“I guess the revolutionary thing we did was to take the position that there is no single voice capable of expressing every idea, that romance is still necessary, ornament is necessary, and simplification is not better than complexity.” This was Milton Glaser’s philosophy. Milton Glaser is a graphic designer who created the “I Heart NY” logo, the Brooklyn Brewery logo and a famous Bob Dylan poster. His art was a reflection of the times. Established in the 60’s, the decade was indeed a time for experimentation and non-conventionalism. This was demonstrated no greater than through the rise of social equality and prolific drug use. Women’s, homosexual, and African-American rights were pursued with a tenacity equaled only by soldiers wrapped in an unjust conflict. This is to say that the social repression U.S. citizens had undergone previously would no longer be accepted. Meanwhile, psychedelic drug use had taken a great rise, sexual expression was at an all time high, and the nation was appalled with its involvement in the Vietnam War. This push for liberation and true freedom was what motivated and inspired Milton Glaser. Glaser began his career in 1954 and is still alive and producing designs such as for the popular television show “Mad …show more content…
Men.” However the piece that initiated his popularity is a poster designed for a Bob Dylan album, for which he’d used psychedelic art influences and a new typeface to created Dylan’s hair, with a self-structured black silhouette of Dylan’s face. The poster was placed inside the albums sleeve for those who’d made the purchase. Shortly after the album began selling, posters and other paraphernalia were sold with that image upon it. This is what has characterized Glaser’s style. A balance between hard solid black lines and elaborate psychedelic colors was the signature of the renowned designer. The people to whom Glaser most attributes influence over his art are Herbert Bayer, George Salter, Lester Beall, Paul Rand, and Joseph Baum.
Herbert Bayer, as Glaser explains, was an important figure bringing European ideas to the U.S. George Salter was a book designer who also taught calligraphy and lettering at Cooper Union, for whom Glaser was a student. Lester Beall was a poster artist whose consistency and graphic rigor was well respected. “I was personally influenced by Paul Rand,” says Glaser. “He created a kind of platform for everyone to work from.” Joseph Baum was actually one of Glaser’s clients, who gave Glaser the freedom and mobility to produce as desired which was necessary absolutely necessary for pure
creativity. However, the freedom of one client did not permit freedom from the capitalistic nature of industry that had begun driving America. Much of his efforts took place after he’d established Pushpin Studio, a graphic design firm in New York. From here, he and is business partners Seymour Chwast, Reynolds Ruffins, and Edward Sorel began working on Art Nouveau-era poster art. Shortly thereafter in 1968 he and Clay Felker established New York Magazine. A simple but explosive product of his was his “I Heart NY” logo, where the “I” and “Heart” (heart symbol) stood upon the “N” and “Y” respectively. To this day Glaser has not seen a single penny for this creation, however it was a major economic turning point for the state of New York as it has now been popularized globally. Beyond the “Mad Men” logo, Bob Dylan poster and “I Heart NY” logo, two more pieces in particular symbolize Milton Glaser. First, a Mahalia Jackson poster from 1967 to advertise her performance at the Philharmonic Hall and Lincoln Center. The other was his logo for the play Angels in America from 1993, which exemplified his belief that modernism had run its course, leading him to return to the ornamentation of more historical styles. Kate Moross, a British graphic designer, is one who I think takes a lot of inspiration by the styles of Milton Glaser. In her own way she uses a similar typeface, very psychedelic designs and strong contrasting backgrounds. I think Glaser is style of creativity, I perhaps, can’t appreciate fully. However I think, behind the scenes, he did much more for design than could be understood by those who aren’t especially involved in the “designer’s” culture. I think he was a godfather, who’d risen to the top and became counsel for the new wave of designers entering the culture. I think his works are creative and elaborate, but supposedly even Bob Dylan didn’t like the poster of himself. I think Glaser was entrepreneurial, as it would seem, in that he simply wanted to ensure that he had the freedom to allow inspiration to strike with out interruption.
