"I Am Not Your Negro" by Jess Clond

       "I am not your negro". Official trailer. February 3, 2017 (USA)

This account was envisioned by James Baldwin from a book he never completed. A movie based on his manuscript was released in 2017.  The setting is the 1960’s, a time when black people -called offensively negroes at that time-were oppressed, and crimes were unfairly committed against them. A time, like Malcom said, white people were not acknowledging black population as humans. They were moral monsters. The movie depicts without hidden sensory the problem of racism in America and asserts the similarities in viewpoints of Malcom, Medgar Evers, and Martin Luther King Jr.; three great figures who defended the rights of black individuals and defined a new idea of understanding and integration for all ethnicities. 

Black people were not welcomed in the schools where whites were the majority. Violence was used upon them everywhere. They felt that the country where they were born had no place for them. The country had failed on them. The countrymen were their enemies. Black people were simply seen as inferior beings who did not deserve anything but to breathe. 

"Stop Race Mixing Propaganda".

The society of that time was defining roles in favor of white population. Heroes were white and good people were white. White people were remembered more romantically than black people. White people were the patriots while the black people were the rebellious. For some scholars, the ethnical segregation was not a color issue. However, the way black people saw the separation was definitely a matter of color. There were churches for white people and churches for black people. There were neighborhoods for black people and communities for white people. Schools were segregated, real estate markets, social events, jobs, just to mention a few. So, black individuals would feel like they were treated differently, and they knew they were excluded from the best benefits of the society. They were the bottom class, and this fact was divulged in movies, commercials, propaganda like the “stop race mixing”, “the negro market”, etc. Violence against the black ethnicity was not only seen in the streets, but it was also shown on television for all the country to watch. This was the message sent. Hate messages. And, for so long, nobody wanted to take responsibility of this issue.

James Baldwin (in sunglasses).

Baldwin exposes the ignorance of the Americans who did not know exactly what the foundation of their hatred was. Where did it come from?  Why this segregation exists? Did they even ask themselves those questions? He suggested that Americans did not know why they were not able to understand the struggles of the black people, and someone needed to act and expose those battles and create a new vision to resolve this ethnical situation. This was the inspiration for Malcom, Medgar, and Martin Luther King Jr. They took their voices, experiences, and ideas to Congress, to churches -it was suggested that the church was not committed enough to love all people as equals-, to the communities, to media, and everywhere.  They were hoping for reconciliation, for integration, for understanding. Shouldn’t we all be the same regardless of our color, they thought.  Then, the revolution finally happened. And this setting resonated to citizens over the whole nation. The march to freedom was a beautiful example of the fight for human rights and the Harlem festival of 1969. The acknowledgement of things that have been going on for decades finally happened thanks to the words and actions of those who were killed fighting for equality and those were resilient for years.

"The March to Freedom". August 28, 1963.

Betty Friedan

By Tessa Lovas 

Betty Friedan is best known for her book The Feminine Mystique. When considering second-wave feminism, you have to include Betty. She identified the unrest that many women felt in the fifties and sixties and gave it a name. Her contributions to the feminist movement are undeniable. 

Soon after her death in 2006, Sheila Rowbotham wrote an obituary for Betty Friedan.  Rowbotham, a British feminist, would have drawn inspiration from Friedan. In “Sheila Bowbotham, Women’s Liberation and the international Socialists”, David Renton says, “It is hard to separate the history and political activism of this generation” (para. 7). Rowbotham looks back on Friedan’s life and the sixties through the lens of political activism. An activist herself, it only makes sense. Obituaries are written to remember the accomplishments of the dead and to discuss their positive qualities. Understandably, much of the obituary is centered around Friedan’s book, The Feminine Mystique, as well as her work with the National Organization for Women in the sixties.

In her obituary, Rowbotham writes a little critically about Friedan and her work: “Again she oversimplified and packaged neatly. She quoted selectively; American magazines in the 1950s were in fact more ambiguous about the housewife as they were keen to celebrate individual success stories…The Feminine Mystique also ignored the contemporary achievements of black women and did not touch on questions of redistribution of wealth. Her assumption was that work was necessarily fulfilling and she implied that the combination of child rearing and paid employment could be easily done” (paras. 15-16). Rowbotham probably has this critical eye because she considered Friedan to be a colleague: someone who was in the feminist fight with her. It’s okay to critque someone you respect, even when you’re writing their eulogy. 

