When UT Students Demanded Their Free Speech Rights, a Half Century Ago
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H 2228 Trials
Trials H 2228 BACKGROUND: The free-floating subdivision BTrials, litigation, etc. is used under names of individual persons, families, corporate bodies, or jurisdictions for the proceedings of civil or criminal actions to which they are parties, or for works about such proceedings, as described below. As a general rule, the same practices are followed in assigning subject headings to the actual proceedings of a trial as to works about a trial. The procedures described below therefore apply to both categories of material. 1. General collections of trials. Assign the heading Trials (May Subd Geog) to non-topical collections of proceedings of trials, or to general works describing various trials. Examples: Title: Trials that made headlines. 650 #0 $a Trials. Title: Great American courtroom battles. 650 #0 $a Trials $z United States. 2. Collections of particular types of trials. Assign headings of the type Trials ([topic]) (May Subd Geog) to collections of proceedings of particular types of civil or criminal trials, or to works describing several trials of a specific type. Example: Title: Witchcraft trials of Connecticut. 650 #0 $a Trials (Witchcraft) $z Connecticut. Subject Headings Manual H 2228 Page 1 June 2013 H 2228 Trials 3. Individual criminal trials. Assign as the first heading the name of the defendant with the subdivision BTrials, litigation, etc., or, if the trial has been established as a subject heading, the heading for the name of the trial. Assign one or more additional headings of the type Trials ([topic])B[place], as appropriate, and any other topical headings required for the work in hand. -
William Kunstler: Disturbing the Universe a Film by Emily Kunstler and Sarah Kunstler
William Kunstler: Disturbing the Universe A film by Emily Kunstler and Sarah Kunstler POV www.pbs.org/pov DISCUSSION GUIDE William Kunstler: Disturbing the Universe POV Letter frOm the fiLmmakers NEw YorK , 2010 Dear Colleague, William kunstler: Disturbing the Universe grew out of conver - sations that Emily and I began having about our father and his impact on our lives. It was 2005, 10 years after his death, and Hurricane Katrina had just shredded the veneer that covered racism in America. when we were growing up, our parents imbued us with a strong sense of personal responsibility. we wanted to fight injustice; we just didn’t know what path to take. I think both Emily and I were afraid of trying to live up to our father’s accomplishments. It was in a small, dusty Texas town that we found our path. In 1999, an unlawful drug sting imprisoned more than 20 percent of Tulia’s African American population. The injustice of the incar - cerations shocked us, and the fury and eloquence of family members left behind moved us beyond sympathy to action. while our father lived in front of news cameras, we found our place behind the lens. our film, Tulia, Texas: Scenes from the Filmmakers Emily Kunstler and Sarah Kunstler. Photo courtesy of Maddy Miller Drug War helped exonerate 46 people. one day when we were driving around Tulia, hunting leads and interviews, Emily turned to me. “I think I could be happy doing this for the rest of my life,” she said, giving voice to something we had both been thinking. -
E18-00003-1970-09-30
'21 ...· : .. : :· ... ·~; . .·. , . ....·. :.:·:1 ,•, .. church of the apocalypse pobox 9218 33604 Eye ot the Beast_ DRAFT AND RESISTANCE COUNSELLING AVAILABLE: The Pacifist Action Council (PAC) is now offering draft and resistance counselling to all interested parties as a community service. All those concerned with the preservation of life, and opposed to the killing machine, are urged to contact PAC in care of The Eye of the Beast. A new booklet titled "How to Publish a High School Underground Ne\vspaper" has just been published by two recent high school graduates in cooperation with the Cooperative Highschool Independent Press Service (CHIPS). It is an instruction manual on how to pub lish a high school underground newspaper, including editing and printing. If you'd like a copy, send a quarter if you're a high school student or group, or send two quarters if you're something else to: Al-Fadhly & Shapiro 7242 West 90th Street Los Angeles, California 90045 All money received in excess of costs will be used to publish a second edition, to be sold for less. NEW ORLEANS POLICE MURDER BLACK PANTHER: The day after Judge Baget set $100,000 bail on each of the 15 Black Panthers arrested 'in an illegal raid, another Black Panther, Kenneth Borden, was murdered and 3 comrades wounded by the New Orleans police. They were walking down a street, unarmed, when the police opened up with shotguns. The cops had fired, officials claim, only under attack. Yet no alleged weapons have been found and bystanders have denied any Panther attack was made. Police Harass Local Peace Movement Police harassment forced the Tampa Area Peace Action Coalition to move its conference scheduled for Sunday af ternoon from the Zion Lutheran Church, 2901 Highland Ave., to the University Chapel Fellowship at the Uni versity of South Florida. -
Shawyer Dissertation May 2008 Final Version
