1
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962
-
http://s3.amazonaws.com/sc-lib-ds-bl1969/original/bfca6f26289896234881c47254204457.pdf
d1803bc0c36d6bdef43864148adeda94
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.
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Title
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'Black Philosophies of Liberation': Legacies of Student Activism at Swarthmore College
Creator
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Alis Anasal
Date
A point or period of time associated with an event in the lifecycle of the resource
1/15/2015
-
http://s3.amazonaws.com/sc-lib-ds-bl1969/original/a0fb1e8d2abcb81435fc0357cf07692f.pdf
ed264672aecd2d10daac4848186579fd
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The Phoenix
Description
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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.
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<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
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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
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'Pathological Poor' Cause Urban Ills, Banfield Says
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Phoenix
Ning Robinson
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Swarthmore College
Date
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10/08/1971
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jpg
-
http://s3.amazonaws.com/sc-lib-ds-bl1969/original/91b0bb1a72e96aac8b197592a80089e6.pdf
18079a89f769eebd3da8fba1c6139c67
PDF Text
Text
"HISZ::" STUDEiJTS AND THE S,HATID:!ORE Iv IQVEr'iENT
.~~,
..
. ':
The SDS Labor Committee supports , the SASS demand f'or the admission of' several "risk H students. The demand for 10-20 "risks" represents the f'irst tentative, mod~rate expression of' what should rightly be~ome a major f'ocus of any movement which seriously hopes to signif'iciantly alter the character of' the university ad the society which it is supposed to serve. He would recommend a university policy which would guarantee admis~ions to a substantial number of black and white working class youth. " Moreover this is not a m~tter of moral preference. lile would contend that the enrollment ' o~gqetto high school victims and their white countep parts must be a leading f'eature of a program intent on reversing the disgusting decay of the human and material resources in our country. This is also to suggest that failing to adopt such an enrollment policy as our own guarantees our futures as rather pathetic managers of an , accelerating social rot.
of, •
Ghetto Education nnd l"lod ern Productive Labor The demand for a ' four year coll ege education or its equivalent for expanded numbers of black and lflThite working classs youth otherwise expresses the country's imme d iate need for a greatly enlarged modern productive labor forc e - tha t is a working population equipped with t h e skills requi~ed to operate the most advanced technologies pres e ntly associated with the military and aerospace industries. That this sort of training is simply not taking place must be immediately apparent to anyone entering a ghetto high school. In f'act the op p osite is occurring. Skill levels of all kinds and subsequnet employment possibio ' ites are declining for thousands. The increasingly diluted academic pablum served up in the average ghetto classroom is ruining the futures of a majority of ghetto students, leaving them unfit to ma n even the most primitive technologies connected to the most b a ckward industries (garment for example). High school has become a one-way street to the army, unemployment, welfare rolls or at best $1.60/hour ba ~k-b~eaking jobs. This destruction of human life and potential is only appropriately reflective of a more genoral decay of the whole of society productive powers. Toles of growing poverty and even SUbstantial st arvation ar e too common to need repition here. Of less common knowledge is the recent decline in living standards ~f the whole ~f the working popUlation reflected in a three year trend toward lower real wages (proceeding at a 7.8% annual rate as of Oct.), caused by a 610 yearly inflation and an apparently uncontrollable tax spiral. Massive consumer needs are going largely unmet. Supplies of schools, hospitals, h~using, urban transit etc. are entirely inadequete and growing more so. Finally basic industry is de~ades rleep in obsolescence. Garment industry techn~logy dates from the 19201S. Much of the steel plant is archaic by European standards. The technology of the metal working andustry is the olaest in the industrializei world. The same applies to the shipbuilding and railroad inrlustries and even t~ those sectors of the elctrical ind~stry not directly connecterl to the military sector. (Extensive documentati~n of industrial decay can be found in Se our Melman's ok, e nl @ e.d §oc ~.±i-y t
Ow
�pr~nuction. The pr~ductive plant is rotting. The ec~nomy is failing t~ even maintain, much less exrand the level of living f~r mest of the working and unemployed ~opulation. In the midst of the mess capital flows are headed out of the productive sect~r
In sh~rt the country is in the grip of a crisis ~f under-
