Category Archives: Anniversary

NYC Bans Folk Music

NYC Bans Folk Music

Anniversary of the “Beatnik Riot”
April 9,  1961
NYC Bans Folk Music
New York Mirror headline
NYC Bans Folk Music

World Power Anomie

After World War II, many young adults, disenchanted with the horrors and atrocities of two global wars less than 25 years apart, broke away from prevailing cultural mores. They sought out an anti-conformist  life style that isolated them from what they saw as a morally corrupt society.

Some found that isolation with those whom American society had already segregated. Some found it in the arts.

Jack Kerouac referred to himself and those like him as part of a Beat Generation. (NY Times magazine article). His use carried with it the notion of being tired, but Kerouac mixed in the ideas of “upbeat”, and “beatific.”

NYC Bans Folk Music

Cold War

On October 4, 1957, the Soviet Union successfully launched the first satellite, Sputnik. The Cold War had increasingly heated in the late 1950s. Growing up as a Boomer meant learning to hate, to distrust, and be anti-anything associated with the USSR.  Catholics prayed for its conversion after every Sunday Mass.

The arms race continued. Sputnik launched the space race, in many ways an offshoot of that arms race.

What better way to label a disenchanted group, the Beats, a group that mainstream citizens and media saw as un-American? Associate them with Communism.

NYC Bans Folk Music

Beatniks

On April 2, 1958, Herb Caen of the San Francisco Chronicle wrote, “Look magazine, preparing a picture spread on S.F.’s Beat Generation (oh, no, not AGAIN!), hosted a party in a No. Beach house for 50 Beatniks, and by the time word got around the sour grapevine, over 250 bearded cats and kits were on hand, slopping up Mike Cowles’ free booze. They’re only Beat, y’know, when it comes to work . . . “

Thus the Beats became Beatniks. It was not a compliment.

Some Beats loved jazz. Some Beats loved folk music. Both sometimes played outside with friends in NYC’s Greenwich Village, particularly Washington Square Park, busking or simply entertaining themselves.

NYC Bans Folk Music

Newbold Morris

Despite the First Amendment’s guarantee of free speech, on March 28, 1961, NYC Park Commissioner Newbold Morris notified his staff to limit permits issued for musical performances in Washington Square to “legitimate” artistic groups. He also asked the police to issue summonses to guitarists, bongo drummers, and folk singers who did not have permits.

On April 9, 1961 Greenwich Village folk song fans battled the police for two hours in Washington Square. Police arrested ten demonstrators. Several persons, including three policemen, were hurt.

From the Greenwich Village Society for Historic Preservation siteThe protest was arranged by Izzy Young, head of the Folklore Center on MacDougal Street.  A group of protestors who sat in the fountain singing “We Shall Not be Moved” was attacked by police with billy clubs.  Another group sang the Star Spangled Banner, thinking police would not attack such a display of patriotism- they were wrong.

NYC Bans Folk Music
Dan Drasin’s 1961 film, Sunday, captured the April 9, 1961, conflict between New York City folk musicians and police that came to be known as the Beatnik Riot.
NYC Bans Folk Music

Here is that film

NYC Bans Folk Music

Continued support for ban

Two days later NYC Mayor Robert F Wagner, announced his support of the ban.

On April 20, 1961 the  Community Planning Board voted to uphold Park Commissioner Newbold Morris’ ban against folk-singing in Washington Square Park.

On April 30, 1961 police arrested William French, a student, at another demonstration by folk-music fans in Washington Square Park. That arrest nearly set off a riot. It also raised charges of police brutality.

NYC Bans Folk Music

State Supreme Court

On May 4, 1961 NYC’s ban against folk singing in Washington Square Park was upheld by the State Supreme Court.

On May 7, 1961, singers marched back into Washington Square Park and sang for the first time in four weeks without hindrance from the police. They sang a capella. They had discovered that Park Department ordinances require a permit only for “minstrelsy” – singing with instruments, but not for unaccompanied song.

On May 12, 1961 NYC Mayor Wagner announced that folk singing, with instrumental accompaniment, would be permitted in Washington Square “on a controlled basis.”

On June 5, 1961 a grand jury cleared William French of charges associated with the April 30 Washington  Square demonstration.

NYC Bans Folk Music

Appellate Division decision

And on July 6, 1961, the Appellate Division of the NY State Supreme Court unanimously reversed a lower court decision that had supported the city’s former ban on folk singing in Washington Square.

