1 20 25 http://s3.amazonaws.com/sc-lib-ds-bl1969/original/1db37712ad7c32467bfefa24de41c804.jpg 668abe38a7b50082b629df5fa0c73674 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/87S_wbCsNbQ" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Pata Pata" Date A point or period of time associated with an event in the lifecycle of the resource 1967 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available PEDRO HERNANDEZ Petermadison published via YouTube.com Description An account of the resource "Pata Pata" is written in Xhosa; 'pata' translates to 'touch'. Dorothy Masuka wrote "Pata Pata", and Miriam Makeba first released it in 1957 in South Africa. It was first released in the United States in 1967 on the album Pata Pata and as a single. Creator An entity primarily responsible for making the resource Miriam Makeba Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "Pata Pata" hit #12 on the Billboard Hot 100. Marilyn Holifield ‘69 recalled listening to Makeba’s music. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/6fa88ffb52a82e1ff170a8e3ea77aa94.jpg c31cf2f912ad8b0f340164e86d339b97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/fOxA3AK1foI" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Jump In the Line" Description An account of the resource The song was composed by Lord Kitchener. Harry Belafonte's cover was released in 1961 by RCA Viktor Records on Jump Up Calypso. Date A point or period of time associated with an event in the lifecycle of the resource 1961 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available burakpaktan published via YouTube.com Creator An entity primarily responsible for making the resource Harry Belafonte Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Jump Up Calypso reached #3 on the Billboard Pop Albums chart. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/6094c6d2571ce41e395843c233648d24.jpg 9bc992768656a5fdd917a9ce65e9cb66 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/VrLBK2WXFQE" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Spiritual Trilogy: Oh, Freedom; Come And Go With Us; I'm On My Way" Description An account of the resource "Oh Freedom" is a post-Civil War spiritual heavily associated with the Civil Rights Movement. Joan Baez famously performed it in 1963 at the March on Washington. This version of "Oh, Freedom" was recorded as a part of "Spiritual Trilogy" on Odetta Sings Ballads and Blues. Also included on the track are "Come and Go With Me" and "I'm on My Way". The album was released by Tradition Records in 1956.  Date A point or period of time associated with an event in the lifecycle of the resource 1956 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available Grammercy Records published via YouTube.com Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Joyce Frisby Baynes '68 recalls singing "Oh Freedom" with others while at Swarthmore College. Marilyn Holifield ‘69 recalled listening to Odetta’s music. Creator An entity primarily responsible for making the resource Odetta http://s3.amazonaws.com/sc-lib-ds-bl1969/original/f006a53ea0daf2bfd414898ee7f9a9d8.jpg 32baec12e58561cd1bb31bea2088b916 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/FGVGFfj7POA" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "In the Midnight Hour" Date A point or period of time associated with an event in the lifecycle of the resource 1965 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available fabrizio autore published via YouTube.com Description An account of the resource "In the Midnight Hour" was written by Wilson Pickett and Steve Cropper. It was recorded in 1965 and released as a single and on In the Midnight Hour.  Creator An entity primarily responsible for making the resource Wilson Pickett Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "In the Midnight Hour" peaked at #1 on the R&B charts, #21 on the pop charts in the US, and #12 on the UK singles chart. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/211c1b3f678bee1b0c05f9179112bdf2.jpg b274ba7889a3309a2c13791155cd433b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/hRcSX1ebyFo" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "I've Been Trying" Description An account of the resource "I've Been Trying" is the second track on Keep on Trying, released in 1964 by ABC-Paramount Records. Date A point or period of time associated with an event in the lifecycle of the resource 1964 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available MrJohnnyNumbers published via YouTube.com Creator An entity primarily responsible for making the resource The Impressions Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Don Mizell ‘71 recalled listening to the band, and Clinton Etheridge ‘69 remembers dancing to the song at “soul parties” on Saturday nights. Keep on Pushing #8 on the Billboard Pop charts and #4 on the R&B Album charts. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/5c772ecb1587854c67be3eb678a80c17.jpg cad9f53a098a347d9c6d9a82dbdbc957 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/UCmUhYSr-e4" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource “(Sittin’ On) The Dock of the Bay” Description An account of the resource “(Sittin’ On) The Dock of the Bay” was written by Otis Redding and Steve Cropper. Redding recorded it just before his death. Otis Redding recorded it in 1967. It was released posthumously as a single and on the album The Dock of the Bay in 1968. Date A point or period of time associated with an event in the lifecycle of the resource 1967 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available AmericanAirlinesRule published via YouTube.com Creator An entity primarily responsible for making the resource Otis Redding Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm It reached #1 on the Billboard Hot 100; #1 on Hot Rhythm & Blues Singles; and #3 on UK Singles Charts.  It received Grammy Awards for the Best R&B Performance and Best Male R&B Vocal Performance. Clinton Etheridge ‘69 recalled the song as being popular.Don Mizell ‘71 recalled listening to the song. <div> </div> http://s3.amazonaws.com/sc-lib-ds-bl1969/original/fbab09ff9f12570de6e83f4aedfe5e03.jpg f4c17b398281a34218e8a242aac637ba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/GUvBGZnL9rE" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Swing Low, Sweet Chariot" Description An account of the resource The earliest known recording of "Swing Low, Sweet Chariot" is that of the Fisk Jubilee Singers in 1909. It was written by Wallace Wilson in the 19th century. Date A point or period of time associated with an event in the lifecycle of the resource 1909 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> This video represents licensed content on YouTube, meaning that the content has been claimed by a YouTube content partner. Publisher An entity responsible for making the resource available Nathaniel Jordon published via YouTube.com Creator An entity primarily responsible for making the resource The Fisk Jubilee Singers Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm This recording is a part of the National Recording Registry. Joyce Frisby Baynes '68 recalled that she and others sang and listened to old spirituals such as “Swing Low, Sweet Chariot”. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/5e3af53b44d9b89e3df876e3d9cb5454.jpg 7c729b4eb333cac9f8fa9b19524672d5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/Knw_rUP64wM" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Say It Loud - I'm Black and I'm Proud" Description An account of the resource James Brown recorded "Say It Loud - I'm Black and I'm Proud" in 1968. It was released as a single as well as on the albums Say It Loud - I'm Black and I'm Proud and A Soulful Christmas. Date A point or period of time associated with an event in the lifecycle of the resource 1968 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available Kevin Maguire published via YouTube.com Creator An entity primarily responsible for making the resource James Brown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm The Rock and Roll Hall of Fame included "Say It Loud – I'm Black and I'm Proud" as one of their "500 Songs that Shaped Rock and Roll". It reached #1 on R&B Singles Chart and #10 on the Billboard Hot 100. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/1862137bea6926ac220bf4ee7ed577bb.jpg 08a02f3bb1d58ef17dd1ca451c99df99 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/Fnf9PJWwPZ0" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Light My Fire" Description An account of the resource The song was written by the Doors and released in 1967 on their debut album. José Feliciano released the song through the RCA Viktor label as a single and later on his album  Feliciano! . Date A point or period of time associated with an event in the lifecycle of the resource 1968 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available Stevo Tomo published via YouTube.com Creator An entity primarily responsible for making the resource José Feliciano Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Feliciano's version of the song hit #3 on the US Billboard Hot 100 Charts,  Myra Rose '72 and Harold Buchanan '69 both remember his music playing in Parrish Hall during the 1969 direct action.   http://s3.amazonaws.com/sc-lib-ds-bl1969/original/9159d3693ffa9a783558c07cd105093b.jpg ced53ac1692a39b29fba3f1beb139d81 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/ughAVo2ZAag" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Strange Fruit" Description An account of the resource "Strange Fruit" was first a poem written by Abel Meeropol. It was first performed by Billie Holiday. Nina Simone recorded the song for her 1965 album Pastel Blues, released by Philips Records. Date A point or period of time associated with an event in the lifecycle of the resource 1965 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available WiseMonkey568 published via YouTube.com Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm The album hit #8 on the Billboard R&B charts.  Marilyn Holifield ‘69 recalled listening to this song.   