She remembers the good and bad about Friedan, reminding the readers of her nickname “the mother of feminism” and how her form of feminism didn’t age very well, being described by Faludi as “stomping on the movement she did so much to create” (para. 11). Rowbotham frames the sixties around feminism and Friedan’s contribution. Friedan is described as “dressed carefully in frilly blouses and handled the news well” (para. 4). The National Organization for Women is presented as focused and serious in contrast to the grassrooms women’s liberation groups. Rowbotham frames these groups as problematic, taking away the focus from other women’s issues and causing groups like NOW to lose their credibility: “The frilly-blouse strategy was wiped out: from then on women’s lib and bra burning were twins as far as the media was concerned” (para. 5). Rowbotham talks about the sixties and feminism, and the reader can see some reflection on the left and new left feminists. The sixties were a time of radicalism, and those ideals did not age well. Friedan, and many others no doubt, became relics of the sixties: out of touch with the younger generation. 

Works Cited

Renton, David. “Sheila Rowbotham, Women’s Liberation and the International 

Socialists.” Lives; Running, 17 Sept. 2013, livesrunning.wordpress.com/2013/09/17/sheila-rowbotham-womens-history-and-international-socialism/.

Rowbotham, Sheila. “Obituary: Betty Friedan.” The Guardian, Guardian News 

and Media, 6 Feb. 2006, www.theguardian.com/news/2006/feb/06/guardianobituaries.gender. 

Olivia.toledo. “Todo Sobre El Legado Feminista de Betty Friedan.” Fahrenheit 

Magazine, Fahrenheit Magazine, 23 Mar. 2021, fahrenheitmagazine.com/arte/letras/todo-sobre-el-legado-feminista-de-betty-friedan.

Joni Mitchell's "Woodstock": Remembering the Finale of a Decade

The 1960s was a decade of major social and political upheaval. From civil rights to the anti-war movement, people understood the world was changing. However, very few moments have entered into the cultural memory of America quite like Woodstock in August of 1969. A three-day, drug addled hippie hangout, or a real moment of peace, love, and music that serves as a fitting finale to the decade, Woodstock captured the countercultural movement like no other event ever did.

Despite not attending the concern in person, Joni Mitchell understood that Woodstock was just that, a culmination of the 60s, and she set out to remember it as a fitting finale for the decade in her song of the same name. In its lyrics she was able to capture not just the feeling of that gathering, but also the fears and anxieties of a nation that had lost its way and needed to find a better path forward.

Here is her first live-version of the song along with the popularized 1970 Crosby, Stills, Nash, and Young version:

Although not actually attending, her lyrics place her as a traveler on the road walking and talking with other pilgrims heading that way. In her opening verse she sings:

       

        I came upon a child of God

        He was walking along the road

        And I asked him where are you going

        And this he told me

        I'm going on down to Yasgur's farm

        I'm going to join in a rock 'n' roll band

        I'm going to camp out on the land

        I'm going to try an' get my soul free.

From the first line, Mitchell sets the tone. This is not just a frivolous journey; this is a mission that is introspective and soul-searching. By calling her fellow traveler a "child of God" she not only establishes a spiritual side to the event but sets a sense of equality with her fellow pilgrim. At Woodstock, black or white, man or woman, are labels that separate rather than join. Mitchell strives to cast this as a moment of unity rather than division. Some people might forget the genuinely spiritual side to Woodstock, but the opening ceremony was officiated by Sri Swami Satchidananda.

Sri Swami Satchidanan in Front of Crowd
Aug. 15, 1969

 The refrain of the song also touches on the religious:

       

        We are stardust

        We are golden

        And we've got to get ourselves

        Back to the garden.

The Biblical allusion to the garden is the garden of Eden implies a time when humans were able to be at peace and harmony with nature and each other, a sort of unity that the 60s generation wanted to strive for.

