“1967 Musical Revue” Exhibits
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The Big Bopper Died for Your Sins
Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Master of Divinity Thesis Concordia Seminary Scholarship 3-1-1970 The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth John Metzig Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/mdiv Part of the Practical Theology Commons Recommended Citation Metzig, John, "The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth" (1970). Master of Divinity Thesis. 101. https://scholar.csl.edu/mdiv/101 This Thesis is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Master of Divinity Thesis by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. TABLE OF CONTENTS Content Page I. THE• INTRODUCTION 1 II. THE PAPER . 3 III. THE FOOTNOTES BIBLIOGRAPHY 34 INTRODUCTION I'm not trying to cause a big sensation I'm just ttitkirtg 'bout my generation. -Peter Townshend (for The Who) 1 The problem with trying to write a paper on the subject of rock is that the field is so diverse and varied that it is all but impossible to describe everything in complete detail. Furthermore, the entire subject of the effects of rock on a listening audience varies considerably from listener to listener. The teen-ager just likes, the sound of the music and the feelings that the music brings out in him, while the adult still thinks of rock as a lot of noise no matter how many magazine articles they read or TV programs they see. -
FOR IMMEDIATE RELEASE June 22, 2016
FOR IMMEDIATE RELEASE June 22, 2016 NATIONAL MUSEUM OF AMERICAN JEWISH HISTORY EXCLUSIVE EAST COAST VENUE FOR BILL GRAHAM AND THE ROCK AND ROLL REVOLUTION The National Museum of American Jewish History (NMAJH) in Philadelphia will be the exclusive East Coast venue for Bill Graham and the Rock and Roll Revolution. The exhibition, which opens on September 16 and will run through January 16, 2017, presents the first comprehensive retrospective about the life and career of legendary rock impresario Bill Graham (1931–1991). Recognized as one of the most influential concert promoters in history, Graham played a pivotal role in the careers of iconic artists including the Grateful Dead, Jefferson Airplane, Janis Joplin, Jimi Hendrix, Santana, Fleetwood Mac, the Who, Led Zeppelin, the Doors, and the Rolling Stones. He conceived of rock & roll as a powerful force for supporting humanitarian causes and was instrumental in the production of milestone benefit concerts such as Live Aid (1985)—which took place in Philadelphia and London—and Human Rights Now! (1988). The Museum will be open late on Wednesday nights (until 8 pm) throughout the run of the show.* Bill Graham lived the America Dream, and helped to promote and popularize a truly American phenomenon: Rock & Roll. The exhibition illuminates how his childhood experiences as a Jewish emigrant from Nazi Germany fueled his drive and ingenuity as a cultural innovator and advocate for social justice. Born in Berlin, Graham immigrated to New York at the age of ten as part of a Red Cross effort to help Jewish children fleeing the Nazis. He went to live with a foster family in the Bronx and spent his teenage years in New York City before being drafted to fight in the Korean War. -
Tripping with Stephen Gaskin: an Exploration of a Hippy Adult Educator
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2012 Tripping With Stephen Gaskin: An Exploration of a Hippy Adult Educator Gabriel Patrick Morley University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Adult and Continuing Education Administration Commons, Civic and Community Engagement Commons, Critical and Cultural Studies Commons, Curriculum and Social Inquiry Commons, Educational Methods Commons, and the Educational Sociology Commons Recommended Citation Morley, Gabriel Patrick, "Tripping With Stephen Gaskin: An Exploration of a Hippy Adult Educator" (2012). Dissertations. 808. https://aquila.usm.edu/dissertations/808 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi TRIPPING WITH STEPHEN GASKIN: AN EXPLORATION OF A HIPPY ADULT EDUCATOR by Gabriel Patrick Morley Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Education May 2012 ABSTRACT TRIPPING WITH STEPHEN GASKIN: AN EXPLORATION OF A HIPPY ADULT EDUCATOR by Gabriel Patrick Morley May 2012 For the last 40 years, Stephen Gaskin has been an adult educator on the fringe, working with tens of thousands of adults in the counterculture movement in pursuit of social change regarding marijuana legalization, women’s rights, environmental justice issues and beyond. Gaskin has written 11 books about his experiences teaching and learning with adults outside the mainstream, yet, he is virtually unknown in the field of adult education. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication. -