Community displeasure with those seen as outsiders and disruptive was not new and continued. Eight years later in Wallkill, NY, a group of community leaders succeeded in keeping out a group that sought to play their music. That event, of course, was called the Woodstock Music and Art Fair.

Reference >>> NPR report on Washington Square folk music ban

NYC Bans Folk Music

Beatles Please Please Me Album

Beatles Please Please Me album

Released March 22, 1963

Beatles Please Please Me Album

Beatles Please Please Me album

Other preferences

In March 1963 while we were listening to the Four Seasons say Walk Like a Man, Ruby & the Romantics singing Our Day Will Come, and the Chiffons do He’s So Fine, the Beatles released their first album, Please Please Me.

In the UK only.

Their single “Please Please Me” had hit #1 in the UK on February 22. They’d released it in the US on February 7, but the single hardly charted here, reaching No. 35 on the WLS-AM (Chicago) music survey in March and did not chart at all on Billboard.  

The Vee Jay label even misspelled their name.

Beatles Please Please Me Album

Beatles Please Please Me album

No Zoo picture

For the album, producer George Martin, a Fellow of the Zoological Society of London, owners of the London Zoo, thought that it might be good publicity for the zoo to have the Beatles pose outside the insect house for album’s cover photo, however, the Zoological Society turned down Martin’s offer and instead, Martin asked Angus McBean.

It was he who took the distinctive picture of the group looking down over the stairwell inside EMI’s London headquarters in Manchester Square.

Martin wrote later: “We rang up the legendary theatre photographer Angus McBean, and bingo, he came round and did it there and then. It was done in an almighty rush, like the music…

Veterans of the road, John Lennon and Ringo Starr were 22; Paul McCartney and  George Harrison were 20.

Beatles Please Please Me album

Outside help

The album was as much a collection of covers as originals:

Side one               

  1. “I Saw Her Standing There” 2:54
  2. “Misery” 1:49
  3. “Anna (Go to Him)” (Arthur Alexander) 2:57
  4. “Chains” (Gerry Goffin, Carole King) 2:26
  5. “Boys” (Luther Dixon, Wes Farrell) 2:27
  6. “Ask Me Why” 2:26
  7. “Please Please Me” 2:03
Side two               

  1. “Love Me Do”      2:23
  2. “P.S. I Love You” 2:04
  3. “Baby It’s You” (Mack David, Barney Williams, Burt Bacharach) 2:40
  4. “Do You Want to Know a Secret” 1:59
  5. “A Taste of Honey” (Bobby Scott, Ric Marlow) 2:03
  6. “There’s a Place” 1:51
  7. “Twist & Shout” (Medley, Russell) 2:37
Beatles Please Please Me album

Please Please Me

               From the (great) Beatles Bible site:

Eight of the album’s 14 songs were written by John Lennon and Paul McCartney (credited as McCartney-Lennon). At the time it was unusual for a group to write their own material; The Beatles, however, swiftly revealed to listeners that they were anything but a run-of-the mill band.

In early 1963 pop acts commonly released three-minute 45 rpm singles, or occasionally four-song EPs. The long-player was normally beyond the fiscal reach of most teenagers, and the LP as art form was yet to emerge; albums tended to be a handful of hits and a selection of filler songs.

The Beatles were not immune to this trend – the cover of Please Please Me even carried the tagline “with Love Me Do and 12 other songs” – but the quality of the songs on the LP was testament to their ambition and musical knowledge, and the willingness of Parlophone staff producer George Martin to try to get the best from them.

And this he did, effectively capturing highlights from The Beatles’ live set. The sound that had wowed audiences in Liverpool, Hamburg and beyond was most evident in the album’s frenetic closer Twist And Shout, full of boundless energy and with famously hoarse vocals from John Lennon.

The group’s versatility, meanwhile, was shown by R&B ballads Anna (Go To Him) and Baby It’s You, and McCartney’s love for pop standards ensured a place for A Taste Of Honey.

But it was with the original songs that set The Beatles apart from their peers. The opening  I Saw Her Standing There was one of Paul McCartney’s earliest songs, yet after dozens of performances in sweaty basement clubs and dance halls it was something of a rock powerhouse.

There’s A Place and Ask Me Why showcased their talents for melody and harmony, PS I Love You and Do You Want To Know A Secret displayed the group’s lighter side, while the title track was simply one of the most exciting pop songs that 1960s listeners had heard.

