{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"Turned On: A Study of Sexuality in American Counterculture Music, 1960-2016","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/77502"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"Since the 1960s the American counterculture has been stoked by socio-political and lifestyle movements with a mix of noble ideas, rebellious fervor, and at times even a degree of madness. These movements have correctly been attributed to events worthy of protest and activism, such as the Vietnam War, racial injustice, sexism, and economic inequality, as well as less noble and less developed concerns. However, the power of counterculture music is that it links these causes to a much more universal element of life: sexuality. From the outlandishness of the music of the 1960s, came the trend of sexuality being part of all things worth talking about and doing something about, a source of salvation from the horrors of the reactionary politics exhibited by the far right. As years went on, artists who came about on the wave new movements built upon this important foundation, and continued to galvanize righteous unrest, with sexuality as an all-inclusive form of rebellion, and a focal point for other causes"},{"label":"dcterms.available","value":"2017-09-20T16:52:49Z"},{"label":"dcterms.contributor","value":"Scheckel, Susan."},{"label":"dcterms.creator","value":"Burton, Sean"},{"label":"dcterms.dateAccepted","value":"2017-09-20T16:52:49Z"},{"label":"dcterms.dateSubmitted","value":"2017-09-20T16:52:49Z"},{"label":"dcterms.description","value":"Department of English"},{"label":"dcterms.extent","value":"68 pg."},{"label":"dcterms.format","value":"Application/PDF"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/77502"},{"label":"dcterms.issued","value":"2016-12-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2017-09-20T16:52:49Z (GMT). No. of bitstreams: 1\nBurton_grad.sunysb_0771M_12801.pdf: 1266915 bytes, checksum: fcd0f14ee75ea3eeccc7e743318b07ba (MD5)\n  Previous issue date:    1"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"English literature"},{"label":"dcterms.title","value":"Turned On: A Study of Sexuality in American Counterculture Music, 1960-2016"},{"label":"dcterms.type","value":"Thesis"},{"label":"dc.type","value":"Thesis"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/68%2F86%2F66%2F68866658414434244723702997047902349724/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/68%2F86%2F66%2F68866658414434244723702997047902349724","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}