of the economy into absolutely non-productive areas. Speculation in industrial stocks and bonds, trading in government and public authority securities, slum real estate ~~eculatien, investment in titles to military and aerospace plant and a cancerous expansi~n ~f all kinds ~f parasitic corporate, advertising, financial and government bureaucracies are claiming the lions share of available capital res~urces. Why these essential13f wa stef'ul areas of investment are ao ~verwhelmiugly appealing at this time to major fln911c8il and corporate interests cl1nnot be competently explRiuo d h e re. What ahouln be obvious h ..wever l is that to even make a dent in the three trillion d~lla:r' poverty deficit requires the imme diate r'Adh·0 G !;:i..on ef masRive capital flows. It is no exaggeration t o sa;Jf th A ()l..l.r cr) l J.n~~ l· ·Y j $ 'u-"') " "" f1,rH.' lffl' o d 8 ]l.1 nrvl(n~~lfJ I] 1-1 1oping at .t n. 'r' ''::-': ~; " ,~ ~. 0 ~ -r:f ~ 'y::,_ J: i. 0 to e -l- , )p ; i f' "hpre i s to b e ::m~T }I f'' T' ''' r::~ b ~J ::.:,i, !:~- t t: .. ~:. :.~.1, i': !·~t_ r) (\ :.: is () 1-,.: ~.' ~~~: :, ~r . ~: t:.,::' . i · : ...: _ C C~.::. ~ :!_ :-. ;.0::1 l:~ .~ . ~~_l.-'.:; C;'./ ~~ ~ .~ " C~
-l '.
t ...... :
�eliminating the absolutely abysmal conditions of life confronting a good one third of the population, there must be a re-industrialization of the U.S. Without the investment of at least $50 billion a year in the production of expanded means of production and consumption there can be no talk about eradicating poverty or any of its social sicknesses. This kind of investment ~olicy would lead to the creation of 4 ,million new productive jobs a year in modernized industries requiring the highest levels of skill and education. Even today, apprenticeship in the newest portions of the printing industry invalves the equivalent of a college education. The same is true for much military technology and the military related sections of the electrical industry. The educational requisites of a modern labor force cannor be measured merely in terms of degrees of technical aptitude. To effectiv~ly assimilate the knowledge assoc~ated with a highly complex economy and culture demands highly developed synthetic and creative ' intellectual abilities. A pol&cy of productive investwent then would mean a greatly augmented program of higher eaucation for presently non-educated and mis-educated youth, so that they might be employed at skill and wage levels consonant with the most advanced parts of the space industry. Program along these lines meets the needs of the country as a whole as well as the immediate aspirations of ghetto and other working class youth for a decent future.
approximatel~
~he Philad8lQhia High School Movement In this connection the Labor committee condemns Swathmore's admissions policy, because of its de facto exclusion of black and other working class students, and supports and extends the demand raised by SASS. We recognize that such an enrollment policy implies de ep-going changes in educational arrangments at Swathmore. Although the problems are serious, we nevertheless believe them to be solvable and in the interest of all Swathmore students. A high school campai~n now b e ing conducted in Phila. provides an-ex ffin~~~~0ssjble _di~ection for the Swathmore movement. Several members of the Black Panthe r Parl;y=rurd---etre SjJS~ T:l'abe-r -CQmmit-t aa ~_ __ ar e organizing a high school movement cnntered mainly, although not exclusively, in some of the major ghetto high schools. The leading demands of that movement are 1. The construction of 33 n ew schools (a cons e~~ ativ e e stimate of the city government on the number of new schools needed to relie ve overcrowding). 2. Expanded job-training programs for jobs that do exist - many vocational schools train students for nonexistent jobs or offer courses attuned to the automotive and shop practice of two decades ago. 3. R'lEpmnded Cnllege p:,era~_~.~ .o!,y J~.!,ogh~ 4. Full aid colle , e educa.tioA*'*.f~~\Silall hi h H~S. graduates W 0 wish to attend but can't afford ~t. • rrt:'d nct~ve we ll-paying jobs for H.S. graauate-s -:..' a recognition tha t the ronts 0 1' the school crisis lie with the general cond53: ions of ghe tto ; l l:fe and that r emod i e s limited to the schoo. sy o t ; e m are chi meraA. 1 Finally, the mov ement propOS GS to finance its pr \.'.) g,t' om by trueing various forms of spe cu1.a tive inv8 flIJment (slum r eal estate speculation and public authority pork barrel bond issues being the mast immediately identifiable) as opposed to any increased wage taxation. This last proposal on financing then concretely links the aims of the high school movement with the needs and interests of the rest of thewage~ earn~ng popul at~on •. '
~
