SOCI-A365-051 THE SIXTIES (Spring, 2009)

Class Time: 6:20-9:05 pm, Tuesday Evenings, MO 527 Professor: Dr. Anthony Ladd

Office: Dept. of Sociology, MO 537-D Hours: M/W/R 1:00-3:00pm and by appt. Phone: 865-3640 Email: [email protected]

Mothers and fathers across the land/please don’t criticize what you can’t understand / Your sons and daughters are beyond your command/ your old world is rapidly aging/ So get out of the new world if you can’t lend a hand/ ‘cause the times they are a changing. --Bob Dylan

We want the world and we want it now. --The Doors

It’s always the old to lead us to the / Always the young to fall/ Now look at all we won with a saber and a gun/ Tell me, is it worth it all?

--Phil Ochs

They paved paradise and put up a parking lot.

--Joni Mitchell

All you need is love. --The Beatles COURSE DESCRIPTION

This course offers a social history and critical analysis of one of the most turbulent, complex, and watershed decades in American history—the 1960s. From its origins in the Cold culture of the 1950s, to the end of the in 1975, the people, events, ideas, and innovations of the sixties significantly changed the sociopolitical structure and cultural values of the , as well as many aspects of the larger world. Above all, the 1960s were a defining era that remains a huge part of our lives today in countless ways and with continuing impacts.

COURSE LEARNING OBJECTIVES

My goals for this course, among others, are that you:

• Gain an overview of some of the key social movements and patterns of social change that characterized the mid-20th century of the U.S./world and how they were reflected in the attitudes, events, innovations, politics, music, literature, art, technology, and institutions of the time.

1 • Appreciate the ways in which significant portions of society--particularly young people and college students like yourself--were dramatically changed forever by the events of the period.

• Appreciate the numerous ways in which the larger cultural and political values of the nation were similarly changed by the events of the period.

• Understand the many political, economic, social, and cultural legacies of the 1960s and the debt we owe to those activists and ordinary citizens who helped pave the way for many of the freedoms and privileges that we take for granted today.

• Gain a strong experiential feel for the spirit, interpersonal sensibilities, and feelings of political/social empowerment that millions of people developed during the period and its aftermath.

• Develop your ability to think more critically about the institutional sources of power in society, their role in propagating various forms of social inequality, and the role of organized protest and resistance in protecting democractic/constitutional rights.

• Develop a stronger “Sociological Imagination” by learning the extent to which virtually every biographical aspect of your life today--as well our larger socio-political structure--has roots in the historical events of the 1960s.

ASSIGNMENTS AND GRADES

Your course grade will consist of the following requirements:

• 3 in-class exams (30% each) = 90% • Personal Interview/Film Critique Paper = 10%

• Potential extra points can be gained for attending announced community events and writing a 2-3 page summary/reaction paper to be turned in the following class. Additional points can also be gained for outstanding attendance and participation throughout the semester.

Course grades will be determined by the following standard point/percentage categories:

A = 90-100 % B+ = 88-89% B = 80-87% C+ = 78-79% C = 70-77% D+ = 68-69% D = 60-67% F = Below 60%

2 ATTENDANCE AND EXAM POLICY

Class attendance is mandatory if you expect to do well in this course. You are responsible, should you be absent or present, for whatever is assigned and presented in class, be it readings, lectures, stories, speakers, films, or handouts.

Taking make-up tests or submitting papers late without penalty will only be allowed in the event of an immediate, serious illness or personal emergency/situation that physically prevents you from attending class. If such an emergency should take place, you must notify me in person or by telephone/email before the end of the day of class, stating the problem and specifically when you will be in touch with me about making-up the assignment. Failure to notify me beforehand about a missed written assignment or test will constitute an “unexcused late grade” and will result in a full grade reduction from the assigned grade for each class day (M-F) past the due date the paper is turned in or the test taken. (Keep in mind, however, that a late F paper/test is much better than earning a 0 !) No after-the-fact explanations or rationalizations will be allowed—NO EXCEPTIONS! In other words, just like a job in the “real” world, show good judgement and responsibility toward your work and educational commitments and communicate with me about whatever problems you may have regarding coursework.

This course will greatly educate you about an important period in American history and its legacies today, but doing well in it will require strong attention to the basics for every class--careful reading and review, being prepared for class discussion, attentiveness, curiosity, and good note-taking in class, as well as solid thinking, writing, and proofreading skills for your papers. Like anything else in life, you will get out of the class as much as you put into it and you will earn the grade you receive. Let’s all work together to make it a great class and learning experience!

UNIVERSITY POLICY ON STUDENT DISABILITIES AND CONDUCT

• Students with disabilities who wish to receive accomodations in this class should contact Disabilities Services at 865-2990 as soon as possible so that warranted accomodations can be implemented in a timely fashion. Disability Services are located in the Academic Resource Center, Monroe Hall 405.

