"Must be the season of the witch" : the repression and harassment of rock and folk music during the long sixties
Digital Document
Document
Handle |
Handle
http://hdl.handle.net/11134/20002:860630442
|
||||||
---|---|---|---|---|---|---|---|
Persons |
Persons
Author (aut): Simmons, Daniel A.
Thesis advisor (ths): Ogbar, Jeffrey O.G
Associate Advisor (asa): Holsinger, Kent
Associate Advisor (asa): McElya, Micki
|
||||||
Title |
Title
Title
"Must be the season of the witch" : the repression and harassment of rock and folk music during the long sixties
|
||||||
Origin Information |
Origin Information
|
||||||
Parent Item |
Parent Item
|
||||||
Resource Type |
Resource Type
|
||||||
Digital Origin |
Digital Origin
born digital
|
||||||
Description |
Description
Between the mid-1960s and early-1970s, the genres of folk and rock music were often culturally subversive forces that, at times, supported such countercultural mores as illegal drug use, obscenity, and a hedonistic sexuality which offended some governmental agencies and law enforcement authorities in the United States. Although the countercultural subversion frequently attributed to such music was neither the same as nor necessarily inclusive with revolutionary, leftist political ideologies and movements, such music commonly provided the soundtrack and inspiration for various counter-hegemonic political groups as the antiwar movement, the Youth International Party, the Black Panther Party, and the Weather Underground (all of which challenged government authorities which they condemned as imperialist, racist, and oppressive). Consequently, a variety of officials, including FBI agents, the U.S. Military, and local law enforcement officers, including municipal narcotics and vice squads, instituted various forms of repression or harassment against certain musical performers, promoters, or concertgoers. Frequently working as independent actors or bureaus, these political officials and law enforcement agents imposed varying degrees of repression or harassment upon musicians, depending on the degree to which they felt threatened. Targeted by such acts, musicians sometimes witnessed a deleterious effect on their emotional state, careers, and even the general direction of the music industry. Others, however, seemed little affected by police harassment or political repression, suggesting that the thought of dealing with law enforcement authorities did not completely deter all musicians from writing, recording, or performing whatever they wished
|
||||||
Genre |
Genre
|
||||||
Organizations |
Organizations
Degree granting institution (dgg): University of Connecticut
|
||||||
Held By | |||||||
Rights Statement |
Rights Statement
|
||||||
Use and Reproduction |
Use and Reproduction
These Materials are provided for educational and research purposes only. The University of Connecticut Library holds the copyright except where noted. Permission must be obtained in writing from the University of Connecticut Library and/or the owner(s) of the copyright to publish reproductions or quotations beyond "fair use."
These materials are provided for educational and research purposes only.
|
||||||
Degree Name |
Degree Name
Doctor of Philosophy
|
||||||
Degree Level |
Degree Level
Doctoral
|
||||||
Degree Discipline |
Degree Discipline
History
|
||||||
Local Identifier |
Local Identifier
ASC Theses 18684
868584310
OC_d_19
|