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Conservative Women's Activism from Anticommunism to the New Christian Right
Hollins University Hollins Digital Commons Undergraduate Honors Theses Honors Theses 2021 Mothers, Morals, and Godly Motivations: Conservative Women’s Activism from Anticommunism to the New Christian Right Kaitlyn C. Phillips Follow this and additional works at: https://digitalcommons.hollins.edu/ughonors Part of the United States History Commons, and the Women's History Commons MOTHERS, MORALS, AND GODLY MOTIVATIONS: CONSERVATIVE WOMEN’S ACTIVISM FROM ANTICOMMUNISM TO THE NEW CHRISTIAN RIGHT A thesis submitted in partial fulfillment of the degree of Bachelor of Arts Department of History Hollins University May 2021 By Kaitlyn C. Phillips TABLE OF CONTENTS INTRODUCTION: 1 CHAPTER ONE: The Minute Women: Anticommunist Women, Domesticity and Conservative Unity 8 CHAPTER TWO: Phyllis Schlafly: The Privileged Status of Women and Idealized National Identity 20 CHAPTER THREE: Beverly LaHaye: The Evangelical Essentials and Women in the New Christian Right 35 CONCLUSION: 51 BIBLIOGRAPHY: 55 ii ACKNOWLEDGEMENTS To start, I want to thank Dr. Nunez for her guidance, care, and wisdom throughout this thesis process and my entire time at Hollins. Your kindness and sense of humor have brightened my days countless times, and when I think of myself as a potential scholar, I hope to be as thoughtful, knowledgeable, and passionate as you are. Additionally, I want to thank Dr. Florio and Dr. Coogan for their time, knowledge, and support. You have helped me in numerous ways and I am incredibly grateful for you both. I want to thank my father, Steven Phillips, for being just as big of a history nerd as I am. Lastly, I want to remember my grandfather Donald Bruaw, who showed me how to love history. -
Ruination Day”
Woody Guthrie Annual, 4 (2018): Fernandez, “Ruination Day” “Ruination Day”: Gillian Welch, Woody Guthrie, and Disaster Balladry1 Mark F. Fernandez Disasters make great art. In Gillian Welch’s brilliant song cycle, “April the 14th (Part 1)” and “Ruination Day,” the Americana songwriter weaves together three historical disasters with the “tragedy” of a poorly attended punk rock concert. The assassination of Abraham Lincoln in 1865, the sinking of the Titanic in 1912, and the epic dust storm that took place on what Americans call “Black Sunday” in 1935 all serve as a backdrop to Welch’s ballad, which also revolves around the real scene of a failed punk show that she and musical partner David Rawlings had encountered on one of their earlier tours. The historical disasters in question all coincidentally occurred on the fourteenth day of April. Perhaps even more important, the history of Welch’s “Ruination Day” reveals the important relationship between history and art as well as the enduring relevance of Woody Guthrie’s influence on American songwriting.2 Welch’s ouevre, like Guthrie’s, often nods to history. From the very instruments that she and Rawlings play to the themes in her original songs to the tunes she covers, she displays a keen awareness and reverence for the past. The sonic quality of her recordings, along with her singing and musical style, also echo the past. This historical quality is quite deliberate. Welch and Rawlings play vintage instruments to achieve much of that sound. Welch’s axes are all antiques—her main guitar is a 1956 Gibson J-50. -
9781134588374.Pdf