Copyright by Susanne Elizabeth Shawyer 2008 The Dissertation Committee for Susanne Elizabeth Shawyer certifies that this is the approved version of the following dissertation: Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 Committee: Jill Dolan, Supervisor Paul Bonin-Rodriguez Charlotte Canning Janet Davis Stacy Wolf Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 by Susanne Elizabeth Shawyer, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2008 Acknowledgements There are many people I want to thank for their assistance throughout the process of this dissertation project. First, I would like to acknowledge the generous support and helpful advice of my committee members. My supervisor, Dr. Jill Dolan, was present in every stage of the process with thought-provoking questions, incredible patience, and unfailing encouragement. During my years at the University of Texas at Austin Dr. Charlotte Canning has continually provided exceptional mentorship and modeled a high standard of scholarly rigor and pedagogical generosity. Dr. Janet Davis and Dr. Stacy Wolf guided me through my earliest explorations of the Yippies and pushed me to consider the complex historical and theoretical intersections of my performance scholarship. I am grateful for the warm collegiality and insightful questions of Dr. Paul Bonin-Rodriguez. My committee’s wise guidance has pushed me to be a better scholar. -
William Kunstler: Disturbing the Universe
WILLIAM KUNSTLER: DISTURBING THE UNIVERSE A film by Emily Kunstler and Sarah Kunstler An 85-minute documentary film. Digital Video. Color & Black & White. Premiered at the Sundance Film Festival in 2009 Released theatrically by Arthouse Films in November 2009 Released on DVD on April 27, 2010 Broadcast on PBS on June 22, 2010 on the award-winning documentary series P.O.V. as the season’s opening night film. A wonderful, inspiring film. – Howard Zinn Expertly put together and never less than compelling. -The Hollywood Reporter A superior documentary. – The Los Angeles Times Shatteringly good. – The San Francisco Chronicle A fascinating portrait. – The Washington Post A magnificent profile of an irrepressible personality. – Indiewire This is a wonderful film. Emily and Sarah Kunstler have done a remarkable job. The film is great history – Alec Baldwin A sensitive truthful, insightful film. – Huffington Post A brilliant and even-handed portrait. – Hamptons.com A perfect balance of the personal and the public. - Salt Lake City Weekly A wonderful, weird, and very American story. – The Stranger A well-crafted and intimate but not uncritical tribute to both a father and a legend of the Left – The Indypendent Might just help reawaken viewers to find their own Goliaths and slingshots. - The Jewish Journal Page 2 of 15 The Film’s Title The title of the film comes from T. S. Eliot’s poem, The Love Song of Alfred J. Prufrock. At the end of his life, many of Kunstler’s speeches were entreaties to young people to have the courage take action for change. He frequently spoke about Michelangelo’s statue of David as embodying the moment when a person must choose to stand up or to fade into the crowd and lead an unexceptional life. -
Weather Channeling David Dorfman's Latest Finds Inspiration in Activism
Weather channeling David Dorfman's latest finds inspiration in activism BY RITA FELCIANO Dancerchoreographer David Dorfman is a poet of the ordinary. He digs below the commonplace and lets us see what's underneath. Early in his career, with Out of Season, he paired football players with highly trained dancers. Ten years ago he invited his ensemble's family members to join in performances of Familiar Movements. Both pieces revealed fresh ideas about dance, community, and beauty. They also showed Dorfman to be an artist of sparkling wit with a generous spirit. In the two pieces that his David Dorfman Dance company made its Bay Area debut with last year, he worked single conceits into exuberant, athletic choreography that resonated beyond its voluptuously evocative appeal. In See Level, sprawled bodies on a studio floor suggested maps of continents, with individual countries that were selfcontained yet had relationships with each other. A naked lightbulb inspired Lightbulb Theory, a meditation on death. Is it better, the piece asked in densely layered images, to die quickly or to flicker for a while? Dorfman's newest work, the 50minute underground, opens the Yerba Buena Center for the Arts' new Worlds Apart series, which according to executive director Ken Foster features artists who "create work that inspires us to think deeply and become responsible citizens of the global village." For underground, Dorfman started with history, using local filmmaker Sam Green's Oscarnominated documentary The Weather Underground as a jumpingoff point. The film documents the activities of the Weathermen (later, Weather Underground). -
A Small Slice of the Chicago Eight Trial