Winning Hearts and Minds: One Man's Journey to Vietnam and Back
Winning Hearts and Minds: One Man’s Journey to Vietnam and Back Towards Peace Interviewer: Colin McDermott Interviewee: John Ketwig Date: May 30th, 2019 Instructor: Alex Haight Table of Contents Interviewer Release Form …..…………………………………………………………….……………... 3 Interviewee Release Form ………………………………………………………………………………. 4 Statement of Purpose ………………………………………………………………………………..…... 5 Biography ……………………………………………………………………………………………….. 6 Historical Contextualization: The Vietnam War:……...………………………….……………………... 7 Interview Transcription ………………………………………………………………………………..... 19 Interview Analysis ………………………………………………………………………………………. 65 Work Consulted …………………………………………………………………………………………. 71 Appendix ……………………………………………………………………………………………...… 73 Statement of Purpose The purpose of this project is to gain a strong understanding of the origins and history of the Vietnam war; including the Vietnam Veterans Against the War (VVAW) and its place in the anti-war movement. The Vietnam war is one of the most questionable and misconstrued wars in world history and deserves continuing study for lessons that can be applied going forward. My interview with Vietnam Veteran, John Ketwig offers the vital first-hand perspective of a person who was an American soldier in Vietnam and also an activist in the VVAW. Contained in this interview is the story of John Ketwig and the lessons he learned from his Vietnam experiences. Biography John Ketwig was born in 1948 and grew up in the Finger Lakes region of western New York. As a boy he was a fan of the Beatles, Rolling Stones, and Bob Dylan and had a special interest in automobiles. He graduated from high school and in anticipation that he would soon be drafted and assigned combat duty in Vietnam, instead enlisted in the United States Army with the hope of assignment elsewhere. In September of 1967, however, he was sent to Vietnam. -
Father Ed Dowling — Page 1
CHESNUT — FATHER ED DOWLING — PAGE 1 May 1, 2015 Father Ed Dowling CHESNUT — FATHER ED DOWLING — PAGE 2 Father Ed Dowling Bill Wilson’s Sponsor Glenn F. Chesnut CHESNUT — FATHER ED DOWLING — PAGE 3 QUOTES “The two greatest obstacles to democracy in the United States are, first, the widespread delusion among the poor that we have a de- mocracy, and second, the chronic terror among the rich, lest we get it.” Edward Dowling, Chicago Daily News, July 28, 1941. Father Ed rejoiced that in “moving therapy from the expensive clinical couch to the low-cost coffee bar, from the inexperienced professional to the informed amateur, AA has democratized sani- ty.”1 “At one Cana Conference he commented, ‘No man thinks he’s ug- ly. If he’s fat, he thinks he looks like Taft. If he’s lanky, he thinks he looks like Lincoln.’”2 Edward Dowling, S.J., of the Queen’s Work staff, says, “Alcohol- ics Anonymous is natural; it is natural at the point where nature comes closest to the supernatural, namely in humiliations and in consequent humility. There is something spiritual about an art mu- seum or a symphony, and the Catholic Church approves of our use of them. There is something spiritual about A.A. too, and Catholic participation in it almost invariably results in poor Catholics be- coming better Catholics.” Added as an appendix to the Big Book in 1955.3 CHESNUT — FATHER ED DOWLING — PAGE 4 “‘God resists the proud, assists the humble. The shortest cut to humility is humiliations, which AA has in abundance. -
Conference Booklet