�"STUDENT INTERESTS" ? The Labor Comrnittee b e-rieveS-that the- movement at Swathmore must proceed to link up with braoder social layers in the kind of moveme nt outlined above. It should be clear that programmatic struggle aimed at arresting the underproduction crisis is in the immediate interests ,of black oppressed. We also contend that the fight r~r re-industrialization, productive jobs and expanded higher 0ducation for working class students is in the interests of college students as well. Like it or not, we too ' are currently being trainec1 as highly "skilled" members of a non-productive labor force. Ho are headed for "cnre~rs" as corporate, financial and gl'werIl1Jlent hureaucrats, slick marketing pnrasites, technicians for the militfU Y? QPQlogists for social misery, pokicemen of social discontent in the ' ghettn classrofllm, and embarassed dispensers of inade<1uete, degrfl d.i.ng "l81fare doles. Our only hope for a decent, '['roductive future de'Pends on joining with the kind of br~ader movement, embry':)1d~ R.I1Y :re'p',N}sented by the Phila. high school drive. DI2.CUSSION - CRITICISM WLCOME - 8 :oop .M. -Tues. 14th .. ~ TARBLES
9
�
"HISZ::" STUDEiJTS AND THE S,HATID:!ORE Iv IQVEr'iENT
.~~,
..
. ':
The SDS Labor Committee supports , the SASS demand f'or the admission of' several "risk H students. The demand for 10-20 "risks" represents the f'irst tentative, mod~rate expression of' what should rightly be~ome a major f'ocus of any movement which seriously hopes to signif'iciantly alter the character of' the university ad the society which it is supposed to serve. He would recommend a university policy which would guarantee admis~ions to a substantial number of black and white working class youth. " Moreover this is not a m~tter of moral preference. lile would contend that the enrollment ' o~gqetto high school victims and their white countep parts must be a leading f'eature of a program intent on reversing the disgusting decay of the human and material resources in our country. This is also to suggest that failing to adopt such an enrollment policy as our own guarantees our futures as rather pathetic managers of an , accelerating social rot.
of, •
Ghetto Education nnd l"lod ern Productive Labor The demand for a ' four year coll ege education or its equivalent for expanded numbers of black and lflThite working classs youth otherwise expresses the country's imme d iate need for a greatly enlarged modern productive labor forc e - tha t is a working population equipped with t h e skills requi~ed to operate the most advanced technologies pres e ntly associated with the military and aerospace industries. That this sort of training is simply not taking place must be immediately apparent to anyone entering a ghetto high school. In f'act the op p osite is occurring. Skill levels of all kinds and subsequnet employment possibio ' ites are declining for thousands. The increasingly diluted academic pablum served up in the average ghetto classroom is ruining the futures of a majority of ghetto students, leaving them unfit to ma n even the most primitive technologies connected to the most b a ckward industries (garment for example). High school has become a one-way street to the army, unemployment, welfare rolls or at best $1.60/hour ba ~k-b~eaking jobs. This destruction of human life and potential is only appropriately reflective of a more genoral decay of the whole of society productive powers. Toles of growing poverty and even SUbstantial st arvation ar e too common to need repition here. Of less common knowledge is the recent decline in living standards ~f the whole ~f the working popUlation reflected in a three year trend toward lower real wages (proceeding at a 7.8% annual rate as of Oct.), caused by a 610 yearly inflation and an apparently uncontrollable tax spiral. Massive consumer needs are going largely unmet. Supplies of schools, hospitals, h~using, urban transit etc. are entirely inadequete and growing more so. Finally basic industry is de~ades rleep in obsolescence. Garment industry techn~logy dates from the 19201S. Much of the steel plant is archaic by European standards. The technology of the metal working andustry is the olaest in the industrializei world. The same applies to the shipbuilding and railroad inrlustries and even t~ those sectors of the elctrical ind~stry not directly connecterl to the military sector. (Extensive documentati~n of industrial decay can be found in Se our Melman's ok, e nl @ e.d §oc ~.±i-y t
Ow
�pr~nuction. The pr~ductive plant is rotting. The ec~nomy is failing t~ even maintain, much less exrand the level of living f~r mest of the working and unemployed ~opulation. In the midst of the mess capital flows are headed out of the productive sect~r
In sh~rt the country is in the grip of a crisis ~f under-
of the economy into absolutely non-productive areas. Speculation in industrial stocks and bonds, trading in government and public authority securities, slum real estate ~~eculatien, investment in titles to military and aerospace plant and a cancerous expansi~n ~f all kinds ~f parasitic corporate, advertising, financial and government bureaucracies are claiming the lions share of available capital res~urces. Why these essential13f wa stef'ul areas of investment are ao ~verwhelmiugly appealing at this time to major fln911c8il and corporate interests cl1nnot be competently explRiuo d h e re. What ahouln be obvious h ..wever l is that to even make a dent in the three trillion d~lla:r' poverty deficit requires the imme diate r'Adh·0 G !;:i..on ef masRive capital flows. It is no exaggeration t o sa;Jf th A ()l..l.r cr) l J.n~~ l· ·Y j $ 'u-"') " "" f1,rH.' lffl' o d 8 ]l.1 nrvl(n~~lfJ I] 1-1 1oping at .t n. 'r' ''::-': ~; " ,~ ~. 0 ~ -r:f ~ 'y::,_ J: i. 0 to e -l- , )p ; i f' "hpre i s to b e ::m~T }I f'' T' ''' r::~ b ~J ::.:,i, !:~- t t: .. ~:. :.~.1, i': !·~t_ r) (\ :.: is () 1-,.: ~.' ~~~: :, ~r . ~: t:.,::' . i · : ...: _ C C~.::. ~ :!_ :-. ;.0::1 l:~ .~ . ~~_l.-'.:; C;'./ ~~ ~ .~ " C~