• Students are expected to conduct themselves in the classroom in compliance with university regulations on civility, cheating, and plagiarism. For information, see the University Bulletin.

Personal Class Policies and Suggestions

• It is a privilege to attend college and to learn. Take your education seriously and treat the classroom experience and your classmates with respect. The classroom is NOT the place to check your phone or text messages, read the newspaper, or work on other assignments. Please turn off all cell phones and pagers and remove your baseball caps while in class.

• Arrive to class on time and do not begin packing up your belongings or stand up to leave until I dismiss class. Please visit the restroom and water fountain before class starts.

3 • If you bring a beverage can into class, take it out with you—along with any used paper—and recycle them in Loyola’s can/paper bins on campus. Please dispose of any other nonrecyclable trash around you in the trash can when you leave.

• • Make sure you are technically proficient with the computer/software and printer that you chose to use for your written assignments. Failure to properly “save” your work or neatly print out your papers is not an acceptable excuse for turning in late work!

• Words are a beautiful thing so treat the English language with respect. Always take time to write thoughtfully, clearly, and proofread your writing many times before you turn in an assignment. Use the WAC lab or Academic Resource Center staff if you need assistance with your assignments—as most students do.

• • By the same token, think before you speak and be clear and articulate in your verbal communications. Avoid “mallspeak” and today’s street talk, e.g., filling up your communication interactions with empty words such as “like,” “uh,” “you know,” “whatever,” “cool,” “really,” etc. Say what you mean and mean what you say. For the rest of your life, people will judge you by what they first hear out of your mouth.

• Socrates said “The unexamined life is not worth living.” Formulate questions about whatever you read or learn and ask them in class. The only “stupid” question is the one not asked.

• Do not cheat. It will only end in bitterness

• • If for any reason you find yourself having a problem with the class material, my teaching style, other students, or any other issue that is negatively affecting your enjoyment of the course, please make an appointment to come talk to me about your issues so we can try to solve them together before they impact your grade.

• Finally, read a newspaper every day, a good book every month or so, contemplate the world around you, and CARPE DIEM!!! (See the films “Dead Poets Society” and “Finding Forrester” for some excellent academic role models.)

REQUIRED TEXTS

• The Sixties (2007) by Terry H. Anderson

• From Camelot To Kent State: The Sixties Experience in the Words of Those Who Lived It (1987) by Joan Morrison and Robert K Morrison

• The Spitting Image: Myth, Memory, and The Legacy of Vietnam (1998) by Jerry Lembcke

NOTE: You will need to bring your textbooks to class each week as we use them for reference and discussion.

4 DATE/ WEEK/ TOPICS AND READING ASSIGNMENTS

1/13 1 COURSE INTRODUCTIONS

Quiz: How Much Do You Know About The Sixties? Overview of the Sixties Decade and its Place in U.S. History Film Clip: “The Sixties”

1/20 2 THE COLD WAR CULTURE OF THE 1950s: SEEDS OF THE SIXTIES

Readings: Anderson: Preface and Introduction, pp. 1–18 Morrison & Morrison: The Sixties Experience, pp. xvii-xxiv; Harris Wofford, pp. 3-5

Film: “Seeds of the Sixties”

1/27 3 THE EARLY CIVIL RIGHTS MOVEMENT AND THE BIRTH OF STUDENT ACTIVISM

Readings: Anderson: Chapter 1 & Chapter 2, pp. 45-55 Morrison & Morrison: Bill & Susan Montfort, pp. 9-13 Joseph Wiley, pp. 14-19 Mary Ward, pp. 23-24 John Lewis, pp. 25-36 Bob Zellner, pp. 47-55

Films: “A Time for Justice” & “We Can Change the World”

2/3 4 STUDENTS FOR A DEMOCRATIC SOCIETY (SDS) AND THE NEW LEFT

Readings: Morrison & Morrison: Nancy Gorrell, pp. 159-160 Amy Ross, pp. 234-239; Carl Oglesby, pp. 297-307

Film: “Rebels With A Cause” Study Guide for FIrst Exam

2/10 5 THE BERKELEY FREE SPEECH MOVEMENT

Readings: Anderson: Chapter 2, pp. 55-58 Morrison & Morrison: Jack Weinberg, pp. 225-233

Film: “Berkeley in the 60s: Confronting the University”

FIRST EXAM (Weeks 1-5)

