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Nate Merrill

American History Textbook - 7 views

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    "American History:
    From Pre-Columbian to the New Millennium"
Ed Webb

U.S. Military Wanted to Provoke War With Cuba - ABC News - 0 views

  • In the early 1960s, America's top military leaders reportedly drafted plans to kill innocent people and commit acts of terrorism in U.S. cities to create public support for a war against Cuba.
  • plans reportedly included the possible assassination of Cuban émigrés, sinking boats of Cuban refugees on the high seas, hijacking planes, blowing up a U.S. ship, and even orchestrating violent terrorism in U.S. cities
  • to trick the American public and the international community into supporting a war to oust Cuba's then new leader, communist Fidel Castro
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  • "The whole point of a democracy is to have leaders responding to the public will, and here this is the complete reverse, the military trying to trick the American people into a war that they want but that nobody else wants."
  • neither the American public, nor the Cuban public, wanted to see U.S. troops deployed to drive out Castro.

    Reflecting this, the U.S. plan called for establishing prolonged military — not democratic — control over the island nation after the invasion.

  • a time when there was distrust in the military leadership about their civilian leadership, with leaders in the Kennedy administration viewed as too liberal, insufficiently experienced and soft on communism. At the same time, however, there real were concerns in American society about their military overstepping its bounds
  • reports U.S. military leaders had encouraged their subordinates to vote conservative during the election
  • One idea was to create a war between Cuba and another Latin American country so that the United States could intervene. Another was to pay someone in the Castro government to attack U.S. forces at the Guantanamo naval base — an act, which Bamford notes, would have amounted to treason. And another was to fly low level U-2 flights over Cuba, with the intention of having one shot down as a pretext for a war.
  • Afraid of a congressional investigation, Lemnitzer had ordered all Joint Chiefs documents related to the Bay of Pigs destroyed, says Bamford. But somehow, these remained.
Jeremy Greene

Teaching Guide to Internationalizing U.S. History - 1 views

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    Please check out my guide on how to internationalize US history.
Ed Webb

"There Was Never Any Pay Day for the Negroes" - Ex-Slave Jourdon Anderson's Letter to H... - 6 views

  • Surely there will be a day of reckoning for those who defraud the laborer of his hire
Christina Briola

| timeplots.com - 21 views

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    Visual US history time line of:
    Presidency
    Supreme Court
    Senate
    Democratic Party
    Republican Party
Caryn Koplik

Freedom's Story: Teaching African American Literature and History - 9 views

http://nationalhumanitiescenter.org/tserve/freedom/freedom.htm Essays, primary sources, bibliographies, images, ideas for classroom discussion, current scholarly debate, and more.

african american history us primary sources secondary

started by Caryn Koplik on 13 Feb 11 no follow-up yet
Caryn Koplik

The Making of African American Identity - Primary Sources - 9 views

http://nationalhumanitiescenter.org/pds/index.htm Three large collections of primary source teaching material for you and your students. Covers years 1500 - 1968. Texts, images, contextualizing not...

primary sources african american history us

started by Caryn Koplik on 13 Feb 11 no follow-up yet
Peter Pappas

The Student As Historian - DBQ Resources and Strategies - 30 views

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    This downloadable SlideShare accompanies my workshop in "Teaching with Documents." Don't think of it as a presentation. It's a online guide to resources and includes strategy illustrations from my workshop.
Ed Webb

Modern art was CIA 'weapon' - World, News - The Independent - 6 views

  • The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.
  • in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.
  • The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
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  • Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.
  • This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s.
  • If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.
  • Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another
  • As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows.

    The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.

  • "It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."
  • Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA.

    But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.

Ed Webb

Virginia 4th-grade textbook criticized over claims on black Confederate soldiers - 2 views

  • Masoff defended her work. "As controversial as it is, I stand by what I write," she said. "I am a fairly respected writer."
  • When Masoff began work on the textbook, she said she consulted a variety of sources -- history books, experts and the Internet. But when it came to one of the Civil War's most controversial themes -- the role of African Americans in the Confederacy -- she relied primarily on an Internet search.

    The book's publisher, Five Ponds Press, based in Weston, Conn., sent a Post reporter three of the links Masoff found on the Internet. Each referred to work by Sons of the Confederate Veterans or others who contend that the fight over slavery was not the main cause of the Civil War.

  • . Five Ponds Press has published 14 books that are used in the Virginia public school system, all of them written by Masoff.

    Masoff also wrote "Oh Yuck! The Encyclopedia of Everything Nasty" and "Oh Yikes! History's Grossest Moments."

Deven Black

National Constitution Center: Which Founder Are You? - 20 views

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    This is so fantastic! I can't wait to use it in my class :)
Deven Black

Buffalo Bill talks - 2 views

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    Buffalo Bill recorded via gramaphone in 1898 talking about Cuba and the onset of the Spanish-American war.
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