In her second stanza, her companion explains the reason for his journey, he states:

        I have come here to lose the smog

        And I feel to be a cog in something turning.

        Well maybe it is just the time of year

        Or maybe it's the time of man

        I don't know who I am

        But you know life is for learning.

With this verse, Mitchell makes it clear that she recognizes the way that typical urban life chokes and smothers people (smog). Her speaker realizes that his job reduces him to a cog in the machine and makes the listener think about the promise of world where we don't do jobs that make us unhappy. Mitchell is tapping into that countercultural desire to understand oneself. Her speaker in this stanza is going through an existential crisis, but one that will hopefully teach him what this life is for. Those at Woodstock understood that the world was changing and wanted to know how they fit into that new world.

    Finally, Mitchell ends by merging her companion and herself into the great river of pilgrims headed to Woodstock. She sings:

        By the time we got to Woodstock

        We were half a million strong

        And everywhere there was song and celebration

        And I dreamed I saw the bombers

        Riding shotgun in the sky

        And they were turning into butterflies

        Above our nation.

The journey growing from 2 people to half a million is Mitchell's metaphor for the growth of the 60s counterculture. It's a metaphor for the great shifts in society during the decade and here in particular, the anti-war movement. Her imagery of bombers turning into butterflies alludes to the Vietnam war and disillusionment that young people were feeling. 

Ultimately, Woodstock has become a symbol of rebellion, peace, and love. Mitchell's song not only remembers the value of this moment, but shows an awareness of how civil rights, war, spirituality, and existential meaning were all part of the 60s counterculture. As half a million people gathered for three days, Woodstock became the real finale of the decade.

-James Birkenbeul

60s Remembrances: "Hidden Figures (2017)"

The 60s remembrance piece I wanted to talk about in this blog post was the movie "Hidden Figures (2016)" directed by Theodore Melfi and written by Allison Schroeder. The movie takes place in Hampton, Virginia in the year 1961 and follows the journey of 3 black women, Katherine, Dorothy, and Mary, through their struggles and success in working at NASA during the space race between the United States and Russia and the launch of the spaceship "Friendship 7". "Hidden Figures" is a piece that shows the inspirational battle against unfair treatment of women and people of color through the achievements of 3 women. 

(Movie poster showing Mary, Katherine, & Dorothy from left to right)

The main protagonist, Katherine, works in a computing group at NASA, where there are 20 other black women who have the job of being a human computer, a job where they complete calculations. Katherine, for her exceptional work, was promoted to calculating trajectories for NASA missions. Her peers were all white men, some of whom looked down on her and underestimated her simply for being a black woman. 

During and prior to the 60s, women were not treated equally with men, which was apparent in many scenes throughout the movie. When at a church celebration event, the man who would later become Katherine's husband reacted to her job of calculation rocket trajectories with the question "They let women handle that kinda stuff?" Another example of how men did not respect women in the 60s shown in the movie was the constant disappointed demeanor of a colleague, Paul Stanford, whenever Katherine did anything, whether it be positive or negative. When given a promotion, Stanford tries to talk to the supervisor to change his mind about putting Katherine and him on an equal work station. Throughout the movie, Stanford, and the established rules that prevent Katherine from being successful at her job act as antagonists to her upward trajectory at NASA, displaying how both established rules and the people of the time were both roadblocks that needed to be overcome by those seeking racial and gender equality.

In addition to the gap in respect between men and women, segregation practices were still prevalent, which resulted in colored people and non-colored people being treated and respected differently. Many times throughout the movie, the 3 women faced the consequences of these segregation practices. Due to there being no colored bathrooms within the vicinity of the NASA buildings, Katherine has to walk half a mile every time she needs to use the restroom. She had an outburst at the director which resulted in him getting rid of the separation of colored and noncolored bathrooms at the facility.  Another instance of segregation practices holding back colored people was the separation of libraries restricting what kind of books one of the women, Dorothy, could obtain. She was escorted out by the police for simply wanting to check out a book, as the colored library's selection of books was nowhere near as extensive as the non-colored library. Mary has to get permission from a court judge to attend an all-white high school, which is necessary for her to remain in her NASA program. She gives to him a speech about the many people who were the first to achieve something in a particular area, which results in the judge allowing her to be the first colored woman to attend an all-white high school. 