The 1960’s changed the world in an explosion of sex, drugs, and rock and roll, for the first time women and men where declaring freedom and free love. The sexual revolution of the 1960’s saw changes in the way the world saw its self, and the way we saw each other. It changed what we wanted to buy, how we bought it and how we sold it to each other. Artistic free thinkers began to push boundaries everywhere they could. This is reflected in the music of the times, the notable events and the fashion.
During the 60s through Esquire magazine covers, at that period all around the world was changing. Using the covers, George Lois would display messages that made the public feel the need to speak up against issues like racism, feminism, and the Vietnam War. He created impact, drawing the attention of the readers to pick up the magazines that displayed debatable images. Lois told Insight: Essentials that “It became an important part of not reflecting the culture but of helping to lead the culture.” The magazines displayed the history of this era as the world was changing. One of the magazine covers, that sparked a wake-up call to the nation, was one of simply words of a U.S soldier: “Oh my God-we hit a little girl.” This risk made the nation open their eyes to the war’s horr...
Milton Hershey is best known for being the creator of Hershey’s chocolate. However, he has accomplished more than concocting caramels and candies. Mr. Hershey was a philanthropist, someone who has an aspiration to aid people and end social problems. They do so by donating large amounts of their personal fortune to help people or things, somewhat like a charity, but the purpose is for it to last a long time rather than just for a while. Likewise, Milton Hershey was a caring man who sought to make life better for people, whether they be man, woman, or child.
Frederick “Fritz” Pollard, the first African American to ever play in the Rose Bowl and the first African American to ever coach an NFL team, changed the history of football and America while enduring different racial criticism. Pollard faced many difficulties throughout his childhood and adulthood. Pollard was not like the typical “black star” of the 1890-1910 time period. Pollard was raised in a nice home, instead of the “ghetto”, and was able to acquire higher education than that of the average African-American child of his time period. Pollard was racially criticized throughout his amateur and professional life. One incident being the time Pollard got into an argument with a child on whether or not he was a football player, “There I was,
The Sixties, by Terry H. Anderson, takes the reader on a journey through one of the most turbulent decades in American life. Beginning with the crew-cut conformity of 1950s Cold War culture and ending with the transition into the uneasy '70s, Anderson notes the rise of an idealistic generation of baby boomers, widespread social activism, and revolutionary counterculture. Anderson explores the rapidly shifting mood of the country with the optimism during the Kennedy years, the liberal advances of Johnson's "Great Society," and the growing conflict over Vietnam that nearly tore America apart. The book also navigates through different themes regarding the decade's different currents of social change; including the anti-war movement, the civil rights struggle, and the liberation movements. From the lunch counter sit-in of Greensboro, N.C. in 1960 and the rise of Martin Luther King, Jr. to the Black Power movement at the decade's end, Anderson illustrates the brutality involved in the reaction against civil rights, the radicalization of some of the movement's youth, and the eventual triumphs that would change America forever. He also discusses women's liberation and the feminist movement, as well as the students' rights, gay rights, and environmental movements.
Many times, people have very different ideas about what makes an icon. Our icons may be singers, dancers, athletes, actors or politicians. We may not even know what the criteria would be for an icon, but we know one when we see it. One of the greatest American icons in history is the 1969 Woodstock Music Festival. To say that Woodstock isn’t an icon would be like saying that the music wasn’t a dynamic character in the movie “Star Wars” or “The Phantom of the Opera”. An Icon must encompass a distinct ideology, and nothing ushered in our generation’s journey to the end of the innocence like Woodstock.
The 1960’s was a happening decade. It was a time when many people came together for a common good and stood against injustice. The 60’s is often recalled as the era of the peace sign, one ridden with hippies, marijuana and pacifism. While true of much of the era, some of the movements calling for immense social change began as non-violent harbingers of change and later became radicals. The reason for this turn to radicalism, as seen in the case of the Students for a Democratic Society, and as suggested by the change between this organizations earlier Port Huron statement and the later Weatherman Manifesto, is due to the gradual escalation of the Vietnam war.
