Julie opens up a whole world of play with authentic styles from the ’70s:

• A crinkle-gauze peasant blouse over a turtleneck
• Two-tone bell-bottom jeans and butterfly screen-printed underwear
• Stylish sandals and a braided, beaded belt
• Long, straight blond hair with a single braid

Julie’s 18-inch doll body is soft cloth; her head and limbs are
smooth vinyl. She’s posable for hundreds of playtimes and can be
treasured for years to come.

Her six-book set comes in a protective slipcase and features Julie’s
stories of growing up in San Francisco in the 1970s. They include Meet Julie; Julie Tells Her Story; Happy New Year, Julie; Julie and the Eagles; Julie’s Journey; and Changes for Julie.
These stories of a fun-loving, determined girl offer lessons about
choices and friendship that still touch girls today. Author: Megan
McDonald. Hardcover.

From Seventies Something (NY Times)…

Last month, American Girl introduced Julie of 1974, the latest doll in
the company’s “historical” line, with a set of accompanying books,
written by the children’s author and seventies girl Megan McDonald and
filled with fun facts about Shirley Chisholm, the ERA, Title IX, Billie
Jean King and the etymology of Ms.

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Can I Get An Amen? (2004), recording on acetate, turntable, PA system, paper documents
total run time: 17 minutes, 46 seconds

Can I Get An Amen? (by Nate Harrison) is an audio installation that unfolds a critical perspective of perhaps the most sampled drum beat in the history of recorded music, the Amen Break. It begins with the pop track Amen Brother by 60’s soul band The Winstons, and traces the transformation of their drum solo from its original context as part of a ‘B’ side vinyl single into its use as a key aural ingredient in contemporary cultural expression. The work attempts to bring into scrutiny the techno-utopian notion that ‘information wants to be free’—it questions its effectiveness as a democratizing agent. This as well as other issues are foregrounded through a history of the Amen Break and its peculiar relationship to current copyright law.

“There’s More To The Song Than Meets The Ear” by Jay Babcock

“The Australian artist, Vali Myers, was a legend in her own time. Première danseuse of the Melbourne Modern Ballet at seventeen, she left home and spent ten years in Paris, living much of the time on the streets but never ceasing to draw. Ed van der Elsken famously put her on the cover of his Love on the Left Bank, that manifesto of Paris in the 1950’s and her work was praised by George Plimpton in his Paris Review. Then, saying goodbye to all that, she spent forty years in semi-seclusion in a wild canyon in Italy, where she continued producing her minute, mystical, and passionate drawings. Tough as nails, she fought the local authorities who wanted to introduce loggers into the valley, after a long struggle succeeding in having it designated an Environmental Oasis. Finally, Vali returned triumphant to her native Melbourne, where she was recognized as an artist sui generis.

“In this brilliant memoir by her friend and lover, Gianni Menichetti, her art, times, and personality come through unforgettably. For thirty years, Gianni Menichetti, the author of this memoir, lived with Vali Myers in the wild canyon of ‘Il Porto’—first as lover and willing slave, ultimately as friend, confidant, and protector.”

“You saw in her the personalization of something torn and loose and deep down primitive in all of us.” —George Plimpton, Paris Review

“Vali’s dogs, Vali’s trees, Vali’s donkey, the birds, the flowers, the caves, the spiders of Vali. We have seen for the first time the old skeleton of nature.” —Bernardo Bertolucci, film-maker, Last Tango in Paris, Stealing Beauty