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From the archive: Bayview Hunters Point Community Support S.F. State Strike | December, 1968 - YouTube
"KQED news footage from December 4, 1968 featuring the African American community of Bayview Hunters Point at San Francisco State College, supporting the Black Students Union and Third World Liberation Front in their efforts to establish a college of Ethnic Studies.

Includes scenes of Eloise Westbrook and Ruth Williams speaking to enthusiastic crowds. Westbrook emphasizes that: "I want you to know I'm a black woman, I'm a mother and I have 15 grandchildren. And I want a college that I can be proud of! ... I only have but one life to give children, when I die I'm dead. And you'd better believe it. But I'm dying for the rights of people." Williams exclaims: "I'm from the ghetto community and at the sound of my voice, when I rise up just about the masses of Hunters Point rises up too! So I am, I am supporting the Black Students Union, the World Liberation group 100 per cent!"

There are also views of Adam Rogers and Sylvester Brown marching with students on campus and standing with other community leaders like Dr. Carlton Goodlett, Rev. Cecil Williams, Ron Dellums and a young Danny Glover.

Part of the KQED collection of the Bay Area TV Archive at SF State University: https://diva.sfsu.edu/collections/sfbatv "
sfsu  1968  sanfrancisco  history  eloisewestbrook  ruthwilliams  ethnicstudies  protest  activism  kqed  adamrogers  sylvsterbrown  carltongoodlett  ceciwilliams  strikes  rondellums  dannyglover  blackstudentsunion  hunterspoint  colleges  universities  highereducation  highered  education  race 
12 days ago by robertogreco
Sous les pavés, la plage! - Wikipedia
""Sous les pavés, la plage!" (Under the paving stones, there is a beach!), is a slogan from the May 1968 protest movement in France. (..)
The statement encapsulated the movement's views on urbanization and modern society in both a literal and metaphorical form."
slogan  built  infrastructure  beach  tegabrain  france  1968 
14 days ago by gohai
Twitter
RT : & in student newspaper 📰announced the Rt 682 bypass around town was open & plans fo…
OTD  1968  TBT  from twitter_favs
5 weeks ago by jcarletonoh
Life as We Know It Turns 50 - WSJ
Dec. 2, 2018 | WSJ | By Andy Kessler.

1968's Joint Computer Conference, where an assembly of geniuses wearing white short-sleeved shirts and pocket protectors convened 50 years ago this week. The event shined a guiding light on the path to personal computing and set the modern world in motion.

On Dec. 9, 1968, Doug Engelbart of the Stanford Research Institute presented what’s now known as “The Mother of All Demos.” Using a homemade modem, a video feed from Menlo Park, and a quirky hand-operated device, Engelbart gave a 90-minute demonstration of hypertext, videoconferencing, teleconferencing and a networked operating system. Oh, and graphical user interface, display editing, multiple windows, shared documents, context-sensitive help and a digital library. Mother of all demos is right. That quirky device later became known as the computer mouse. The audience felt as if it had stepped into Oz, watching the world transform from black-and-white to color. But it was no hallucination.
1968  Andy_Kessler  anniversaries  conferences  GUI  San_Francisco  Stanford 
10 weeks ago by jerryking
Twitter
RIP Aethelred Eldridge, artist & prof.
More 🖼️at | articl…
1960s  1968  from twitter_favs
november 2018 by jcarletonoh
Review: 'Ready to Burst' by Franketienne - Chicago Tribune
"This is the book of an intellectual, French and Haitian style, filled with ideas, politics, snatches of conversations, contemporary retellings of folktales. Zombies, unnamed, stalk through its pages. Engrossing as all this is, it's right to be wary of a book that opens with this declaration: "I no longer worry about what I write. I simply write. Because I must. Because I'm suffocating. I write anything. Any way."

Here, back in 1968, Frankétienne is making his declaration against writing as a trade or business. For him, writing is a mission and a doctrine with a name: Spiralism, which he created in the mid-1960s along with two other highly regarded Haitian writers, Jean-Claude Fignolé and René Philoctète, all of whom were persecuted by Papa Doc's regime, like all members of the intelligentsia who did not come to heel. Described in somewhat ecstatic terms in the novel, both by an unnamed first person narrator and later, at greater length, by Paulin, Spiralism seems, to our contemporary minds, antiquated or wacky, like Sir Arthur Conan Doyle's Spiritualism. But it is much more rigorous than that, and much closer to a literary theory and an aesthetic movement.

"Spiralism," the narrator tells us on the very first page, "defines life … not in a closed circuit, but tracing the path of a spiral. So rich that each new curve, wider and higher than the one before, expands the arc of one's vision." Whenever friends converse in these pages, we get a real sense of the intellectual and political ferment of the 1960s as it touched Haiti, from which the idea of Spiralism grew.