Black Celebrity, Racial Politics, and the Press Shifting understandings and ongoing conversations about race, celebrity, and protest in the twenty-fi rst century call for a closer examination of the evolution of dissent by black celebrities and their reception in the public sphere. This book focuses on the way the mainstream and black press have covered cases of controversial political dissent by African American celeb- rities from Paul Robeson to Kanye West. Jackson considers the following questions: (1) What unique agency is available to celebrities with racialized identities to present critiques of American culture? (2) How have journalists in both the mainstream and black press limited or facilitated this agency through framing? What does this say about the varying role of journalism in American racial politics? (3) How have framing trends regarding these fi gures shifted from the mid-twentieth century to the twenty-fi rst century? Through a series of case studies that also includes Eartha Kitt, Tommie Smith and John Carlos, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the shifting public narratives and historical moments that both limit and enable African American celebrities in the wake of making public politicized statements that critique the accepted racial, economic, and mili- tary systems in the United States. Sarah J. Jackson is an Assistant Professor of Communication Studies at Northeastern University. Her research examines the construction of social identities in national debates about citizenship, inequality, and social change. Jackson’s research has appeared in The International Journal of Press Poli- tics and Feminist Media Studies. Routledge Transformations in Race and Media Series Editors: Robin R. -
Theodore W. (Ted) Allen Papers 1890-2017 (Bulk: 1940-2005) 47 Boxes (64 Linear Feet) Call No.: MS 1021
Special Collections and University Archives UMass Amherst Libraries Theodore W. (Ted) Allen Papers 1890-2017 (Bulk: 1940-2005) 47 boxes (64 linear feet) Call no.: MS 1021 About SCUA SCUA home Credo digital Scope Overview Series 1. Correspondence Series 2. Writings and speaking Series 3. Research Series 4. Biographical and personal Series 5. Photos and media Series 6. News clippings and Articles Inventory Series 1. Correspondence Series 2. Writings and public speaking Series 3. Research Materials and Notes (partially processed) Series 4. Biographical and personal Series 5. Photos and Media Series 6. News clippings and articles Admin info Download xml version print version (pdf) Read collection overview Theodore W. "Ted" Allen (1919-2005) was an anti-white supremacist, working class intellectual and activist who researched and wrote outside of the academic community for almost seventy years. He developed his pioneering class struggle-based analysis of "white skin privilege" beginning in the mid-1960s; authored the seminal two-volume "The Invention of the White Race" in the 1990s; and in his writings and speaking consistently maintained that the struggle against white supremacy was central to efforts at radical social change in the United States. Born in Indianapolis, Indiana, Allen grew up in Paintsville, Kentucky and Huntington, West Virginia where he was "proletarianized" by the Great Depression. After hurting his back in the mines, he moved to New York City and taught at the Jefferson School of Social Science, did research with the Labor Research Association, and worked various jobs including factory work, teaching, the post office, and the Brooklyn Public Library. -
Of Paul Robeson 53
J. Karp: The “Hassidic Chant” of Paul Robeson 53 Performing Black-Jewish Symbiosis: The “Hassidic Chant” of Paul Robeson JONATHAN KARP* On May 9, 1958, the African American singer and political activist Paul Robeson (1898–1976) performed “The Hassidic [sic] Chant of Levi Isaac,” along with a host of spirituals and folk songs, before a devoted assembly of his fans at Carnegie Hall. The “Hassidic Chant,” as Robeson entitled it, is a version of the Kaddish (Memorial Prayer) attributed to the Hasidic rebbe (master), Levi Yitzhak of Berditchev (1740–1810), a piece also known as the “Din Toyre mit Got” (“The Lawsuit with God”). According to tradition, Levi Yizhak had composed the song spontaneously on a Rosh Hashanah as he contemplated the steadfast faith of his people in the face of their ceaseless suffering. He is said to have stood in the synagogue before the open ark where the Torah scrolls reside and issued his complaint directly to God: a gut morgn dir, riboynoy shel oylem; ikh, levi yitzhak ben sarah mi-barditchev, bin gekumen tzu dir mit a din toyre fun dayn folk yisroel. vos host-tu tzu dayn folk yisroel; un vos hos-tu zich ongezetst oyf dayn folk yisroel? A good day to Thee, Lord of the Universe! I, Levi Yitzhak, son of Sarah, from Berditchev, Bring against you a lawsuit on behalf of your People, Israel. What do you have against your People, Israel? Why have your so oppressed your People, Israel?1 After this questioning of divine justice, Levi Yitzhak proceeded to chant the Kaddish in attestation to God’s sovereignty and supremacy. -