The late sixties was a time of turmoil in the United States. It was a transition period between the psychedelic sixties and the revolutionary seventies. The youth of the United States was becoming increasingly aware of the politics of war, the draft and other general misuses of governmental power. With the Democratic National Convention being held in Chicago during 1968, political tensions were running high throughout the city. Numerous protests were held during the time surrounding the convention in protest of President Lyndon B. Johnson’s policies on the Vietnam War. Most notably, the group of Abbie Hoffman, Jerry Rubin, Tom Hayden, Rennie Davis, David Dillinger, John Froines, Lee Weiner and Bobby Seale...
My name is Lyman Beecher. I was born in New Haven, Counnecticut, on October 12, 1775. In 1793, I attended Yale for a formal education. My most notable achievements include serving as a Presbyterian minister, serving in the First Church in Litchfield, CT, and being asked to be the Professor and President of Theology at Lane Seminary. I am especially known for being a successful revivalist and my ideas are ones that many Americans can connect and relate with. During the course of my career, I supported the Temperance Movement, suggested an easier way to deal with slavery, and aided with moral reform.
George Whitefield was a very important man during the First Great Awakening. He allowed people to believe that they would be forgiven in the eyes of God. He taught people about God’s ability to transform anyone who is weak, insignificant and despised and make them highly useful, world-changing, and life-producing individuals.
American society and culture experienced an awakening during the 1960s as a result of the diverse civil rights, economic, and political issues it was faced with. At the center of this revolution was the American hippie, the most peculiar and highly influential figure of the time period. Hippies were vital to the American counterculture, fueling a movement to expand awareness and stretch accepted values. The hippies’ solutions to the problems of institutionalized American society were to either participate in mass protests with their alternative lifestyles and radical beliefs or drop out of society completely.
When the word “hippie” comes to mind, images of men with long hair and colorful clothing, women with peace-sign necklaces and fringed vests, vans with “flower power” and rainbows arrive with it. For many people, colorful clothing and peace-signs were the legacy of the hippies. In fact, the definition of a hippie is a person from the 1960s with an unconventional appearance. However, the real legacy of the “hippie movement” is forgotten completely. As Timothy Miller writes, “There is at least some ongoing impact in the three most renowned centers of the hip revolution: "sex, dope, and rock and roll” (Miller 133). The actual legacy of the movement had very little to do with appearance and fashion. Instead, the legacy has more to do with rebellion and challenging societal norms - the acceptance of, dope, premarital sex, and rock and roll.
One theme that is prevalent throughout much of the literature we have covered so far is that it is very critical of the conformist values of late 1950s society. In an era of Levittowns and supermarkets and the omnipresent television, there was a call to leave the conformist suburban culture in search of something higher. Two major proponents of the individual as opposed to society were Jack Kerouac and Allen Ginsberg, two of the central figures in the Beat movement. Through their work one can gain a perspective on the anti-conformity spirit that was brewing under the surface in the Beat culture.
The sixties was a decade of liberation and revolution, a time of great change and exciting exploration for the generations to come. It was a time of anti-war protests, free love, sit-ins, naked hippie chicks and mind-altering drugs. In big cities such as San Francisco, Los Angeles, New York and Paris, there was a passionate exchange of ideas, fiery protests against the Vietnam War, and a time for love, peace and equality. The coming together of like-minded people from around the world was spontaneous and unstoppable. This group of people, which included writers, musicians, thinkers and tokers, came to be known as the popular counterculture, better known as hippies. The dawning of the Age of Aquarius in the late sixties was more than just a musical orgy. It was a time of spiritual missions to fight for change and everything they believed in. Freedom, love, justice, equality and peace were at the very forefront of this movement (West, 2008). Some wore beads. Some had long hair. Some wore tie-dye and others wore turtle-neck sweaters. The Hippie generation was a wild bunch, to say the least, that opened the cookie jar of possibilities politically, sexually, spiritually and socially to forever be known as one of the most memorable social movements of all time (Hippie Generation, 2003).
Bayer, Herbert, Walter Gropius, and Ise Gropius. Bauhaus, 1919-1928. Boston: Charles T. Branford, 1952. Print.