The narrator describes Spiralism also as a kind of "explosive vertigo," and that's how the reader feels as he or she follows Raynand walking to the wharf, or traveling out of the country to the Bahamas (briefly), or as he sails back to Haiti, or coming upon a political rally, or being hurled into prison, or ending upon his sickbed. Raynand walks everywhere because, he says, walking is "his sole and apparent freedom" in a book where Haiti is depicted as a sort of grand, inescapable penitentiary.

The book has the occasional stylistic flaws of its era ("Electricity. Mechanics. Ballistics. And from end to end, the tragicomedy of History. Vast circus of dwarves and clowns"). But the sinewy strength of the rest of the work pushes the reader beyond those fragmentary bits onward to an appreciation of the artistic whole. Frankétienne can bore you with a few paragraphs of blather on Spiralism and then stun you with simple language like this: "(He) carefully sparks the purple flame of a lovely little yellow lighter." Often, when reading a wild, passionate, exotic and surreal passage about a crowd or a scene or a landscape, I felt the pang of surprised recognition. You feel, too, as you will if you've ever been to actual Haiti, that you've gotten lost inside a fantastic and writhing Haitian painting. (Frankétienne is also a painter and a playwright.)

Those Haitian paintings, of markets, of crowds, of Vodou ceremonies, and other aspects of Haitian daily life, are timeless, and so is the Haiti Frankétienne describes, both for better and for worse. Timeless is Haiti's undercurrent of revolution. Timeless are its elite's pronouncements about the dignity of the individual. Timeless, too, is the appearance of the spiritual world in the world of daily life.

Equally persistent, unfortunately, are the untreated malaria, the abandoned children treated as slaves, the terminal tuberculosis, the lifelong unemployment, the degradation of women, the useless and corrupt government, the inconclusive political unrest, the endless ineffective blah blah blah (actually a phrase in Haitian Creole) of the Haitian intellectual class — all liabilities of a country that in the last half century and more has experienced the inroads of globalization as the direst of poverty.

We are so lucky, and Frankétienne is so lucky, that Kaiama L. Glover has come along to translate his works into English and to give Spiralism the international attention it deserves as a historic Caribbean literary movement.

I interviewed Frankétienne in 1986, when I first arrived in Haiti. I had no idea what he was talking about then and couldn't get over the fact that he had put his two names together. Thinking back on it, I'm sure he was talking about regime change and Spiralism. And now, having finally, belatedly, read "Ready to Burst," I know what he meant."
frankétienne  1968  2014  books  haiti  spiralism  amywilentz 
november 2018 by robertogreco
Twitter
An aerial view of campus during a flood in .River Park apartments, South Green, and East Green can be…
1968  from twitter_favs
november 2018 by jcarletonoh
Whole Earth Catalog 50th Anniversary Celebration
Exactly 50 years ago, in 1968, the Whole Earth Catalog first came to life.

Thanks to the work of an ongoing community of people, it prospered in various forms for 32 years—sundry editions of the Whole Earth Catalog, CoEvolution Quarterly, The WELL, the Whole Earth Software Catalog, Whole Earth Review, etc. Their impact in the world was considerable and sustained.

Hundreds of people made that happen—staff, editors, major contributors, board members, funders, WELL conference hosts, etc. We’d like to bring them together one last time to: take a public bow, celebrate fine work together, convene and scheme across the multiple generations, and honor our departed (Jay Baldwin, Dick Raymond, Peter Warshall, Anne Herbert, Andrew Fluegelman, Richard Nilsen, Dick Fugett, etc.).

The format is still being developed but the celebration will take place on October 13, 2018, and a fine venue in San Francisco has been reserved. It should be one full, amazing day—private during the day for the extended Whole Earth alumni, and open to the public in the evening with a blizzard of 5-minute talks (like at the "Whole Earth Jamboree” in 1978) and other instructive delights.

The Whole Earth Catalog was an invitation to agency. It made people eager to haul off and try things that might improve their life and the world’s life. Tools have improved vastly in the 50 years since then, and so has access to them. How is the eagerness doing these days? It might be worth visiting the past, present, and futures of that impulse and the ways it gets kindled.
whole_earth  stewart_brand  well  celebration  1968  anniversary 
november 2018 by pgorrindo
50 Years Later, a New Spin on the Beatles’ ‘White Album’ - WSJ
By Darryn King
Oct. 30, 2018

The new album was chaotic where “Sgt. Pepper” was kaleidoscopic. Acoustic ballads (“Blackbird,” “Julia”) alternated with scorching rock (“Helter Skelter,” “Yer Blues”). The playfulness of “Ob-La-Di, Ob-La-Da,” “Honey Pie” and “Piggies” contrasted with the extended, serious-minded sound experiment “Revolution 9.”

Over the years, the patchwork nature of the album has led to speculation that it chronicled the discord among the band members. But new special-anniversary editions, to be released on Nov. 9, may dispel that idea.
anniversaries  Beatles  music  George_Martin  1968  '60s 
october 2018 by jerryking

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