THE PROLONGED DEATH OF THE HIPPIE 1967–1969 12–14 SEPTEMBER 2019 CONFERENCE|MUSIC|POETRY WITH ED SANDERS ANNE WALDMAN AND MANY OTHERS 1 The poem of America has reached the time of my youthful rebellion the years of Civil Rights marches & what they used to call the “mimeograph revolution” with its stenciled magazines & manifestoes & the recognition of rock & roll & folk-rock as an art form […] Its consonants are the clicks of kisses in tipis & rapes in huts of fists in gloves & skins in rainbows of death more common than hamburger and life more plentiful than wheat of women more certain & men more willing to wake up thinking each day could be paradise & weeping or shrugging when it wasn’t […] And then comes the question of evil. It was hard for a person like myself […] to realize my Nation veers in & out of evil but evil is the only word for some of it From: Edward Sanders, America: A History in Verse, Vol. 3: 1962–1970 (2004). THURSDAY, 12 SEPTEMBER 11:00 –12:30 Intro (p. 8) Welcome Address (Philipp Schweighauser) Introduction (Christian Hänggi) Timeline 1967–1969 (Peter Price) 14:00–15:45 Panel: Music (p. 9) Chair: Christian Hänggi “A Short Time To Be There”: Life, Death, and The Grateful Dead (Andrew Shields) The Hippie and the Freak. Reflections on a Pop-Cultural and Sub-Cultural Difference in Regard of Frank Zappa’s Art (Alexander Kappe) Why Bob Dylan Did Not Sing in Woodstock And Why He Was No Hippie (But a Real Hipster) – The Re-Invention of Popular Music as a Medium of Poetry and Messianic Hope (Martin Schäfer) 16:00–17:30 Panel: Religion & Spirituality (p. -
By Katherine San Fratello and the Chicago History Museum
Peace By Katherine San Fratello and the Chicago History Museum Peace Julia admired herself in the mirror. She and colors on this poster were psychedelic; the her little sister Lydia had made new purple and oranges, yellows, greens, and purples vibrated, pink tie-dyed shirts. They had just pulled them pulsed, and jumped off the paper. There were out of the dryer and were modeling them for each also some buttons that Julia would let her borrow other. Julia had graduated from high school and and wear on occasion. One was a black button would soon be leaving home to go to college. with a peace sign emblazoned on it. Another She was trying to spend a lot of time with Lydia showed a rifle with a soldier’s helmet on top, in an attempt to make the coming separation which read “Out Now.” Interspersed among the easier. Lydia, who was only 11, lost interest in posters were newspapers. Not newspapers like their shirts as they entered Julia’s room. the Chicago Tribune, but the kind you couldn’t The posters on Julia’s walls distracted buy on a newsstand. Julia told Lydia these Lydia from further preening. The posters of rock papers came from the underground press. Lydia groups mesmerized her: the Beatles, The Doors, was curious about them but had trouble reading Neil Young, Bob Dylan, Jimi Hendrix. One poster the prose. She often asked Julia to read them to declared, “Make Love, Not War.” Then there her. were sort of cartoon-like posters. One poster had Today Lydia noticed a new underground a drawing of a hippie wearing striped bell- newspaper taped up which had a button stuck in bottoms and love beads. -
Visual Trips the Psychedelic Poster Movement in San Francisco Visual Trips the Psychedelic Poster Movement in San Francisco
VISUAL TRIPS THE PSYCHEDELIC POSTER MOVEMENT IN SAN FRANCISCO VISUAL TRIPS THE PSYCHEDELIC POSTER MOVEMENT IN SAN FRANCISCO Interpretive Text SCOTT MONTGOMERY Exhibition Overview DAN JACOBS This exhibition overview and prospectus document was prepared in connection with an exhibition organized by the University of Denver and appearing at its Vicki Myhren Gallery, September–November, 2014. This prospectus is for information only, and for use in consideration of a possible exhibition tour. The content of the interpretive texts included in this document was prepared by Visual Trips curator, Professor Scott Montgomery of the University of Denver School of Art & Art History. No part of this document may be reproduced or distributed without express written permission from Dr. Montgomery or from the Vicki Myhren Gallery at the University of Denver. Visitors at the Visual Trips exhibtion, Vicki Myhren Gallery, University of Denver, Fall 2014 CONTENTS EXHIBITION OVERVIEW 6 VISUAL TRIPS: THE PSYCHEDELIC POSTER 10 MOVEMENT IN SAN FRANCISCO THE JOINT SHOW: AN ARTISTIC MANIFESTO 12 THE POSTER AS PROPAGANDA, POLITICAL 18 AND COMMERCIAL EXPANDING CONSCIOUSNESS AND PSYCHEDELIA 24 THE INEFFABLE AND THE ILLEGIBLE 30 ARTISTIC INFLUENCES AND STYLE 34 IMAGE AND IDENTITY 40 THE SOUND 46 THE FOURTH DIMENSION 52 LIGHTSHOWS AND THE PERFORMANCE CONTEXT 56 MAKING A LITHOGRAPHIC POSTER 58 Dan Jacobs and Kaitlin Maestas University of Denver School of Art and Art HIstory 2121 E. Asbury Ave. Denver, CO 80210 www.myhrengallery.com Editor: Dan Jacobs Design: Mary Junda This document is prepared for informational purposes only and is not available for sale. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, now known or hereafter invented, including photocopy, recording, or any other information storage and retrieval system, without Visual Trips installation, Vicki Myhren, University of Denver, Fall 2014 permission in writing from the copyright holders. -