                           (Abolishment of bathrooms separated by sex and race in the movie)
                                            

The way the film looks back at the 60s seems to be like that of a period-piece, in which the events are seen through a historical lens with a bit of added dialogue and style to make it more entertaining as a movie. The film does not necessarily portray the 60s as an amazing time or a horrible time like some other media about the 60s would. Instead, it shows a mix of negative and positive aspects of the time period. The unequal treatment that women get from the men in the movie and the segregation issues that are presented to the 3 main characters are portrayed as being negative aspects of the time, since the protagonists have issue with these aspects of society and work to overcome them. I think the movie portrays the battle against segregation and sexism in a hopeful light by the way the women in this movie overcome these issues and break down barriers that would inspire women and blacks in any future endeavors against these societal issues. Though the movie was based on real events, it is very likely that the movie glosses over or omits some of the other hardships these women had to go through during their battles against segregation and sexism for the sake of the movie, but it seems that the most crucial events and details were included. 

The movie does a fantastic job at showing how the battle for civil rights and gender equality is not simple; it shows that there are different forms of battles, especially with how these women nonviolently broke down established barriers that limited both women and blacks in ways other than protests, marches, and acts of civil disobedience. Not to say that one particular method of fighting for equality is best, but every act or breakthrough done to further this fight plays its part and has had its contribution on society. The movie portrays the 60s as a time where unequal treatment based on sex and race was common, but highlights and celebrates the women who fought against these issues and opened the doors for many others after them through their own persistence and achievements. The portrayal of the civil rights and women's rights issues of the 60s shown in the movie are an important reminder of the issues we once faced as a society and the importance of the people that contributed to the ending of this unequal treatment. It is important to remember the different ways people fought against these issues and the impact these battles had on society since then, so that we can better understand a past that we may or may not have been able to experience in order to better understand the impact and influence these events have on the present.

Sturtevant the Shadow: The Issue of Originality in the 1960s

 

Sturtevant, Study for Warhol's Marilyn, 1965.

Do you recognize the photo to the right? At a quick glance, it may be easy to guess--it's a Warhol of course! But is it? No...and yes.

Andy Warhol is best known for his art (creations) that people wanted to share and the media wanted to highlight. Ironic to his fame, Warhol's art "reflected the idea that society had lost the uniqueness carried in individually made items." His artistic goals were not in quality or uniqueness--rather, they highlighted the banality of art.

Warhol's series of 50 artworks based on one photo of the late actress Marilyn Monroe reflected this societal obsession with recognizability and obsession with shallow glamour through art. Yet, that picture to the right is not a Warhol, it is a Sturtevant.

Elaine Sturtevant, known as Sturtevant, is said to be the mother of the appropriation art movement. Sturtevant replicated numerous famous artists' works from memory. Most notable were her "copies" of Warhol's works. Warhol even, obligingly, let her borrow his silkscreen press, his usual method of creating his art. When asked about the process, Warhol stated, "Ask Elaine."

Elaine Sturtevant

Why copy the original copier? Sturtevant's replica of Warhol's Marilyn was shared mere weeks after Warhol's original. However, this series itself is an appropriation of the existing photo of the actress. That's just it--Sturtevant wanted the viewer to assume that the creator of the work was indeed Warhol. 

Sturtevant smartly asked "When is a Warhol not a Warhol? When is it one--what makes it so?" If Warhol's series of Marilyns is based on someone else's picture, is his not a copy too?

Sturtevant's works are purposefully inexact--just as Warhol's screenprints are varying. They are all hers, yet they are not. This is the main goal of the replications...questioning the issues of authorship. Warhol did not design the Marilyn series from scratch. Still, when one views the photo (or one like it) they will think of him. Warhol was praised for his art's ironic nature, but Sturtevant was often shunned for hers. 

Warhol, Marilyn (f. & S. 11.27), 1967

Sturtevant's art asks society to question the authorship and uniqueness of contemporary art in the 1960s obsession with media and consumerism. She takes Warhol's ideologies to an extreme to push the viewer to see art for it is--replicas of replicas. 