-l '.
t ...... :
�eliminating the absolutely abysmal conditions of life confronting a good one third of the population, there must be a re-industrialization of the U.S. Without the investment of at least $50 billion a year in the production of expanded means of production and consumption there can be no talk about eradicating poverty or any of its social sicknesses. This kind of investment ~olicy would lead to the creation of 4 ,million new productive jobs a year in modernized industries requiring the highest levels of skill and education. Even today, apprenticeship in the newest portions of the printing industry invalves the equivalent of a college education. The same is true for much military technology and the military related sections of the electrical industry. The educational requisites of a modern labor force cannor be measured merely in terms of degrees of technical aptitude. To effectiv~ly assimilate the knowledge assoc~ated with a highly complex economy and culture demands highly developed synthetic and creative ' intellectual abilities. A pol&cy of productive investwent then would mean a greatly augmented program of higher eaucation for presently non-educated and mis-educated youth, so that they might be employed at skill and wage levels consonant with the most advanced parts of the space industry. Program along these lines meets the needs of the country as a whole as well as the immediate aspirations of ghetto and other working class youth for a decent future.
approximatel~
~he Philad8lQhia High School Movement In this connection the Labor committee condemns Swathmore's admissions policy, because of its de facto exclusion of black and other working class students, and supports and extends the demand raised by SASS. We recognize that such an enrollment policy implies de ep-going changes in educational arrangments at Swathmore. Although the problems are serious, we nevertheless believe them to be solvable and in the interest of all Swathmore students. A high school campai~n now b e ing conducted in Phila. provides an-ex ffin~~~~0ssjble _di~ection for the Swathmore movement. Several members of the Black Panthe r Parl;y=rurd---etre SjJS~ T:l'abe-r -CQmmit-t aa ~_ __ ar e organizing a high school movement cnntered mainly, although not exclusively, in some of the major ghetto high schools. The leading demands of that movement are 1. The construction of 33 n ew schools (a cons e~~ ativ e e stimate of the city government on the number of new schools needed to relie ve overcrowding). 2. Expanded job-training programs for jobs that do exist - many vocational schools train students for nonexistent jobs or offer courses attuned to the automotive and shop practice of two decades ago. 3. R'lEpmnded Cnllege p:,era~_~.~ .o!,y J~.!,ogh~ 4. Full aid colle , e educa.tioA*'*.f~~\Silall hi h H~S. graduates W 0 wish to attend but can't afford ~t. • rrt:'d nct~ve we ll-paying jobs for H.S. graauate-s -:..' a recognition tha t the ronts 0 1' the school crisis lie with the general cond53: ions of ghe tto ; l l:fe and that r emod i e s limited to the schoo. sy o t ; e m are chi meraA. 1 Finally, the mov ement propOS GS to finance its pr \.'.) g,t' om by trueing various forms of spe cu1.a tive inv8 flIJment (slum r eal estate speculation and public authority pork barrel bond issues being the mast immediately identifiable) as opposed to any increased wage taxation. This last proposal on financing then concretely links the aims of the high school movement with the needs and interests of the rest of thewage~ earn~ng popul at~on •. '
~
�"STUDENT INTERESTS" ? The Labor Comrnittee b e-rieveS-that the- movement at Swathmore must proceed to link up with braoder social layers in the kind of moveme nt outlined above. It should be clear that programmatic struggle aimed at arresting the underproduction crisis is in the immediate interests ,of black oppressed. We also contend that the fight r~r re-industrialization, productive jobs and expanded higher 0ducation for working class students is in the interests of college students as well. Like it or not, we too ' are currently being trainec1 as highly "skilled" members of a non-productive labor force. Ho are headed for "cnre~rs" as corporate, financial and gl'werIl1Jlent hureaucrats, slick marketing pnrasites, technicians for the militfU Y? QPQlogists for social misery, pokicemen of social discontent in the ' ghettn classrofllm, and embarassed dispensers of inade<1uete, degrfl d.i.ng "l81fare doles. Our only hope for a decent, '['roductive future de'Pends on joining with the kind of br~ader movement, embry':)1d~ R.I1Y :re'p',N}sented by the Phila. high school drive. DI2.CUSSION - CRITICISM WLCOME - 8 :oop .M. -Tues. 14th .. ~ TARBLES
9
�
Dublin Core
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Title
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Friends Historical Library General Reference Files
Description
An account of the resource
This collection contains a series of folders in the Friends Historical Library that are not part of any particular collection. Most of the documents pertain to SASS, the BCC, and Black Studies.
Source
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Friends Historical Library