A Small Slice of the Chicago Eight Trial Ellen S. Podgor* The Chicago Eight trial was not the typical criminal trial, in part because it occurred at a time of society’s polarization, student demonstrations, and the rise of the House Un-American Activities Committee. Charges were levied against eight defendants, who were individuals that represented leaders in a variety of movements and groups during this time. This Essay examines the opening stages of this trial from the lens of a then relatively new criminal defense attorney, Gerald Lefcourt. It looks at his experiences before Judge Julius Hoffman and highlights how strong, steadfast criminal defense attorneys can make a difference in protecting key constitutional rights and values. Although judicial independence is crucial to a system premised on due process, it is also important that lawyers and law professors stand up to misconduct and improprieties. INTRODUCTION ............................................................................. 821 I. PROXIMITY AND SETTING .......................................................... 824 A. The Landscape ............................................................. 824 B. Attorney Gerald Lefcourt’s Role .................................. 828 II. ATTORNEY WITHDRAWALS AND SUBSTITUTIONS .................... 834 III. LESSONS LEARNED—RESPONDING TO MISPLACED JUDICIAL CONDUCT .............................................................................. 836 CONCLUSION ................................................................................ -
Poetics of Protest: a Fluxed History of the 1968 DNC (A Dialogue for Six Academic Voices)
Liminalities: A Journal of Performance Studies Vol. 8, No. 4, September 2012 Poetics of Protest: A Fluxed History of the 1968 DNC (A Dialogue for Six Academic Voices) Tom Lavazzi Commentator/Over Voice (CO; as described below)/Conductor (“Panel Chair”) Documents (“objective”) Fluxedout (Fluxed; Fluxus attitude) New Historical Left (NHL; based on “old” and “new” New Left and New Historicist voices) The Institute for Cultural Studies (TICS; an institutionalized postmodern academic voice) Yippedout (Yipped; Yippie! Doubling occasionally as “Lecturer”) Poetics of Protest is staged as a typical (atypical) academic conference panel presentation. At the front of the room are two long tables, one for the panelists and another for props. Props overflowing the table may also be ranged around the room, redeploying chalkboard ledges, windowsills, and floor margins, marking the space’s boundaries. Redeployed, theoretically fortified cereals (i.e., empty boxes)—Zizek 0sTM, Blau PopsTM, Lucky Deleuze, Baudrillard PuffsTM, Foucault Flakes, etc.—are suspended from the ceiling. There is also a podium, a data projector and projection screen1 displaying an interactive image map of Chicago, circa 1968, highlighting the Amphitheatre and key riot and protest sites, and, optionally, a video monitor on which the audience may view muted interviews with Yippies. Projected on the podium and the floor directly in front of the podium—slow motion and stop-action scenes from Brett Morgen’s animated documentary of the Chicago 8 trial, Chicago 102; the panelists pause, at intervals, to act out—or rather, act with, re-act (to), comment on via serial tableau vivant--fragments of these scenes, Tom Lavazzi is Professor of English at KBCC-CUNY. -
The Trial of Bobby Seale Jason Epstein
A Special Supplement The Trial of Bobby Seale Jason Epstein defendant, Bobby Seale, who is transcript will perhaps show, but in an terror. When he utters the name of I charged with first degree murder in unmistakable theatrical gift which, at defendant Rubin it is as if a chord has New Haven and is thus without bail, had an earlier time in his life, might have been struck on the Wurlitzer of a Introduction entered and left the courtroom, before been a contrivance but is now his long forgotten music hall. And when he explodes the middle initial of the The United States District Court for the judge declared a mistrial in his second nature. Though he stands only defendant Bobby G. Seale, one is made the Northern District of Illinois (East- case. On the wall behind the judge's five feet four inches tall and weighs to feel that the innocence of that ern Division) occupies several floors of bench are conventional portraits, which hardly more than the smallest of the consonant has been lost forever. the new Federal Building in Chicago's belong to the judge himself, of the formidable lady jurors, he makes use Loop. Of this thirty-story building, founding fathers, as well as one of of his diminished stature to enter the designed in steel and glass by the late Abraham Lincoln and three of peri- courtroom from a door behind his What follows is the official trans- Mies van der Rohe, the Chicago Art wigged English jurists. Above these bench so that he does not become cription, taken by the court stenogra- Institute has said, "The commitment portraits, on the upper part of the visible until he has materialized atop pher, of what the Judge read from his notes on the afternoon of November 5. -
JW Conspiracy Press