Creator An entity primarily responsible for making the resource Nina Simone http://s3.amazonaws.com/sc-lib-ds-bl1969/original/7b298738c6f1250c71deda52d84c8db9.jpg 58227e62b832b1bace023db0ebc27eb7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/zm4tmZbcixc" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Soul Man" Description An account of the resource "Soul Man" was written and produced by Isaac Hayes and David Porter. It was released by Stax and Atlantic Records as a single and later on the album Soul Man in 1967. Date A point or period of time associated with an event in the lifecycle of the resource 1967 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available commercialnewsandfun published via YouTube.com Creator An entity primarily responsible for making the resource Sam & Dave Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "Soul Man" was #1 on the Billboard Hot Black Singles chart, #2 on the Billboard Hot 100 in the United States, and #2 in Canada. It received the 1968 Grammy Award for Best Rhythm & Blues Group Performance, Vocal or Instrumental. Clinton Etheridge ‘69 recalled the song as being popular, and Don Mizell ‘71 recalled listening to the group. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/899b8d309e10aa9544730272bb203366.jpg d7bdc68f7a47d0bb9cb816e2e1bb23a4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/Pbn6a0AFfnM" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Both Sides, Now" Description An account of the resource Joni Mitchell wrote "Both Sides, Now" and released it in 1969 on Clouds. Judy Collins first included it on her 1967 album Wildflowers, and in 1968 she released it as a single with Elektra Records.  Date A point or period of time associated with an event in the lifecycle of the resource 1967 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available Peter Johnson published via YouTube.com Creator An entity primarily responsible for making the resource Judy Collins Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Collins' "Both Sides, Now" hit #8 on the U.S. pop singles charts. In 1969 she won the Grammy Award for Best Folk Performance for it. Marilyn Holifield ‘69 recalled listening to Collins’ music. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/a0efe0b5f60a8e254a44570ae3d4b043.jpg 05170bb469c4431beff96839cc4c50be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/tdIF1lrIxXc" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "I Heard It Through the Grapevine" Description An account of the resource The song was written by Norman Whitfield and Barrett Strong for Motown Records in 1966. Smokey Robinson & the Miracles first recorded it. Marvin Gaye released it on Motown's Tamla label in 1968 as a single and later on In the Groove. Date A point or period of time associated with an event in the lifecycle of the resource 1968 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available Ibrisar published via YouTube.com Creator An entity primarily responsible for making the resource Marvin Gaye Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Gaye's rendition of the song hit #1 on the US Billboard Hot 100 and R&B Singles, #1 on the UK charts, #3 on the South African Chart, #7 on the Irish Singles Chart, and #8 on the Canadian RPM Top Singles. Marilyn Holifield ‘69 recalled listening to Gaye’s music. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/f628fa22c10107f4c09044b592bf5fe0.jpg 9b8b4461a77f119afa78693c34690048 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/TmD16eSy-Mg" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Love Supreme Description An account of the resource The album was recorded in 1964 and released in 1965 by Impulse! Records. Date A point or period of time associated with an event in the lifecycle of the resource 1965 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available RadioJazz891 published via YouTube.com Creator An entity primarily responsible for making the resource John Coltrane Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant |3|0.0000000|0.0000000|osm The album is a part of the Smithsonian’s National Museum of American History’s “Treasures of American History”. Marilyn Holifield ‘69 recalled listening to Coltrane’s music. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/9ae45a072701b7f4b811ada651967561.jpg 39a17d1cf3704358f8e8f00b5a6573e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/uN7vm-k-AaA" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Tighten Up" Description An account of the resource "Tighten Up" was written by Archie Bell and Billy Buttier. It was released as single and on the album Tighten Up in 1968. Date A point or period of time associated with an event in the lifecycle of the resource 1968 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available OLDIESMS published via YouTube.com Creator An entity primarily responsible for making the resource Archie Bell & The Drells Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "Tighten Up" hit #1 on the US Billboard Hot 100 and Hot R&B charts.  Don Mizell ‘71 recalled listening to the band. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/ff7dc32940f6f799b9f0cc4ebe6c32db.jpg e43552a4c77cc8d23b900304ff0bbbdf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/BeM49Ol2bM0" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)" Date A point or period of time associated with an event in the lifecycle of the resource 1969 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available Willem B. Zelluf published via YouTube.com Description An account of the resource "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)" was written by James Brown and released by King Records as a single in 1969. Creator An entity primarily responsible for making the resource James Brown Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)" hit #3 on Billboard R&B and #20 on Billboard Pop charts. Clinton Etheridge '69 recalled being intrigued with the song his senior spring. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/c3bc0f113a8238f396cac095de523d74.jpg 214169da196cd5ece2b77d6161ba85c8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/den2vyVUS4c" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Ain't Too Proud to Beg" Description An account of the resource "Ain't Too Proud to Beg" was written by Norman Whitfield and Edward Holland, Jr. It was recorded in 1966 and released as a single and on the album Gettin’ Ready.  Date A point or period of time associated with an event in the lifecycle of the resource 1966 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available StarHeavenVidz published via YouTube.com Creator An entity primarily responsible for making the resource The Temptations Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "Ain't Too Proud to Beg" hit #13 on the Billboard Pop Chart and stayed at #1 on the Billboard R&B charts for eight non-consecutive weeks. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/a1f2da45e26632cc2cf24070792e0152.jpg eb46e7c145b63d8b72069365e4b7f860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/s4rXEKtC8iY" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Mercy, Mercy, Mercy" Description An account of the resource The song was written by Joe Zawinul and released by Capitol Records. The song was released on Mercy, Mercy, Mercy! Live at 'The Club' in 1966. Date A point or period of time associated with an event in the lifecycle of the resource 1966 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available Anthony Valente's Jazz Channel published via YouTube.com Creator An entity primarily responsible for making the resource The Cannonball Adderley Quintet Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "Mercy, Mercy, Mercy" hit #2 on the Soul chart and #11 on the Billboard Hot 100 chart. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/efa1b13441d7da72e3acafcae3e36290.jpg 2388d20140189ae6433b003cc8533e6e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/h3OIfuVpocU" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "To Be Young, Gifted and Black" Description An account of the resource Lyrics were written by Weldon Irvine.  "To Be Young, Gifted and Black" was first released as a single in 1970, then on the album Black Gold.  This recording comes from the Harlem Cultural Festival in 1969. Date A point or period of time associated with an event in the lifecycle of the resource 1969 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available NinaFestival published via YouTube.com Creator An entity primarily responsible for making the resource Nina Simone Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "To Be Young, Gifted and Black" was a Top Ten R&B hit, peaking at #8. It reached #76 on the Hot 100. It was inspired by Lorraine Hansberry, author of Raisin in the Sun. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/58acad7059bd7e4105f38398a88be5c0.jpg 509074bb47ab28b78a839552dca8e4fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Liberation 1969: the Playlist Description An account of the resource Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack. The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”. These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights. Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a> Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player html for embedded player to stream video content <iframe width="640" height="360" src="https://www.youtube.com/embed/_bpS-cOBK6Q" frameborder="0"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Green Onions" Description An account of the resource Volt 102 of Stax Records first released the song as the B-side to “Behave Yourself” in 1962.. Stax 127 later released it. Date A point or period of time associated with an event in the lifecycle of the resource 1962 Source A related resource from which the described resource is derived http://YouTube.com Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Publisher An entity responsible for making the resource available dutchmanmm published via YouTube.com Creator An entity primarily responsible for making the resource Booker T. & the M.G.s Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm "Green Onions" entered the Billboard Hot 100 the week ending on August 11, 1962 and peaked at No. 3 the week ending on September 29, 1962. Don Mizell ‘71 recalled listening to the band.