boston University School of Law Scholarly Commons at Boston University School of Law Faculty Scholarship 2005 Theater in the Courtroom, the Chicago Conspiracy Trial Pnina Lahav Follow this and additional works at: https://scholarship.law.bu.edu/faculty_scholarship Part of the Law Commons BOSTON UNIVERSITY SCHOOL OF LAW WORKING PAPER SERIES, PUBLIC LAW & LEGAL THEORY WORKING PAPER NO. 02-16 THEATER IN THE COURTROOM: THE CHICAGO CONSPIRACY TRIAL PNINA LAHAV This paper can be downloaded without charge at: The Boston University School of Law Working Paper Series Index: http://www.bu.edu/law/faculty/papers The Social Science Research Network Electronic Paper Collection: SSRN_Location Pnina Lahav, Theater Page 1 9/30/2002 Theater in the Courtroom: The Chicago Conspiracy Trial Pnina Lahav © Professor of Law, Boston University [Please do not quote, cite, or circulate without author's permission.] "We are not running a circus. This happens to be a court." Judge Julius J. Hoffman, In the matter of David T. Dellinger et al, 461 F.2d 389, 424 (1972) (Judge Hoffman's statement to Abbie Hoffman on October, 23, 1969). "This was an example of guerrilla theater." Abbie Hoffman, In the matter of David T. Dellinger et al, 370 F.Supp. 1304. Trial transcript, p.2838. “In its fusion with the American idiom our ever-changing language has rarely been richer, and yet it does not seem that the word is the same tool for dramatists that it once was. -
El Juicio De Los 7 De Chicago Screenbox
EL JUICIO DE LOS 7 DE CHICAGO SCREENBOX FICHA NÚM. 2.304 T.O.: THE TRIAL OF THE CHICAGO 7 NACIONALIDAD: ESTADOS UNIDOS Estreno Screenbox: 02-10-2.020 DURACIÓN: 129’ Estreno España: 02-10-2.020 AÑO: 2.020 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA Tom Hayden: Eddie Redmayne SINOPSIS Rennie Davis: Alex Sharp En 1969 se celebró uno de los Abbie Hoffman: Sacha Baron juicios más populares de la Historia Cohen de Estados Unidos, en el que siete Jerry Rubin: Jeremy Strong individuos fueron juzgados tras ser David Dellinger: John Carroll acusados de conspirar en contra de Lynch la seguridad nacional. Este hecho Bobby Seale: Yahya Abdul-Ma- traería una serie de conflictos so- teen II ciales (manifestaciones, movimien- William Kunstler: Mark Rylance tos ciudadanos) que pasarían a la posteridad en una época de gran- FICHA TÉCNICA des cambios en todos los niveles Director: Aaron Sorkin del pueblo norteamericano. Guion: Aaron Sorkin Productores: Stuart M. Besser, FILMOGRAFÍA DEL DIRECTOR: Matt Jackson, Marc Platt, AARON SORKIN (Nueva York, Tyler Thompson Estados Unidos, 09-06-1.961) Música: Daniel Pemberton -El Juicio de los 7 de Chicago Fotografía: Phedon Papamichael (2.020) Montaje: Alan Baumgarten -Molly's Game (2.017) AARON SORKIN LLAMA A LA REVOLUCIÓN EN LAS tres dimensiones y como actor da mucha seguridad estar CALLES CON “EL JUICIO DE LOS 7 DE CHICAGO” con alguien tan brillante”, reconocía Sacha Baron Cohen, (publicado por Pepa Blanes en cadenaser.com) que es uno de los protagonistas de esta cinta. Interpreta a Abbie Hoffman, un judío hippie y activista por los derechos Hollywood está en campaña electoral. -
Hippie Films, Hippiesploitation, and the Emerging Counterculture, 1955-1970
HIPPIE FILMS, HIPPIESPLOITATION, AND THE EMERGING COUNTERCULTURE, 1955- 1970 Britton Stiles Rhuart A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2020 Committee: Cynthia Baron, Advisor Dawn Anderson Graduate Faculty Representative Angela Ahlgren Bradford Clark Johnny Walker © 2020 Britton Stiles Rhuart All Rights Reserved iii ABSTRACT Cynthia Baron, Advisor The 1960s was a turbulent time in the United States. The war in Vietnam and the assassinations of leading progressive figures created great cultural anxiety. One response to the divisive war and the rightwing violence was the Hippie movement, which advocated peace, love, and social equality. In American cinema, films touting their cultural relevance or appeal for the lucrative youth market came to include representations of Hippies. Initially, mainstream films failed to capture Hippie style and ideology, but subsequently featured sympathetic portrayals of Hippies. By comparison, exploitation films depicted stylistic elements associated with Hippies even at the outset, but offered sensationalized characterizations of Hippies throughout the 1960s. The study’s primary method is textual analysis of films, reviews, marketing materials, and print documents ranging from mainstream news coverage to counterculture manifestos. To provide a context for analyzing the various trends in cinematic representations of Hippies, the study examines cultural events and filmmaking patterns that led to and sustained the Hippie movement and its representation on screen. Studying depictions of the Hippie movement on-screen sheds new light on how dominant American society viewed the Hippie counterculture. Most on-screen representations of Hippies reflect the views of the country’s dominant culture, because, in contrast to other Hippie art forms, Hippie films were produced, distributed, and exhibited almost exclusively by companies outside the Hippie movement. -
Interview with Dan Walker # ISG-A-L-2007-015 Interview # 1 of 3: August 21, 2007 Interviewer: Mark Depue
