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While historians have long recognized the importance of memorabilia to the Woman Suffrage movement, the subject has not been explored apart from a few restricted, albeit excellent, studies. Part of the problem is that such objects are scattered about in various collections and museums and can be difficult to access. Another is that most scholars do not have ready knowledge 1of the general nature and history of the type of objects (postcards, badges, sashes, toys, ceramics, sheet music, etc.) that suffragists produced. Then-new techniques in both printing and manufacturing created numerous possibilities for supporters to develop campaigns of "visual rhetoric." This work analyzes 70 different categories of suffrage memorabilia, while providing numerous images of relevant objects along the way and discussing these innovative production methods. Most important, this study looks at period accounts, often fascinating, of how, why when, and where the memorabilia were used in both America and England.
American women's suffrage activists were fascinated with suffrage themed postcards. They collected them, exchanged them, wrote about them, used them as fundraisers and organized "postcard day" campaigns. The cards they produced were imaginative and ideological, advancing arguments for the enfranchisement of women and responding to antisuffrage broadsides. Commercial publishers were also interested in suffrage cards, recognizing their profit potential. Their products, though, were reactive rather than proactive, conveying stereotypes they assumed reflected public attitudes--often negative--towards the movement. Cataloging approximately 700 examples, this study examines the "visual rhetoric" of suffrage postcards in the context of the movement itself and as part of the general history of postcards.
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Dylan can be as evasive and abstruse as he is witty; he can be cranky and sarcastic. But in the right moments, he offers candid, revealing commentary about his groundbreaking music and creative process. Dylan on Dylan is an authoritative, chronologically arranged anthology of interviews, speeches and press conferences, as well as excerpts from nearly a hundred additional Q&As spanning Dylan's entire career. The material comes from reknowned publications like Rolling Stone and from obscure periodicals like Minnesota Daily, a student newspaper at Dylan's alma mater. Interviewers include some of the top music journalists of our time, such as Robert Love and Mikal Gilmore, as well as musicians like Pete Seeger and Happy Traum. Introductions put each piece in context and, in many cases, include the interviewer's reminiscences about the encounter.