2 20 962 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. 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.  http://s3.amazonaws.com/sc-lib-ds-bl1969/original/d75ad056031b8da476225e68978db060.jpg 03675d5a5046170aa45ab09253a12b50 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 The Phoenix Description An account of the resource Clippings from The Phoenix, the student newspaper of Swarthmore College, from the fall of 1968 to the fall of 1973. The newspaper was at that time a bi-weekly publication with the exception of a special supplement on rare occasions such as during the 1969 sit-in which were on a daily basis. Articles mostly, but not exclusively, pertain to events and issues on campus. Source A related resource from which the described resource is derived <a title="Swarthmore Phoenix" href="http://triptych.brynmawr.edu/cdm/search/collection/SC_Phoenix2" target="_blank">Triptych Tri-College Digital Library, Swarthmore Phoenix Collection</a> Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. 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 Challenge Creator An entity primarily responsible for making the resource William Dorsey Publisher An entity responsible for making the resource available Swarthmore College Date A point or period of time associated with an event in the lifecycle of the resource 04/12/1968 Format The file format, physical medium, or dimensions of the resource JPG William Dorsey http://s3.amazonaws.com/sc-lib-ds-bl1969/original/606708f9443d5bdb9f365ac015586daa.pdf d0e4f75b9d893a01c8d20aa36ba81040 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 The Phoenix Description An account of the resource Clippings from The Phoenix, the student newspaper of Swarthmore College, from the fall of 1968 to the fall of 1973. The newspaper was at that time a bi-weekly publication with the exception of a special supplement on rare occasions such as during the 1969 sit-in which were on a daily basis. Articles mostly, but not exclusively, pertain to events and issues on campus. Source A related resource from which the described resource is derived <a title="Swarthmore Phoenix" href="http://triptych.brynmawr.edu/cdm/search/collection/SC_Phoenix2" target="_blank">Triptych Tri-College Digital Library, Swarthmore Phoenix Collection</a> 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 Summer Upward Bound to Feature Internship, Control by Counselors Creator An entity primarily responsible for making the resource Phoenix Publisher An entity responsible for making the resource available Swarthmore College Date A point or period of time associated with an event in the lifecycle of the resource 04/25/1969 Format The file format, physical medium, or dimensions of the resource PDF William Dorsey http://s3.amazonaws.com/sc-lib-ds-bl1969/original/dcf6778e920dfc91c4479fc57deaf2e6.pdf eefe2dfd3917abaf631730211b4caef1 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 The Phoenix Description An account of the resource Clippings from The Phoenix, the student newspaper of Swarthmore College, from the fall of 1968 to the fall of 1973. The newspaper was at that time a bi-weekly publication with the exception of a special supplement on rare occasions such as during the 1969 sit-in which were on a daily basis. Articles mostly, but not exclusively, pertain to events and issues on campus. Source A related resource from which the described resource is derived <a title="Swarthmore Phoenix" href="http://triptych.brynmawr.edu/cdm/search/collection/SC_Phoenix2" target="_blank">Triptych Tri-College Digital Library, Swarthmore Phoenix Collection</a> 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 Rockefeller Foundation Gives College $275,000 to Find, Aid Negro Applicants Creator An entity primarily responsible for making the resource Phoenix Publisher An entity responsible for making the resource available Swarthmore College Format The file format, physical medium, or dimensions of the resource PDF Date A point or period of time associated with an event in the lifecycle of the resource 04/14/1964 Black admissions http://s3.amazonaws.com/sc-lib-ds-bl1969/original/c372b8fb77efadbbce5da56bac4ff857.png c5c67cb34babf173dd4040effaa26b2c 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 Parrish Occupation Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Swarthmore College Map -1964