5 2/17 6 ORIGINS OF THE VIETNAM WAR: STRANGERS IN A STRANGE LAND

Readings: Anderson: Chapter 2, pp. 58-72; Chapter 3, pp. 73-86 Morrison & Morrison: Jim Hoagland, pp. 59-60 Dave Baker, pp. 61-70 Doug Simon, pp. 71-73 Clarence Fitch, pp. 76-81 Steve Wilson, pp. 82-83 Danny Friedman. pp. 84-89 Irma & Harold Moore, pp. 90-91

Films: “In A Dark Time;” “LBJ Goes to War”

2/24 MARDI GRAS HOLIDAY--NO CLASS

3/3 7 THE WAR AT HOME: FROM PROTEST TO RESISTANCE

Readings: Anderson: Chapter 3, pp. 87-100 Morrison & Morrison: Michael Carlebach, pp. 96-97 William Sloan Coffin, pp. 98-106 David Miller, pp. 107-111 Peter Matusewitch, pp. 112-118 Lorraine Brill, pp. 119-120 Dee Knight, pp. 121-129 Philip Berrigan, pp. 144-151 Elizabeth McAlister, pp. 152-156

Films: “Rebels With a Cause”; “Platoon” Music: “Draft Dodger Rag” – Phil Ochs; “Alice’s Restaurant” - Arlo Guthrie

3/10 8 THE VIETNAM VETERAN: MYTHS AND MEMORIES

Reading/Class Discussion over The Spitting Image: Myth, Memory, and the Legacy of Vietnam by Jerry Lembcke

Film: “Sir, No Sir!”/Class Discussion & Analysis

6 3/17 9 THE COUNTERCULTURE AND THE GENERATION GAP

Readings: Anderson: Chapter 5 Morrison & Morrison: Jason Zapator, pp. 197-201 Jane DeGennaro, pp. 205-209 Bruce Hoffman, pp. 210-218 Alex Forman, pp. 219-221

Films: “The Summer of Love” “Woodstock” Music: Assorted songs by Hendrix, Dylan, Doors, Hair, CS&N, & Jefferson Airplane

Study Guide for Second Exam

3/24 10 1968: RIP TIDES AND TURNING POINTS

Readings: Anderson: Chapter 4 Morrison & Morrison: Orest Allen Ranum, pp. 267-269 Nancy Biberman, pp. 270-276

Films: “1968: The Year That Changed a Generation” “The Eight Conspiracy Trial”

SECOND EXAM (Weeks 6-10)

3/31 11 THE SPLINTERING OF THE NEW LEFT

Readings: Anderson: Chapter 6, pp. 149-158 Morrison & Morrison: David Hawk, pp. 130-136 Joan Libby, pp. 137-140 William Sampol, pp. 141-143 Jeff Jones, pp. 308-315 Bill Ayers, pp. 316-321 Eldridge Cleaver, pp. 322-325

Film: “The Weather Underground”

4/7 EASTER/SPRING BREAK--NO CLASS

7 4/14 12 MOVEMENT IMPLOSION AND NEW FORMS OF MILITANCY

Readings: Anderson: Chapter 6, pp. 158-176 Morrison & Morrison: Lynn Ferrin, pp. 174-180 Annie Popkin, pp. 181-185 Marilyn Laurie, pp. 190-194 Tom Grace, pp. 329-335 Leone Keegan, pp. 336-338

Film: “Picking Up the Pieces”

4/21 13 THE CLIMAX AND DEMISE OF THE SIXTIES

Readings: Anderson: Chapter 7 Morrison & Morrison: Craig McNamara, pp. 161-170 Jerry Rubin, pp. 279-291 Abbie Hoffman, pp. 292-294

Films: “Berkeley in the 60s: Confronting History”; “Rebels With a Cause;” “The Fog of War”

PERSONAL INTERVIEW/FILM CRITIQUE PAPER DUE IN CLASS

4/28 14 LEGACIES OF THE SIXTIES

Readings: Anderson: “Legacies,” pp. 202-213 Film: “Legacies of the Sixties” Study Guide for Final Exam/Course Evaluation

5/5 FINAL EXAMINATION (Weeks 11-15) Tuesday, May 5th, 7-9pm

8 Assignment Option #1--CONNECTING HISTORY AND BIOGRAPHY: PERSONALLY INTERVIEWING SOMEONE FROM THE 1960s GENERATION

After some initial research and personal inquiries, carefully select an adult, preferably someone born in the U.S. between 1940 and 1955, who you think would make an interesting person to interview in terms of how their life was significantly impacted by (and/or they contributed to) some of the key political/cultural events of the 1960s. Examples might include someone who was in high school or college during the era, a Vietnam veteran, an activist, a professional, a musician, an artist, or just an “ordinary” citizen who witnessed and experienced the times in their own way.