Interview with Dan Walker # ISG-A-L-2007-015 Interview # 1 of 3: August 21, 2007 Interviewer: Mark DePue COPYRIGHT The following material can be used for educational and other non-commercial purposes without the written permission of the Abraham Lincoln Presidential Library. “Fair use” criteria of Section 107 of the Copyright Act of 1976 must be followed. These materials are not to be deposited in other repositories, nor used for resale or commercial purposes without the authorization from the Audio-Visual Curator at the Abraham Lincoln Presidential Library, 112 N. 6th Street, Springfield, Illinois 62701. Telephone (217) 785-7955 DePue: Today is August 21, 2007. My name is Mark DePue. I’m the Director of Oral History for the Abraham Lincoln Presidential Library. I’m here with Governor Dan Walker. We’re in his condominium in Rosarito, Mexico, and we have a gorgeous view of the ocean front here. Governor Walker, welcome. Walker: I’m delighted to have you here. DePue: I think we’re probably going to have a lot to talk about. I know that I have plenty of questions to ask you, but I wanted to start with our standard questions. Tell me a little about your background and your parents, if you would. Walker: My parents? DePue: Yes. Walker: My parents are Lewis Wesley Walker, and Virginia May Lynch Walker. L-y-n-c- h, that’s her maiden name. They were both Texans. My father was East Texas, the Piney Woods country it’s called, not too far from the Louisiana border. My mother was from the wide open spaces of Texas, more in the central part of the state. -
Interview with James Thompson # IST-A-L-2013-054 Interview # 1: July 17, 2013 Interviewer: Mark Depue
Interview with James Thompson # IST-A-L-2013-054 Interview # 1: July 17, 2013 Interviewer: Mark DePue COPYRIGHT The following material can be used for educational and other non-commercial purposes without the written permission of the Abraham Lincoln Presidential Library. “Fair use” criteria of Section 107 of the Copyright Act of 1976 must be followed. These materials are not to be deposited in other repositories, nor used for resale or commercial purposes without the authorization from the Audio-Visual Curator at the Abraham Lincoln Presidential Library, 112 N. 6th Street, Springfield, Illinois 62701. Telephone (217) 785-7955 Note to the Reader: Readers of the oral history memoir should bear in mind that this is a transcript of the spoken word, and that the interviewer, interviewee and editor sought to preserve the informal, conversational style that is inherent in such historical sources. The Abraham Lincoln Presidential Library is not responsible for the factual accuracy of the memoir, nor for the views expressed therein. We leave these for the reader to judge. DePue: Today is Wednesday, July 17, 2013. My name is Mark DePue; I’m the director of oral history with the Abraham Lincoln Presidential Library. Today, I’m in downtown Chicago, Illinois, and I’m sitting across the table from Gov. Jim Thompson. Good afternoon, Governor! Thompson: Good afternoon, Mark. DePue: We’ve been talking about doing this for a long time, (Thompson laughs) so it’s about time we get started. I always like to get a little bit of background, and in your case I’m hoping to get a lot of background, and have you talk about growing up, your memories about the family, and things like that. -
The Repression and Harassment of Rock and Folk Music During the Long Sixties Daniel A
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 1-11-2013 “Must Be the Season of the Witch”: The Repression and Harassment of Rock and Folk Music during the Long Sixties Daniel A. Simmons University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Simmons, Daniel A., "“Must Be the Season of the Witch”: The Repression and Harassment of Rock and Folk Music during the Long Sixties" (2013). Doctoral Dissertations. 19. https://opencommons.uconn.edu/dissertations/19 “Must Be the Season of the Witch”: The Repression and Harassment of Rock and Folk Music during the Long Sixties Daniel Andrew Simmons, Ph.D. University of Connecticut, 2013 Between the mid-1960s and early-1970s, the genres of folk and rock music were often culturally subversive forces that, at times, supported such countercultural mores as illegal drug use, obscenity, and a hedonistic sexuality which offended some governmental agencies and law enforcement authorities in the United States. Although the countercultural subversion frequently attributed to such music was neither the same as nor necessarily inclusive with revolutionary, leftist political ideologies and movements, such music commonly provided the soundtrack and inspiration for various counter- hegemonic political groups as the antiwar movement, the Youth International Party, the Black Panther Party, and the Weather Underground (all of which challenged government authorities which they condemned as imperialist, racist, and oppressive). Consequently, a variety of officials, including FBI agents, the U.S. Military, and local law enforcement officers, including municipal narcotics and vice squads, instituted various forms of repression or harassment against certain musical performers, promoters, or concertgoers.