SHOULD NEWSPAPERS CRUSADE? Answer: Yes George Chaplin
----------------------~----------------------------------------------------------~-~ Ieman• orts October~ 1949 SHOULD NEWSPAPERS CRUSADE? Answer: Yes George Chaplin Turnover Among Newsmen William M. Pinkerton The Guild and Education Norval Neil Luxon The Character of the Newspaper Job Louis M. Lyons V A Dutchman Looks at the U. S. Press Jan Roelof Klinkert A Country Editor's Creed Donald A. Norberg The Story Behind the Story "CBS Views the Press" Seminar on Russia Houstoun Waring Nieman Scrapbook Letters Nieman Notes Nieman Reports is published by the Nieman Alumni Council, elected by former Nieman Fellows at Harvard University. It aims to provide a medium for discussion by newspapermen of problems common t.o their profession. Nine out of ten sub!Scriber·S to Nieman Reports and very many of its contributors are not themselves former Nieman Fellows but share a belief in the purpose of the Nieman Foundation "to promote and elevate standards of journalism in the U. S." NIEMAN REPORTS and receptions given by large corporations, and under the heading, "They Made It Possible" on the NEA programs, 22 firms and organizations were thanked for "making this con NiemanReports vention a success." Seventeen hosts were business concerns and organizations, including General Motors, the United States Brewers Foundation, Ford Motors, Geneva (U. S.) Steel, Kennecott Copper and the Utah Manufacturers Asso Nieman Reports is published by the Nieman Alumni ciation. Geneva Steel and Kennecott have large operations, Council: John MeL. Clark, Claremont, N. H.; Paul L. so like the other Utah companies they could legitimately Evans, Mitchell, S. D.; Lawrence A. Fernsworth, New play host to Utah visitors. York City; Thomas H. -
Holt Atherton Special Collections Ms4: Brubeck Collection
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov. -
Guide to State Statues in the National Statuary Hall Collection
U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN CVC 19-107 Edition V Senator Mazie Hirono of Hawaii addresses a group of high school students gathered in front of the statue of King Kamehameha in the Capitol Visitor Center. TOM FONTANA U.S. CAPITOL VISITOR CENTER GUide To STATe STATUes iN The NATioNAl STATUArY HAll CollecTioN STATE PAGE STATE PAGE Alabama . 3 Montana . .28 Alaska . 4 Nebraska . .29 Arizona . .5 Nevada . 30 Arkansas . 6 New Hampshire . .31 California . .7 New Jersey . 32 Colorado . 8 New Mexico . 33 Connecticut . 9 New York . .34 Delaware . .10 North Carolina . 35 Florida . .11 North Dakota . .36 Georgia . 12 Ohio . 37 Hawaii . .13 Oklahoma . 38 Idaho . 14 Oregon . 39 Illinois . .15 Pennsylvania . 40 Indiana . 16 Rhode Island . 41 Iowa . .17 South Carolina . 42 Kansas . .18 South Dakota . .43 Kentucky . .19 Tennessee . 44 Louisiana . .20 Texas . 45 Maine . .21 Utah . 46 Maryland . .22 Vermont . .47 Massachusetts . .23 Virginia . 48 Michigan . .24 Washington . .49 Minnesota . 25 West Virginia . 50 Mississippi . 26 Wisconsin . 51 Missouri . .27 Wyoming . .52 Statue photography by Architect of the Capitol The Guide to State Statues in the National Statuary Hall Collection is available as a free mobile app via the iTunes app store or Google play. 2 GUIDE TO STATE STATUES IN THE NATIONAL STATUARY HALL COLLECTION U.S. CAPITOL VISITOR CENTER AlabaMa he National Statuary Hall Collection in the United States Capitol is comprised of statues donated by individual states to honor persons notable in their history. The entire collection now consists of 100 statues contributed by 50 states. -