<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1299">
    <dcterms:title><![CDATA[Curt Flood Autobiography ]]></dcterms:title>
    <dcterms:description><![CDATA[In his autobiography, Curt Flood writes about inequalities and racism in baseball during the 1950’s and 1960’s.]]></dcterms:description>
    <dcterms:date><![CDATA[1972]]></dcterms:date>
    <dcterms:bibliographicCitation><![CDATA[C. Flood &amp; R. Carter, (1972). The way it is. New York: Pocket Books.  The Sheridan Libraries]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1297">
    <dcterms:title><![CDATA[Curt Flood Autobiography Large]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1261">
    <dcterms:title><![CDATA[Wallet Trammell Replica]]></dcterms:title>
    <dcterms:description><![CDATA[A replica of a wallet fashioned out of tin containing “Freedom Papers.” <br />
<br />
It belonged to Joseph Trammell, a free Black man who lived in the state of Virginia in 1852. Trammel’s papers guarded him against becoming someone’s property but did not guarantee him an authentic freedom]]></dcterms:description>
    <dcterms:abstract><![CDATA[Learn more about this object from the<a href="https://nmaahc.si.edu/object/nmaahc_2014.25" target="_blank"> National Museum of African American History and Culture</a>]]></dcterms:abstract>
    <dcterms:bibliographicCitation><![CDATA[Replica by Martha Edgerton. 2016<br />
<br />
 The original is in the Collection of the Smithsonian National Museum of African American History and Culture, Gift of Elaine E. Thompson, in memory of Joseph Trammell, on behalf of his direct descendants]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1228">
    <dcterms:title><![CDATA[Cinque Birney Pamphlet]]></dcterms:title>
    <dcterms:description><![CDATA[<a href="https://archive.org/details/captivesofamista00bald" target="_blank">Read or download the pamphlet</a>]]></dcterms:description>
    <dcterms:date><![CDATA[1886]]></dcterms:date>
    <dcterms:bibliographicCitation><![CDATA[Simeon E. Baldwin. The Captives of the Amistad. 1886, James Birney Collection of Anti-Slavery Pamphlets, MS. 0378, Box 3. Special Collections, The Johns Hopkins University]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1227">
    <dcterms:title><![CDATA[Young Josephine]]></dcterms:title>
    <dcterms:description><![CDATA[A young Josephine.   She challenged the prevailing image of beauty for Black women.]]></dcterms:description>
    <dcterms:date><![CDATA[undated]]></dcterms:date>
    <dcterms:bibliographicCitation><![CDATA[Josephine Baker, MS. 0725, Box 1, Special Collections, The Johns Hopkins University]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1226">
    <dcterms:title><![CDATA[Flood Letter -  Letter to the Commissioner]]></dcterms:title>
    <dcterms:description><![CDATA[In a 1969 letter, Curt Flood declares:<br />
<br />
“I do not feel that I’m a piece of property to be bought and sold irrespective of my wishes…”  Refusing the trade, Flood challenged baseball’s reserve clause – a provision of every major league contract that gave any team signing a player exclusive right to his services when the contract ended.  Flood filed a lawsuit against major league baseball for his freedom.  He lost the case, but today, all professional athletes can market their talents as free agents.<br />
<br />
 ]]></dcterms:description>
    <dcterms:bibliographicCitation><![CDATA[Letter from Curt Flood to the Commissioner of Baseball, Bowie K. Kuhn, 1969, National Archives 278312]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1225">
    <dcterms:title><![CDATA[Cinque Revolt]]></dcterms:title>
    <dcterms:abstract><![CDATA[Image was drawn by engraver, John Warner Barber, who visited the Africans imprisoned in New Haven.  Illustration from A History of the Amistad Captives (New Haven, CT, 1839).  E.L. &amp; J.W. Barber]]></dcterms:abstract>
    <dcterms:bibliographicCitation><![CDATA[Reprint from Library of Congress Prints and Photographs Division.  LC-USZ62-52577]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1224">
    <dcterms:title><![CDATA[Gold Star Mothers]]></dcterms:title>
    <dcterms:description><![CDATA[Black Gold Star mothers asserted their citizenship rights by claiming the same military benefits afforded white mothers and widows.  In their photographs of the pilgrimage, Black women brandished the American flag thereby challenging the iconic image of the all-American war mother and nation as white.]]></dcterms:description>
    <dcterms:abstract><![CDATA[In 1930, the federal government sponsored a series of segregated trips to Europe for the surviving mothers and widows of WWI soldiers to visit the graves of their fallen loved ones.  Black women responded to the segregated pilgrimage in varied yet self-defining ways.  Some felt insulted by the Jim Crow arrangement and petitioned President Hoover to desegregate their travel.  In a letter drafted by the NAACP and signed by fifty-five Gold Star mothers, they pledged to refuse the trip rather than submit to segregation.<br />
<br />
For Black mothers and widows who decided to take the trip often did so in opposition to Black leaders and the Black press.  Their pilgrimage affirmed their right to grieve and define for themselves how to exercise their freedoms as Black mothers and wives.]]></dcterms:abstract>
    <dcterms:bibliographicCitation><![CDATA[Gold Star Mothers photo, MS. 0617, Box 1, August 16, 1930, Johnny T. Hill Photograph Album, Special Collections, The Johns Hopkins University]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1223">
    <dcterms:title><![CDATA[Postcards WWII Sailors]]></dcterms:title>
    <dcterms:description><![CDATA[Johns Hopkins Special Collections has <a href="https://www.flickr.com/photos/hopkinsarchives/sets/72157689099621576" target="_blank">scanned the entire African American Real Postcard collection making it available to everyone.</a>]]></dcterms:description>
    <dcterms:abstract><![CDATA[ Vernacular photography refers to photos that focus on everyday life and people and makes the ordinary and familiar matter.<br />
<br />
In the case of African American servicemen, vernacular photography visually turned the uniformed soldier into both an everyday-man and first-class citizen.  Photographs of Black men standing strong and dressed in military uniform showed them as loyal and patriotic, but most importantly, as American citizens. <br />
<br />
Vernacular photography of uniformed soldiers also mobilized Black families and communities.  Particularly, during WWII, the images provided African Americans with visual symbols that aided in the Double V Campaign, rallying Black people to fight for victories abroad against fascism and at home against U.S. racism.]]></dcterms:abstract>
    <dcterms:bibliographicCitation><![CDATA[African American Real Photo Postcard Collection, MS. 0583, Box 2, Special Collections,<br />
<br />
The Johns Hopkins University]]></dcterms:bibliographicCitation>
</rdf:Description><rdf:Description rdf:about="https://exhibits.library.jhu.edu/items/show/1222">
    <dcterms:title><![CDATA[Post Cards Buffalo Soldiers]]></dcterms:title>
    <dcterms:description><![CDATA[Vernacular photography refers to photos that focus on everyday life and people and makes the ordinary and familiar matter.<br />
<br />
In the case of African American servicemen, vernacular photography visually turned the uniformed soldier into both an everyday-man and first-class citizen.  Photographs of Black men standing strong and dressed in military uniform showed them as loyal and patriotic, but most importantly, as American citizens. ]]></dcterms:description>
    <dcterms:date><![CDATA[March 23, 1918  ]]></dcterms:date>
    <dcterms:bibliographicCitation><![CDATA[African American Real Photo Postcard Collection, MS. 0583, Box 2, Special Collections,<br />
<br />
The Johns Hopkins University]]></dcterms:bibliographicCitation>
</rdf:Description></rdf:RDF>