In recent years, Sturtevant's are selling for hundreds of thousands of dollars. Is it due to their unique take on authorship or because her work is as close to Warhol's as they can get?

Sturtvant's work satirizes the 1960's nostalgic lens for its "one-of-a-kind" stance. Perhaps the '60s revolutionary definition is simply reflective of human repetition. Today, as I did at the beginning, if you stopped someone on the street, they would tell you that the image before them is a Warhol. They then might curse him for his shallow takes on art or praise his connection to society at large. 

This is the irony of Sturtevant and the 1960s as a whole. A time in which everything felt new and defining, Sturtevant asks who defined it? To call her a thief is to call Warhol one as well. She reveals the core of art--its creation, marketability, and repetition. Though the '60s attempted to stand out from the periods before it, Sturtevant merely labels it as another time of media power. 

One last time, whose art is the picture on the top right? - Liz Smith

                                                                          Works Cited   

“Andy Warhol Marilyn (F. & S. II.27) (Signed Print) 1967.” MyArtBroker, www.myartbroker.com/artist-andy-warhol/collection-marilyn-monroe/artwork-marilyn-f-s-ii-27-signed-print. Accessed 1 Mar. 2024. 

Auctions, Artnet. “Artnet Auctions Presents: Why This ‘Marilyn’ by the Conceptual Artist Sturtevant Challenges Notions of Authorship and Authenticity.” Artnet News, 12 Nov. 2020, news.artnet.com/partner-content/artnet-auctions-marilyn-by-sturtevant-1965. 

How the 1960s’ Most Iconic Artists Made Art Contemporary | Artsy, www.artsy.net/article/artsy-editorial-iconic-artists-and-movements-of-the-1960s. Accessed 2 Mar. 2024. 

“On Sturtevant: ‘Anything Can Happen in Life, Especially Nothing.’” OvG, www.oscarvangelderen.nl/post/On-Sturtevant--Anything-can-happen-in-life-especially-nothing-N54.html. Accessed 1 Mar. 2024. 

60s Remembrance: "American Graffiti"

 

"American Graffiti" is a film that captures the essence of the 1960s with a sense of nostalgia and positivity. Released in 1973 and directed by George Lucas, the movie provides viewers with a nostalgic journey back to a simpler time, celebrating the music, cars, and youth culture of the era. The movie itself is set in Modesto, California. This is where writer and director George Lucas grew up, and the film is a nostalgic observation of his youth and the fondness he has for it. 

The film follows a group of high school friends as they navigate one memorable night before heading off to college and the uncertainties of adulthood. Through the intertwining stories of these characters, "American Graffiti" showcases the optimism, innocence, and carefree spirit that defined the 1960s youth culture pre-war.

One of the key elements that contribute to the film's positive portrayal of the 1960s is its soundtrack. Featuring a collection of popular songs from the era, the music serves as a powerful nostalgic backdrop, evoking feelings of joy, excitement, and youthfulness. The iconic tunes played throughout the movie help transport viewers back in time and create a sense of longing for the carefree days of their youth. My personal favorite inclusion is “Surfin’ Safari” from the Beach Boys. 

Moreover, the film's depiction of the characters and their interactions reflects a sense of camaraderie, friendship, and adventure that was characteristic of the 1960s. The characters in "American Graffiti" are portrayed as relatable and endearing, each with their own hopes, dreams, and struggles. As they cruise the streets in their classic cars, hang out at diners, and engage in playful banter, the film captures the essence of a generation on the brink of change, yet still holding onto the innocence of youth. Ultimately, that is the point of the movie. It remembers the sixties before the war in Vietnam and before the Kennedy assassination. Lucas’s script calls on the simpler times of the era where the youth weren’t being sent to war. Instead, they were drag racing and eating cheeseburgers. This distinction chooses to remember the 60s in a positive light. While the era does get bloody and chaotic, Lucas chooses to remember the times he has good memories of.

