2 20 25 http://s3.amazonaws.com/sc-lib-ds-bl1969/original/6f511129d819228c3ae785c7caa3d9a7.jpg 4246af40aaf94b0da0d4e95555bda1d9 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/M86U8LkvKxo" 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 "Ready or Not Here I Come (Can't Hide From Love)" Description An account of the resource "Ready or Not Here I Come (Can't Hide From Love)" was written by Thom Bell and William Hart. It was released by Philly Groove Records. It was released in 1968 as a single and then on the album The Sound of Sexy Soul in 1969. 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> 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 Wax Poetics ® published via YouTube.com Creator An entity primarily responsible for making the resource The Delfonics 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 On the UK Singles Chart, the song hit #41. On the US Billboard Pop singles, it hit #35, and it hit #14 on the US Billboard Hot R&B/Hip-Hop Songs. Don Mizell ‘71 recalled listening to the band. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/35ae722fd706811f602a8d2d978d110c.jpg bf97ed55954e823f026e504457461203 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/xacPTbeI6Hs" 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 "Respect" 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 SteelTownBrutha published via YouTube.com Description An account of the resource "Respect" was written by Steve Cropper and Otis Redding. Redding released the original version of the song in 1965. Aretha Franklin recorded and released "Respect" in 1967 as a single and later on the album I Never Loved A Man The Way I Loved You. Creator An entity primarily responsible for making the resource Aretha Franklin 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 1967, Aretha Franklin's version reached #1 on the R&B Singles Chart, the Billboard Hot 100, and the Australian Singles Chart; #2 on the Canadian Singles Chart; #7 on the Italian Singles Chart; and #10 on the UK Singles Chart. It is listed on the National Recording Registry.   Don Mizell ‘71 recalled listening to the song. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/2fe5ed60f5768255c1bfba8482fad243.jpg 17ca05d439a331dc6dc59fe9f72a60bc 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/BqwjUtf0bas" 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 Sketches of Spain Date A point or period of time associated with an event in the lifecycle of the resource 1960 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 SShogun872Shogun published via YouTube.com Description An account of the resource Sketches of Spain was recorded at the Columbia 30th Street Studio. Gil Evans, an arranger and composer, worked with Miles Davis to create the album.  Miles Davis recorded the album between November 1959 and March 1960; it was released later in 1960. Creator An entity primarily responsible for making the resource Miles Davis 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 is considered Davis' most accessible album. Evans and Davis won the 1961 Grammy Award for Best Original Jazz Composition for Sketches of Spain.  Marilyn Holifield ‘69 recalled listening to this album. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/d434de4fe1d13e1adcef78840d5be54a.jpg 13cecc2e889a6d36ca69aced2bad86c9 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/lxny2KMd0TI" 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 "You Keep Me Hangin' On" Description An account of the resource "You Keep Me Hangin' On" was written by Lamont Dozier, Brian Holland, and Eddie Holland. It was first released as a single and later on the album The Supremes Sing Holland–Dozier–Holland 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 Supremes59 published via YouTube.com Creator An entity primarily responsible for making the resource The Supremes 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 "You Keep Me Hangin' On" was #1 on the Billboard Hot 100 from November 13 to November 27, 1966. http://s3.amazonaws.com/sc-lib-ds-bl1969/original/468f631b72442eed86e20aa856ccc88e.jpg 976738d129976015f4245522802b122d 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/EfGDvDGE7zk" 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 "Oh Happy Day" Description An account of the resource "Oh Happy Day" is the Edwin Hawkins Singers' arrangement of the hymn "Oh, Happy Day," which dates from the 18th century. It was released as a single and on the album Let Us Go Into the House of the Lord in 1968 by both Pavilion and Buddha Records.  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 https://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> Creator An entity primarily responsible for making the resource The Edwin Hawkins 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 It reached #4 on the US Billboard Pop chart and #2 on the UK pop chart and Irish Singles Chart. In 1970 the Edwin Hawkins Singers won the Grammy Award for Best Soul Gospel Performance for the song. Marilyn Holifield ‘69 recalled listening to this song as a student.