The interview should be conducted in person and tape-recorded--along with extensive notes--if at all possible, but a private letter or email interview is an acceptable text to work from if a personal interview is not possible. Once the interview is recorded, you will need to accurately transcribe both your questions and the interview narrative and write it up in a formal Question/Answer (Q&A) format for all the information relevant to points 2 and 3 below, with point 1 serving as an introduction to the interview and point 4 serving as your personal conclusion and reflection. See published interviews in the print media for examples of how to construct a compelling interview of your own.

Your paper should be creatively and clearly titled, on a title page with full headings, 5/1.5 spaced typed pages in length, and include at least the following baseline information based on your questions and follow-ups (the rest is up to you). Be sure and number the sections as you answer them, as well as the pages of your paper.

1) A brief biographical sketch of your interview subject, why you chose this particular person for the assignment in terms of their relevance for the 60s, and when and where the interview took place.

2) An overview of their life story with a focus on their “coming of age” years during the 60s era. What do they remember most about that time? What historical events, experiences, people, ideas, etc. do they consider to have been the most significant and formative in their own personal development? What do they remember as some of their best and worst moments?

3) How do they see their life and who they are today (their politics, values, occupation, lifestyle, cultural tastes, etc.) as a product of growing up and living in the 1960s? What have been the “legacies and lessons” of the era for them?

4) How has interviewing this person and learning about their life helped you better understand the 1960s, as well as your own life and era today?

9 Dr. Anthony Ladd Dept. of Sociology FILM CRITIQUE FORMAT

Below are the guildlines to be followed for the film critique assignment for “The Sixties.” Using these criteria for the writing of your paper should enable you to synthesize and organize the film’s contents more clearly, as well as improve the substance and quality of your writing. It will also help you to examine a number of published film reviews in the print media for examples of how to professionally review a film.

All papers should include a creative and clear title that includes the name of the film, on a title page with full headings, and should be 5 /1.5 spaced typed pages in length. Be sure and number the sections as you answer them, as well as the pages of your paper.

I. Briefly Describe the Type of Film Chosen

What is the title, director, and year of release? What kind of film is this (e.g. documentary, commercial, independent) and what were the director’s intentions in making this film? Who starred in the film? What awards, if any, or acclaim did it generate when it was released? What is the significance of the musical score or soundtrack, if any, for the film?

II. Summarize the Overall Contents of the Film

Briefly (in no more than 2 or 3 paragraphs) describe the general setting, time, contents, plot, characters, purpose, conclusions etc. of the film in such a way as to provide the reader with an adequate overview of what the film is about.

III. Identify and Critique Three Major Themes (related to the 60s era) of the Film

Clearly identify and analyze three (3) themes/arguments/theoretical insights etc. that you feel best represents the heart of the film’s focus and character regarding its portrayal of some important aspects of the 1960s. This section should constitute the majority of your paper and should be thoroughly and intelligently argued.

IV. Personally React to the Film

From your individual and subjective point of view, creatively describe your reaction to the film. What did you learn? How did it make you feel? What do you think were the film’s strengths and shortcomings? What did you think of its artistic value? How does it relate to the subject matter of the course? Would you recommend it and why? Etc.

Remember:

• Never use sexist or gender-specific language as a collective reference to people (e.g. man, he, his mankind, etc.); always use third person-neutral and inclusive terminology.

10 Assignment Option #2--RECOMMENDED FILMS ABOUT THE 1960s

Political Change

Chicago 10 (2008) Pete Seeger: The Power of Song (2007) The U.S. vs. John Lennon (2006) Bobby (2006) Two Days in October (2005) Good Night and Good Luck (2005) The Pentagon Papers (2004) Path to War (2003) The Weather Underground (2003) Thirteen Days (2001) Steal This Movie (2000) Dr. Strangelove (1964) Medium Cool (1969) Apocalypse Now (1979) Full Metal Jacket (1987) Platoon (1986) Born on the Fourth of July (1989) Coming Home (1978) The Deer Hunter (1978) Alice’s Restaurant (1969) The Revolutionary (1970) Getting Straight (1970) We Were Soldiers (2003) The Fog of War (2003) All the President’s Men (1977) Eyes on the Prize (1987: 6-part documentary) Boycott (2001) Kent State (1987) Malcolm X (1992) Four Little Girls (1997) Mississippi Burning (1988) Ghosts of Mississippi (1992) The Long Walk Home (1990) Citizen Cohn (1992)

Cultural Change

Milk (2008) Cadillac Records (2008) An Unmarried Woman (1973) Factory Girl (2006) Diary of a Mad Housewife (1970) Glory Road (2005) Hair (1979) Standing in the Shadow of Motown (2002) Rebel Without a Cause (1955) The Graduate (1968) Far From Heaven (2002) The Doors (1991) Woodstock (1970) A Hard Day’s Night (1964) The Monterrey Pop Festival (1968) Easy Rider (1969) Joe (1970) 11

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