Text
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Title
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'Risk' Students and the Swarthmore Movement
Description
An account of the resource
SASS Material 1969 (part 1)
Creator
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SDS Labor Committee
Date
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01/15/1969
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PDF
1969 sit-in
Black admissions
Student Body
-
http://s3.amazonaws.com/sc-lib-ds-bl1969/original/c3bc0f113a8238f396cac095de523d74.jpg
214169da196cd5ece2b77d6161ba85c8
Dublin Core
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Title
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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.
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<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
Moving Image
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Player
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<iframe width="640" height="360" src="https://www.youtube.com/embed/den2vyVUS4c" frameborder="0"></iframe>
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"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 <em>Gettin’ Ready. </em>
Date
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1966
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http://YouTube.com
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
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StarHeavenVidz<br />published via YouTube.com
Creator
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The Temptations
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||||osm
<span>"Ain't Too Proud to Beg" hit #13 on the <em>Billboard</em> Pop Chart and stayed at #1 on the <em>Billboard</em> R&B charts for eight non-consecutive weeks.</span>
-
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
<span>Joni Mitchell wrote "Both Sides, Now" and released it in 1969 on </span><em>Clouds</em><span>. Judy Collins first included it on her 1967 album </span><em>Wildflowers, </em><span>and in 1968 she released it as a single with Elektra Records. </span>
Date
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1967
Source
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http://YouTube.com
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
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Peter Johnson<br />published via YouTube.com
Creator
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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
<span>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. <br /><br />Marilyn Holifield ‘69 recalled listening to Collins’ music.</span>
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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.
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<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>
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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
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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dutchmanmm<br />published via YouTube.com
Creator
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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 <em>Billboard</em> Hot 100 the week ending on August 11, 1962 and peaked at No. 3 the week ending on September 29, 1962.<br /><br />
<p dir="ltr"><span>Don Mizell ‘71 recalled listening to the band.</span></p>
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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
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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Willem B. Zelluf<br />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
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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 <em>Billboard </em>R&B and #20 on <em>Billboard </em>Pop charts.<br /><br /><span id="docs-internal-guid-61335b5e-cc05-d9ee-865c-764c850c42d1"><span>Clinton Etheridge '69 recalled being intrigued with the song his senior spring.</span></span>
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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
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"I Heard It Through the Grapevine"
Description
An account of the resource
<span>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 </span><em>In the Groove.</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Source
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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Ibrisar<br />published via YouTube.com
Creator
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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
<span>Gaye's rendition of the song hit #1 on the US </span><em>Billboard </em><span>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 </span><em>RPM</em><span><span> Top Singles.<br /><br /></span></span>
<p dir="ltr"><span>Marilyn Holifield ‘69 recalled listening to Gaye’s music.</span></p>
<span><br /><br /><br /></span>
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Liberation 1969: the Playlist
Description
An account of the resource
Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack.