Beatles Please Please Me Album

National Women’s Hall of Fame

National Women’s Hall of Fame

National Women's Hall of Fame
National Women’s Hall of Fame logo
Formed on February 20, 1969

Happy Anniversary

It’s never too late to learn something new. Today we will start with a matching quiz. In the left column are the names of the outstanding women who were  the National Women’s Hall of Fame Class of 2021. The right column lists accomplishments.

Can you match? I could not!

Patricia Bath A…an entrepreneur, banker, advocate, and member of the Blackfeet Nation who fought tirelessly for government accountability and for Native Americans to have control over their own financial future
Elouise Cobell B… ophthalmologist, inventor, humanitarian, and academic. She was an early pioneer of laser cataract surgery
Kimberlé Crenshaw C...educational innovator, race relations and feminist activist, author, and public speaker, best known for her seminal 1989 article, “White Privilege: Unpacking the Invisible Knapsack.”
Peggy Mcintosh D...academic, media theorist, author, performance artist, multi-instrumentalist, educator, and programmer. Best known for her groundbreaking 1987 essay, “The Empire Strikes Back: A Posttransexual Manifesto,” Stone is considered a founder of the academic discipline of transgender studies.
Judith Plaskow E… pathologist and pioneer in the study of immune responses to infectious diseases at the turn of the 20th century. Over the course of her research career, she worked on developing vaccines, treatments, and  diagnostic tests for many diseases, including  diphtheria,  rabies, scarlet fever, smallpox, influenza, and meningitis.
Loretta Ross F… theologian, author, and activist known for being the first Jewish feminist theologian. She earned her doctorate from Yale University in 1975 and spent over three decades teaching Religious Studies at Manhattan College
Sandy Stone G… pioneering scholar and writer on civil rights, critical race theory, Black feminist legal theory, and race, racism, and the law.
Anna Wessels Williams H...academic, feminist, and activist for reproductive justice, especially among women of color. Driven by her personal experiences as a survivor of rape and nonconsensual sterilization, Ross has dedicated her extensive career in academia and activism to reframing reproductive rights within a broader context of human rights.

National Women’s Hall of Fame

Seneca Falls

National Women's Hall of Fame
Elizabeth Cady Stanton and Lucretia Mott

A group of men and women founded the National Women’s Hall of Fame on  February 20, 1969 in Seneca Falls, New York. where Elizabeth Cady Stanton and Lucretia Mott, two renowned leaders of the US suffragette movement, organized the first Women’s Right Convention at Seneca Falls in 1848.

National Women's Hall of Fame

Showcasing great women

National Women's Hall of Fame

The Hall of Fame’s mission is, “Showcasing great women…Inspiring all!”

According to its site: National Women’s Hall of Fame is open on the 1st floor of the historic Seneca Knitting Mill on the Seneca-Cayuga branch of the Erie Canal in Seneca Falls, New York. Our introductory exhibits are designed to show the world our vision for the future exhibits when we complete additional renovations of the Mill, celebrate Inductees, and showcase stimulating stories of past and present hard-won achievements.

Included in the introductory exhibits is a new Hall of Fame display listing our Inductees and their areas of accomplishment that visitors can browse. There is a section called “Why Here?” highlighting why all of this history happened in Seneca Falls. We tell the story of the Seneca Knitting Mill and the women who worked there. We invite visitors to delve into the history of what happens when women innovate or lead with an interactive exhibit that challenges widely-held assumptions. Visitors can “weave” themselves into the story in a participatory exhibit, and we ask visitors for their own stories of women who have inspired them. The exhibits encourage visitors to engage in creating our future and to understand the possibility of a world where women are equal partners in leadership.

National Women’s Hall of Fame

Here is an informative 2-minute introduction about the Hall by a few of the women who are members, watch the following:

National Women’s Hall of Fame

Who’s who?

2023 Inductees

Patricia Era Bath (1942 – 2019) was an American ophthalmologist, inventor, humanitarian, and academic. She was an early pioneer of laser cataract surgery and was the first Black woman physician to receive a medical patent, which she received in 1986, for the Laserphaco Probe and technique, which performed all steps of cataract removal.   

She became the first woman member of the Jules Stein Eye Institute, the first woman to lead a post-graduate training program in ophthalmology, and she was the first woman elected to the honorary staff of the UCLA Medical Center. Bath was the first Black person to serve as a resident in ophthalmology at New York University and was also the first Black woman to serve on staff as a surgeon at the UCLA Medical Center. She became the first Black woman physician to receive a patent for a medical purpose and would go on to earn a total of five patents during her lifetime. Bath is also recognized for her founding of the American Institute for the Prevention of Blindness, a nonprofit located in Washington, D.C.  