Additionally, the nostalgia present in "American Graffiti" is evident in its visual style and attention to detail. From the vintage cars and clothing to the neon-lit streets and bustling diners, the film meticulously recreates the look and feel of 1960s America. Interestingly enough, when George Lucas returned to his home to scout for filming, he realized that his hometown had changed too much in the years since his childhood. He chose a location that better represented the memories of his youth. This careful attention to period detail helps immerse viewers in the world of the film and fosters a sense of warm nostalgia for a bygone era.

"American Graffiti" offers a heartfelt and nostalgic look at the 1960s, portraying the era in a positive light that celebrates the music, culture, and youth of the time. Through its memorable characters, iconic soundtrack, and attention to detail, the film captures the essence of a generation on the cusp of change, inviting viewers to relive the magic of the past and reflect on the enduring spirit of the positive aspects of the 1960s.

Nolan Chase

Summer of Soul: Unity of Music

The 1960s was remembered as one of the most influential and significant decades in history with many social, cultural, and political changes. This era was characterized by numerous events that changed society including the civil rights movement, the Vietnam War, anti-war protests, countercultural movements, the Cuban Missile Crisis, the Bays of Pigs Invasion, Apollo 11, and the assassination of influential leaders. This was also a decade remembered for its music of rock and roll, rhythm and blues, and folk rock. But, most specifically, antiwar music. 

This brings us to the Summer of Soul festival. The Summer of Soul Festival was a positive representation of the 60s as it was a “direct response to the profound losses and violence endured by Black activists and progressives” (Cooper 2021). The Harlem Cultural Festival was a non-violent attempt to combat the institutionalized racism that led to the death of many political figures, like Martin Luther King Jr. and Malcolm X. In response to this the concert was organized as a way to push for social justice by inviting black musicians and artists to perform. One artist in particular, Questlove, intervenes in the televised Apollo 11 moon landing with footage of Walter Cronkite and other TV reporters interviewing “unimpressed black festival goers”:

Reporter: What are your thoughts on the moon landing?

Festival attendee: As far as science goes, and everybody that’s involved with the moon landing and astronauts, it’s beautiful. Me? I couldn’t care less.

Reporter: This [Summer of Soul festival] means more to you than that?

Festival attendee: Yeah, much more. The cash they wasted, as far as I’m concerned, in getting to the moon, could have been used to feed poor Black people in Harlem and all over the place, all over this country. Never mind the moon, let’s get some of that cash in Harlem.

The historical moment that shaped the film was the moon landing that was broadcast nationwide. What makes the moon landing more significant is that it was broadcast during the exact date of the festival; July 20, 1969. 

Questlove is signifying that the moon landing is not as important as the speakers and musicians celebrating black culture and unity. One of the interviewees mentioned how instead of wasting taxpayer money on space exploration they could use it to eradicate poverty and racist oppression on Earth. Gospel music was used to honor the legacy of civil rights activists Malcolm X and Martin Luther King with songs that promised: “Oh Happy Day”. The Summer of Soul celebrates black history, culture, and fashion through the filming of the 1969 Harlem Cultural Festival. It celebrates the music of multiple black artists from soul, gospel, jazz, funk, and R&B, to blues and rock. Many top Black artists performed at the festival such as Stevie Wonder, Nina Simone, B.B. King, the Chambers Brothers, Chuck Jason, David Ruffin, Mongo Santamaría, and so many more. 

                                        https://www.youtube.com/watch?v=HhMSZKIpWMk 

Summer of Soul looks back at the past, a time when African Americans were fighting for equal rights and celebrating their love and unity through music; a nonviolent protest. 

-  Blanca Acosta Reyes

Work Cited

Cooper, Carol. “After a Violent Winter, the ‘summer of Soul’ Was a Musical Moment of Healing.” NPR, NPR, 13 July 2021, www.npr.org/2021/07/13/1015347905/summer-of-soul-questlove-1969-harlem-cultural-festival#:~:text=Unlike%20Woodstock%2C%20these%20concerts%20were,progressives%20that%20preceded%20that%20summer.

PicturePerfectChannel. “Summer of Soul (...or, When the Revolution Could Not Be Televised) (2021) - Video Dailymotion.” Dailymotion, Dailymotion, 29 Nov. 2023, www.dailymotion.com/video/x8q238l.