The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”.
These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights.
Rights
Information about rights held in and over the resource
<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Player
html for embedded player to stream video content
<iframe width="640" height="360" src="https://www.youtube.com/embed/hRcSX1ebyFo" frameborder="0"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"I've Been Trying"
Description
An account of the resource
"I've Been Trying" is the second track on <em>Keep on Trying,</em> released in 1964 by ABC-Paramount Records.
Date
A point or period of time associated with an event in the lifecycle of the resource
1964
Source
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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MrJohnnyNumbers<br />published via YouTube.com
Creator
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The Impressions
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
<span>Don Mizell ‘71 recalled listening to the band, and Clinton Etheridge ‘69 remembers dancing to the song at “soul parties” on Saturday nights.</span><br /><br /><em>Keep on Pushing</em><span> #8 on the </span><em>Billboard</em><span> Pop charts and #4 on the R&B Album charts.</span>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Liberation 1969: the Playlist
Description
An account of the resource
Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack.
The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”.
These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights.
Rights
Information about rights held in and over the resource
<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Player
html for embedded player to stream video content
<iframe width="640" height="360" src="https://www.youtube.com/embed/FGVGFfj7POA" frameborder="0"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"In the Midnight Hour"
Date
A point or period of time associated with an event in the lifecycle of the resource
1965
Source
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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fabrizio autore<br />published via YouTube.com
Description
An account of the resource
<span>"In the Midnight Hour" was written by Wilson Pickett and Steve Cropper. It was recorded in 1965 and released as a single and on </span><em>In the Midnight Hour. </em>
Creator
An entity primarily responsible for making the resource
Wilson Pickett
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
<span>"In the Midnight Hour" peaked at #1 on the R&B charts, #21 on the pop charts in the US, and #12 on the UK singles chart.</span>
-
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c31cf2f912ad8b0f340164e86d339b97
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Liberation 1969: the Playlist
Description
An account of the resource
Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack.
The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”.
These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights.
Rights
Information about rights held in and over the resource
<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Player
html for embedded player to stream video content
<iframe width="640" height="360" src="https://www.youtube.com/embed/fOxA3AK1foI" frameborder="0"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Jump In the Line"
Description
An account of the resource
The song was composed by Lord Kitchener. Harry Belafonte's cover was released in 1961 by RCA Viktor Records on <em>Jump Up Calypso</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
1961
Source
A related resource from which the described resource is derived
http://YouTube.com
Rights
Information about rights held in and over the resource
<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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burakpaktan<br />published via YouTube.com
Creator
An entity primarily responsible for making the resource
Harry Belafonte
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
<em>Jump Up Calypso </em><span>reached #3 on the </span><em>Billboard</em><span> Pop Albums chart.</span>
-
http://s3.amazonaws.com/sc-lib-ds-bl1969/original/1862137bea6926ac220bf4ee7ed577bb.jpg
08a02f3bb1d58ef17dd1ca451c99df99
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Liberation 1969: the Playlist
Description
An account of the resource
Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack.
The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”.
These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights.
Rights
Information about rights held in and over the resource
<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Player
html for embedded player to stream video content
<iframe width="640" height="360" src="https://www.youtube.com/embed/Fnf9PJWwPZ0" frameborder="0"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Light My Fire"
Description
An account of the resource
The song was written by the Doors and released in 1967 on their debut album. José Feliciano released the song through the RCA Viktor label as a single and later on his album <span> </span><em>Feliciano! </em><span>.</span>
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
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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Stevo Tomo<br />published via YouTube.com
Creator
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José Feliciano
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
<p>Feliciano's version of the song hit #3 on the US <em>Billboard </em>Hot 100 Charts, <br />Myra Rose '72 and Harold Buchanan '69 both remember his music playing in Parrish Hall during the 1969 direct action. </p>
-
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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
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<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
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"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 <em>Mercy, Mercy, Mercy! Live at 'The Club'</em> in 1966.