CONTACT: Nanda Dyssou, Publicist [email protected] (424)-226-6148 Conspiracy In The Streets The Extraordinary Trial of the Chicago Seven THE TRIAL THAT IS NOW A MAJOR MOTION PICTURE Reprinted to coincide with the release of the new Aaron Sorkin film, this book provides the political background of this infamous trial, narrating the utter craziness of the courtroom and revealing both the humorous antics and the serious politics involved Opening at the end of 1969—a politically charged year at the beginning of Nixon’s presidency and at the height of the anti-war movement—the Trial of the Chicago Seven (which started out as the Chicago Eight) brought together Yippies, antiwar activists, and Black Panthers to face conspiracy charges following massive protests at the 1968 Democratic National Convention in Chicago, protests which continue to have remarkable contemporary resonance. The defendants—Rennie Davis, Dave Dellinger, John Froines, Tom Hayden, Abbie Hoffman, Jerry Rubin, Bobby Seale (the co-founder of the Black Panther Party who was ultimately removed from the trial, making it seven and not eight who were on trial), and Lee Weiner— openly lampooned the proceedings, blowing kisses to the jury, wearing their own judicial robes, and bringing a Viet Cong flag into the courtroom. Eventually the judge ordered Seale to be bound and gagged for insisting on representing himself. Adding to the theater in the courtroom an array of celebrity witnesses appeared, among them Timothy Leary, Norman Mailer, Arlo Guthrie, Judy Collins, and Allen Ginsberg (who provoked the prosecution by chanting “Om” on the witness stand). Author: Jon Wiener This book combines an abridged transcript of the trial with astute commentary by historian Format: Print, Ebook and journalist Jon Wiener, and brings to vivid life an extraordinary event which, like Woodstock, came to epitomize the late 1960s and the cause for free speech and the right Pages: 304 pages to protest—causes that are very much alive a half century later. -
Title Page & Abstract
Title Page & Abstract An Interview with Edward M. Burke Part of the Abraham Lincoln Presidential Library Illinois Statecraft Oral History project Interview # IS-A-L-2018-037 Edward M. Burke, a police officer who worked on the convention floor during the 1968 Democratic Convention in Chicago, was interviewed on the date listed below as part of the Abraham Lincoln Presidential Library’s Illinois Statecraft-General Interest Oral History project. Interview dates & location: Date: Tuesday, Jun 26, 2018 Location: Klafter & Burke Law office, Chicago, IL Interview Format: Digital video Interviewer: Mark R. DePue, Director of Oral History, ALPL Transcription by: _________________________ Transcript being processed Edited by: _______________________________ Total Pages: ______ Total Time: 1:04 / 1.07 hrs Accessioned into the Abraham Lincoln Presidential Library Archives on July 18, 2018. The interview is archived at the Abraham Lincoln Presidential Library in Springfield, Illinois. © 2018 Abraham Lincoln Presidential Library Abstract Edward Burke, Illinois Statecraft, IS-A-L-2018-037 Biographical Information/Overview of Interview: Edward M. Burke was born on December 29, 1943 in Chicago, Illinois, and grew up on the south side of Chicago. He attended high school at the Quigley Preparatory Seminary, and college at DePaul University, graduating in 1965. By 1968 he was serving as a Chicago police officer; he was also enrolled in De Paul University’s College of Law. His father, Joseph P. Burke, was a Chicago Alderman at the time. During the 1968 Democratic Convention, Ed worked the day shift on the convention floor at the Stockyards International Amphitheater. He discusses that experience in depth, including an incident where he informed Mayor Richard J. -
'Lose in Vietnam, Bring Our Boys Home'
Case Western Reserve University School of Law Scholarly Commons Faculty Publications 2004 ‘Lose in Vietnam, Bring Our Boys Home’ Robert N. Strassfeld Case Western Reserve University - School of Law, [email protected] Follow this and additional works at: https://scholarlycommons.law.case.edu/faculty_publications Part of the Law Commons Repository Citation Strassfeld, Robert N., "‘Lose in Vietnam, Bring Our Boys Home’" (2004). Faculty Publications. 267. https://scholarlycommons.law.case.edu/faculty_publications/267 This Article is brought to you for free and open access by Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. "LOSE IN VIETNAM, BRING THE BOYS HOME" ROBERTN. STRASSFELD. This Article examines the contest over dissent and loyalty during the Vietnam War. The Johnson and Nixon Administrations used an array of weapons to discourage or silence antiwar opposition. These included crinLinal prosecutions for "disloyal speech," a tool that they used with less frequency than s01ne other administrations in times of war; prosecutions for other "crimes" that served as pretext for prosecuting disloyal speech; infiltration and harassment; and an attempt to characterize their critics as disloyal. The antiwar movement, in turn, responded to allegations that dissent equaled disloyalty by offering an alternative vision of loyalty and patriotism. In so doing, they recast notions of allegiance, betrayal, support of the troops, and our obligations in the face of conflicting loyalties. INTRODUCTION ..................................................................................... 1892 I. THE USES OF LOYALTY IN THE VIETNAM WAR ERA ........... 1894 A. The Model of Legal Repression: The World War I Experience ...........................................................................