Elouise Pepion Cobell (1945 – 2011) (“Yellow Bird Woman”) was an entrepreneur, banker, advocate, and member of the Blackfeet Nation who fought tirelessly for government accountability and for Native Americans to have control over their own financial future. Cobell was first appointed as the treasurer for the Blackfeet Nation, and went on to found the Blackfeet National Bank, now part of the Native American Bank, the first national bank located on a Native American reservation and established by a Tribe in the United States. In 2001, 20 tribal nations and Alaska Native corporations joined in the newly launched Native American Bank. Today, 31 tribes participate in the Bank which has assets of $128 million and provides financing across Indian country. In 1997, Cobell was named a MacArthur Fellow for her work in support of tribal banking self-determination and financial literacy education. 

On June 10, 1996, Cobell and the Native American Rights Fund filed a class-action lawsuit against the U.S. Department of the Interior for the mismanagement of Indian Trust Funds owed to over 300,000 individual tribal members. The lawsuit alleged that the Bureau of Indian Affairs mismanaged and abused the Indian Trust Funds for over a century, resulting in high poverty rates for Native Americans. Elouise Cobell was not only the lead plaintiff on Cobell v. Salazar, but also raised money for the lawsuit, donating part of her MacArthur Genius Grant to the cause. After 13 years of arduous court battles, the federal government settled for $3.4 billion. It was 16-years by the time Congress ratified the settlement.  

Kimberlé W. Crenshaw is a pioneering scholar and writer on civil rights, critical race theory, Black feminist legal theory, and race, racism, and the law. She currently holds positions with Columbia Law School and the University of California, Los Angeles.   

Peggy McIntosh is an educational innovator, race relations and feminist activist, author, and public speaker, best known for her seminal 1989 article, “White Privilege: Unpacking the Invisible Knapsack.” She derived her understanding of white privilege from observing parallels with male privilege, and her work has been instrumental in introducing the dimension of privilege, or unearned power, into discussions of gender, race, sexuality, and colonialism.

Judith Plaskow is an American theologian, author, and activist known for being the first Jewish feminist theologian. She earned her doctorate from Yale University in 1975 and spent over three decades teaching Religious Studies at Manhattan College. Plaskow launched the Journal of Feminist Studies in Religion in 1985 and served as the journal’s editor for its first 10 years and from 2012 to 2016. Plaskow also helped found B’not Esh, a Jewish feminist spirituality collective and served as president of the American Academy of Religion. 

Loretta J. Ross is a Black academic, feminist, and activist for reproductive justice, especially among women of color. Driven by her personal experiences as a survivor of rape and nonconsensual sterilization, Ross has dedicated her extensive career in academia and activism to reframing reproductive rights within a broader context of human rights. Over her decades of grassroots organizing and national strategic leadership, Ross has centered the voices and well-being of women of color.  

Allucquére Rosanne Stone, also known as Sandy Stone, is an academic, media theorist, author, performance artist, multi-instrumentalist, educator, and programmer. Best known for her groundbreaking 1987 essay, “The Empire Strikes Back: A Posttransexual Manifesto,” Stone is considered a founder of the academic discipline of transgender studies.  She is currently Associate Professor Emerita and Founding Director of the Advanced Communication Technologies Laboratory (ACTLab) at the University of Texas at Austin. She is also the Wolfgang Kohler Professor of Media and Performance at the European Graduate School in Saas-Fee, Switzerland, Fellow of the University of California Humanities Research Institute, and Banff Centre Senior Artist. 

Anna Wessels Williams (1863-1954) was an American pathologist and pioneer in the study of immune responses to infectious diseases at the turn of the 20th century. Over the course of her research career, she worked on developing vaccines, treatments, and  diagnostic tests for many diseases, including  diphtheria,  rabies, scarlet fever, smallpox, influenza, and meningitis. Notably, Williams worked at the New York City Department of Health’s diagnostic laboratory specifically on projects that tackled  diphtheria. In her first year at the lab, she isolated a strain of the diphtheria bacillus which could be used to produce the antitoxin for diphtheria in large quantities. This fundamental discovery increased the availability of the antitoxin and cut production costs, which was crucial to controlling the devastating disease.  Within a year of Williams’ discovery, the antitoxin was being shipped to doctors in the United States. 

 

National Women’s Hall of Fame