Date
A point or period of time associated with an event in the lifecycle of the resource
1966
Source
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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Anthony Valente's Jazz Channel<br />published via YouTube.com
Creator
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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 <em>Billboard</em> Hot 100 chart.
-
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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.
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<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
<span>"Oh Happy Day" is the Edwin Hawkins Singers' arrangement of the hymn "Oh, Happy Day," which dates from the 18th century.</span><br /><br /><span>It was released as a single and on the album </span><em>Let Us Go Into the House of the Lord </em><span>in 1968 by both Pavilion and Buddha Records. </span>
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Source
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https://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Creator
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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
<span>It reached #4 on the US </span><em>Billboard </em><span>Pop chart and #2 on the UK pop chart and Irish Singles Chart. </span><span><span>In 1970 the Edwin Hawkins Singers won the Grammy Award for Best Soul Gospel Performance for the song.<br /><br /></span></span>
<p dir="ltr"><span>Marilyn Holifield ‘69 recalled listening to this song as a student. </span></p>
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668abe38a7b50082b629df5fa0c73674
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Liberation 1969: the Playlist
Description
An account of the resource
Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack.
The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”.
These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights.
Rights
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<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Player
html for embedded player to stream video content
<iframe width="640" height="360" src="https://www.youtube.com/embed/87S_wbCsNbQ" frameborder="0"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Pata Pata"
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Source
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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PEDRO HERNANDEZ Petermadison<br />published via YouTube.com
Description
An account of the resource
"Pata Pata" is written in Xhosa; 'pata' translates to 'touch'. Dorothy Masuka wrote "Pata Pata", and Miriam Makeba first released it in 1957 in South Africa. It was first released in the United States in 1967 on the album <em>Pata Pata </em>and as a single.
Creator
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Miriam Makeba
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
"Pata Pata" hit #12 on the <em>Billboard</em> Hot 100. <span id="docs-internal-guid-61335b5e-cc98-f363-3434-6af7a2172517"><span>Marilyn Holifield ‘69 recalled listening to Makeba’s music.</span></span>
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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.<br /><br />It was released in 1968 as a single and then on the album <em>The Sound of Sexy Soul </em>in 1969.
Date
A point or period of time associated with an event in the lifecycle of the resource
1968
Source
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http://YouTube.com
Rights
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a><br />This video represents licensed content on YouTube, meaning that the content has been claimed by a YouTube content partner.
Publisher
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Wax Poetics ®<br />published via YouTube.com
Creator
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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 <em>Billboard </em>Pop singles, it hit #35, and it hit #14 on the US <em>Billboard </em>Hot R&B/Hip-Hop Songs.<br /><br /><span id="docs-internal-guid-61335b5e-cbcd-0e96-5337-8fbbd26a0ee2"><span>Don Mizell ‘71 recalled listening to the band.</span></span>
-
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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
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
Publisher
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SteelTownBrutha<br />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.<br /><br />Aretha Franklin recorded and released "Respect" in 1967 as a single and later on the album <em>I Never Loved A Man The Way I Loved You</em>.
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
<p dir="ltr">In 1967, Aretha Franklin's version reached #1 on the R&B Singles Chart, the <em>Billboard</em> 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.</p>
<p dir="ltr">It is listed on the National Recording Registry. <br /><br /></p>
<p dir="ltr"><span>Don Mizell ‘71 recalled listening to the song.</span></p>
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Black Liberation 1969: the Playlist
Description
An account of the resource
Inside and outside of SASS, the Black students of Swarthmore College bonded with each other through music. Whether it was remembering the concerts off-campus that they drove to see, the soul parties they held on Saturday nights, or their own musical undertakings, particularly the Gospel Choir, music was constant in their lives at Swarthmore. SASS’s first Student Council funding was in part for musical performances; they brought Conga drums on their midnight march to President Cross’s office in 1970; and they sang songs during meals in the Sharples Dining Hall. A depiction of Black students at Swarthmore College from 1968 to 1972 would be incomplete without a soundtrack.
