These forty-eight powerful stories and poems etch in vivid detail the breakthrough moments experienced by women during the life-changing era that was the ’60s and ’70s. These women rode the sexual revolution with newfound freedom, struggled for identity in divorce courts and boardrooms, and took political action in street marches. They pushed through boundaries, trampled taboos, and felt the pain and joy of new experiences. And finally, here, they tell it like it was. From Vietnam to France, from Chile to England, from the Haight-Ashbury to Greenwich Village, and to the Deep South and Midwest, Times They Were A-Changing recalls the cultural reverberations that reached into farm kitchens and city “pads” alike—and in doing so, it celebrates the women of the ’60s and ’70s, reminding them of the importance of their legacy.
This is a must-have anthology of the milestone speeches, manifestos, court decisions, and groundbreaking journalism of the Sixties. No other period in American history has been more liberating, more confusing, more unforgettable, and had a more direct impact on the way we navigated the profound changes that swept over the country in the following three decades. From Betty Friedan to Barry Goldwater, from the formidable presence of the Kennedy brothers to the unimaginable influence of Woodstock, Pulitzer prize-winning author Irwin Unger and journalist Debi Unger present the complexities of a volatile and tumultuous decade, while explaining how and why each significant event took place and how it shifted the country's consciousness. From the antiwar movement to the moon race, from the burgeoning counterculture to the Warren and Berger courts, and from the civil rights movement to the 1968 presidential campaign, The Times Were a Changin' will tantalize and confound readers, while inspiring and enraging them as well. The Ungers provide us with a better understanding of the strategy and maneuvering of the 1960s war games--from the Bay of Pigs to the Tet Offensive. And the pieces they have chosen help us define the current of social intolerance that plagues our country to this day. Balancing the controversial issues of the times with an even hand, the Ungers give equal time to William F. Buckley and Abbie Hoffman, Barry Goldwater and Hubert Humphrey, the Black Panthers and Martin Luther King, Jr., compiling an anthology that supplies rhyme and reason to a decade that never ceases to amaze us, endless in its capacity to be explored and understood.
An award-winning historian on the transformative year in the sixties that continues to reverberate in our lives and politics—for readers of Heather Cox Richardson. If 1968 marked a turning point in a pivotal decade, 1964—or rather, the long 1964, from JFK’s assassination in November 1963 to mid-1965—was the time when the sixties truly arrived. It was then that the United States began a radical shift toward a much more inclusive definition of “American,” with a greater degree of equality and a government actively involved in social and economic improvement. It was a radical shift accompanied by a cultural revolution. The same month Bob Dylan released his iconic ballad “The Times They Are a-Changin’,” January 1964, President Lyndon Johnson announced his War on Poverty. Spurred by the civil rights movement and a generation pushing for change, the Civil Rights Act, the Voting Rights Act, and the Immigration and Nationality Act were passed during this period. This was a time of competing definitions of freedom. Freedom from racism, freedom from poverty. White youth sought freedoms they associated with black culture, captured imperfectly in the phrase “sex, drugs, and rock ’n’ roll.” Along with freedom from racist oppression, black Americans sought the opportunities associated with the white middle class: “white freedom.” Women challenged rigid gender roles. And in response to these freedoms, the changing mores, and youth culture, the contrary impulse found political expression in such figures as Barry Goldwater and Ronald Reagan, proponents of what was presented as freedom from government interference. Meanwhile, a nonevent in the Tonkin Gulf would accelerate the nation's plunge into the Vietnam tragedy. In narrating 1964’s moment of reckoning, when American identity began to be reimagined, McElvaine ties those past battles to their legacy today. Throughout, he captures the changing consciousness of the period through its vibrant music, film, literature, and personalities.
An award-winning historian on the transformative year in the sixties that continues to reverberate in our lives and politics—for readers of Heather Cox Richardson. If 1968 marked a turning point in a pivotal decade, 1964—or rather, the long 1964, from JFK’s assassination in November 1963 to mid-1965—was the time when the sixties truly arrived. It was then that the United States began a radical shift toward a much more inclusive definition of “American,” with a greater degree of equality and a government actively involved in social and economic improvement. It was a radical shift accompanied by a cultural revolution. The same month Bob Dylan released his iconic ballad “The Times They Are a-Changin’,” January 1964, President Lyndon Johnson announced his War on Poverty. Spurred by the civil rights movement and a generation pushing for change, the Civil Rights Act, the Voting Rights Act, and the Immigration and Nationality Act were passed during this period. This was a time of competing definitions of freedom. Freedom from racism, freedom from poverty. White youth sought freedoms they associated with black culture, captured imperfectly in the phrase “sex, drugs, and rock ’n’ roll.” Along with freedom from racist oppression, black Americans sought the opportunities associated with the white middle class: “white freedom.” Women challenged rigid gender roles. And in response to these freedoms, the changing mores, and youth culture, the contrary impulse found political expression in such figures as Barry Goldwater and Ronald Reagan, proponents of what was presented as freedom from government interference. Meanwhile, a nonevent in the Tonkin Gulf would accelerate the nation's plunge into the Vietnam tragedy. In narrating 1964’s moment of reckoning, when American identity began to be reimagined, McElvaine ties those past battles to their legacy today. Throughout, he captures the changing consciousness of the period through its vibrant music, film, literature, and personalities.
Bob Dylan’s abrupt abandonment of overtly political songwriting in the mid-1960s caused an uproar among critics and fans. In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous. Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."
Music was integral to the profound cultural, social and political changes that swept the globe in 1968. This collection of essays offers new perspectives on the role that music played in the events of that year, which included protests against the ongoing Vietnam War, the May riots in France and the assassination of Martin Luther King, Jr. From underground folk music in Japan to antiauthoritarian music in Scandinavia and Germany, Music and Protest in 1968 explores music's key role as a means of socio-political dissent not just in the US and the UK but in Asia, North and South America, Europe and Africa. Contributors extend the understanding of musical protest far beyond a narrow view of the 'protest song' to explore how politics and social protest played out in many genres, including experimental and avant-garde music, free jazz, rock, popular song, and film and theatre music.
The relationship between language and music has much in common - rhythm, structure, sound, metaphor. Exploring the phenomena of song and performance, this book presents a sociolinguistic model for analysing them. Based on ethnomusicologist John Blacking's contention that any song performed communally is a 'folk song' regardless of its generic origins, it argues that folk song to a far greater extent than other song genres displays 'communal' or 'inclusive' types of performance. The defining feature of folk song as a multi-modal instantiation of music and language is its participatory nature, making it ideal for sociolinguistic analysis. In this sense, a folk song is the product of specific types of developing social interaction whose major purpose is the construction of a temporally and locally based community. Through repeated instantiations, this can lead to disparate communities of practice, which, over time, develop sociocultural registers and a communal stance towards aspects of meaningful events in everyday lives that become typical of a discourse community.
This is the compelling story of the experiences of three young women who attended the University of California at Berkeley and became caught up in the tumultuous changes of the Sixties. Davidson's honest and detailed chronicle reveals the hopes, confusion and disillusionment of a generation whose rites of passage defined one of the most contentious decades of this century.