Generation X and the Invention of a Third Feminist Wave
GENERATION X AND THE INVENTION OF A THIRD FEMINIST WAVE by ELIZABETH ANN BLY Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Renée Sentilles Department of History CASE WESTERN RESERVE UNIVERSITY January, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________ candidate for the ______________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2009 by Elizabeth Ann Bly All rights reserved iii For Gabe, Kristin, and Xoe And in memory of Judith Northwood (1964-2009) iv TABLE OF CONTENTS LIST OF ILLUSTRATIONS viii ACKNOWLEDGEMENTS ix ABSTRACT xiii INTRODUCTION 1 White Grrrls 7 ―We Don‘t Need Another Wave‖ 11 Generation X, Feminism, and Contemporary History 19 ―The Order of Things‖ 25 CHAPTER ONE: “Generation X and the 1970s Pop Cultural Discourse on „Women‟s Lib‟” 32 ―Women‘s Lib‖: The Media‘s ―Charred Bra‖ Revolution 35 A Day in the Life: ―Women‘s Lib‖ as Spectacle 38 ―And Then There‘s Maude‖: ―Women‘s Lib‖ and Adult TV 46 Women‘s Lib -
October 11, 2015 Bill Graham and the Rock & Roll Revolution
May 7 - October 11, 2015 Bill Graham and the Rock & Roll Revolution Bill Graham played no musical instruments, save for the occasional cow bell. He could not really sing, and he never wrote a word of a single song performed on stage, and yet he changed rock music forever. During a crucial period of cultural transformation in American history, Bill Graham “stage managed” the rock revolution. His passion reflected the ideals of a generation and his life’s work has shaped musical taste and standards around the world to this day. Born Wolodia Grajonca in Berlin on January 8, 1931, Graham came to America as a Jewish refugee at the age of eleven with nothing to his name except the clothes on his back, a few photographs of his family, and a prayer book only to become the greatest impresario in the history of rock ‘n’ roll. Though he blocked the experiences of his early childhood from his memory, the hardship he endured left indelible marks on his character. He was strong and determined—and often abrasive. His quick temper was legendary, but equally unmistakable was his charisma and his compassion. It was one of America’s most turbulent eras. The Vietnam War was raging, the civil rights movement had progressed from non-violent to militant, and the airwaves carried messages of cultural revolution. Young people, the baby boom generation, had grown increasingly disillusioned with the world around them. Rejecting the stiff and stultifying values of the postwar era, they set out to remake the world by experimenting with new ways of living, new definitions of freedom, new philosophies, and a radical new style of music. -
Director's Book
Director’s Book Props and costuming are more important than the set in this show. The protest posters, the flower garlands, and the wild clothes of the sixties fit in well with a psychedelic backdrop (even tie-dyed fabric). Set pieces, with the exception of the schoolhouse pillars, can be painted in bright colors textured with psychedelic designs or tie-dyed patterns. Max King’s office need only be suggested by a desk with phones and a few chairs. COSTUMES The Flower Power girls and the boys who join in their “protest” movement should wear regular school clothes initially, but as they move into their Cornstalk Festival, they may begin to wear more bizarre outfits. The girls might wear garlands around their necks and the boys tie-dyed shirts. Only the real hippies and the bikers wear the classic garb associated with their character station. The teachers, the law officers, and the bureaucrats should wear their traditional outfits, as Book by Craig Sodaro should Grandpa and Grandma McDonald “down on the farm.” Music and Lyrics by Bill Francoeur Classic “hippie” dress is tie-dyed shirts, beat-up jeans, a vest, lots of love beads, and sandals. Scruffy long hair will help, along with sunglasses and a tambourine. The classic “biker” look is leather © Copyright 2014, Pioneer Drama Service, Inc. pants, a leather vest, tattooed arms, and a bandanna in place of a hat. SHREDDY FREDDY wears beads, long hair, sandals, etc. Professionals and amateurs are hereby warned that a royalty must be paid for every performance, whether or not admission is charged.