The following twenty-five songs were chosen for their popularity, for their lyrics, and for the fact that Swarthmore alumni remembered them specifically. Encapsulated in these songs is a glimpse of music from the late 1960s and, more importantly, a sense of how Black Swarthmore students related to it. Below you will find genre-influencing, career-shaping singles and albums. Hits like Otis Redding’s “(Sittin’ On) The Dock of the Bay” and The Supreme’s “You Keep Me Hanging On” are mixed with the timely, poetic, graphic depiction of a Southern lynching in Nina Simone’s rendition of “Strange Fruit” as well as James Brown’s empowering "I Don't Want Nobody to Give Me Nothing (Open Up the Door, I'll Get It Myself)". Students sang spirituals such as “Oh, Freedom” and “Swing Low, Sweet Chariot” together; some of the same students danced together to The Impressions’ “I’ve Been Trying”.
These songs, albums, and artists were chosen from those remembered by alumni. I would like to thank Joyce Frisby Baynes ‘68, Marilyn Holifield ‘69, Clinton Etheridge ‘69, and Don Mizell ‘71 for sharing their musical interests and memories while at Swarthmore, and I would like to thank Harold Buchanan ‘69 and Myra Rose ‘72 for remembering that Feliciano was played in the halls of Parrish, at least for a few nights.
Rights
Information about rights held in and over the resource
<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
Moving Image
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Player
html for embedded player to stream video content
<iframe width="640" height="360" src="https://www.youtube.com/embed/Knw_rUP64wM" frameborder="0"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Say It Loud - I'm Black and I'm Proud"
Description
An account of the resource
<span>James Brown recorded "Say It Loud - I'm Black and I'm Proud" in 1968. It was released as a single as well as on the albums </span><em>Say It Loud - I'm Black and I'm Proud</em><span> and </span><em>A Soulful Christmas.</em>
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
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Kevin Maguire<br />published via YouTube.com
Creator
An entity primarily responsible for making the resource
James Brown
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
||||osm
<span>The Rock and Roll Hall of Fame included "Say It Loud – I'm Black and I'm Proud" as one of their "500 Songs that Shaped Rock and Roll". It reached #1 on R&B Singles Chart and #10 on the </span><em>Billboard</em><span> Hot 100.</span>
-
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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
<span>"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 </span><em>Soul Man </em><span>in 1967.</span>
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
Source
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http://YouTube.com
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
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commercialnewsandfun<br />published via YouTube.com
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Sam & Dave
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<span>"Soul Man" was #1 on the </span><em>Billboard</em><span> Hot Black Singles chart, #2 on the </span><em>Billboard</em><span> Hot 100 in the United States, and #2 in Canada.</span><br /><br /><span>It received the </span><span>1968 </span><span><span>Grammy Award for Best Rhythm & Blues Group Performance, Vocal or Instrumental.<br /><br /></span></span>
<p dir="ltr"><span>Clinton Etheridge ‘69 recalled the song as being popular, and Don Mizell ‘71 recalled listening to the group.</span></p>
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http://s3.amazonaws.com/sc-lib-ds-bl1969/original/6094c6d2571ce41e395843c233648d24.jpg
9bc992768656a5fdd917a9ce65e9cb66
Dublin Core
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Black Liberation 1969: the Playlist
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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.
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<a href="https://www.youtube.com/static?template=terms" target="_blank">Standard YouTube license</a>
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<iframe width="640" height="360" src="https://www.youtube.com/embed/VrLBK2WXFQE" frameborder="0"></iframe>
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"Spiritual Trilogy: Oh, Freedom; Come And Go With Us; I'm On My Way"
Description
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<span>"Oh Freedom" is a post-Civil War spiritual heavily associated with the Civil Rights Movement. Joan Baez famously performed it in 1963 at the March on Washington.</span><br /><br /><span>This version of "Oh, Freedom" was recorded as a part of "Spiritual Trilogy" on </span><em>Odetta Sings Ballads and Blues. </em><span>Also included on the track are </span><span>"Come and Go With Me" and "I'm on My Way". The album was released by Tradition Records in 1956. </span>
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1956
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http://YouTube.com
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<a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a>
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Grammercy Records<br />published via YouTube.com
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||||osm
Joyce Frisby Baynes '68 recalls singing "Oh Freedom" with others while at Swarthmore College. Marilyn Holifield ‘69 recalled listening to Odetta’s music.
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Odetta