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                <text>Curt Flood Autobiography </text>
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                <text>In his autobiography, Curt Flood writes about inequalities and racism in baseball during the 1950’s and 1960’s.</text>
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                <text>1972</text>
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                <text>C. Flood &amp; R. Carter, (1972). The way it is. New York: Pocket Books.  The Sheridan Libraries</text>
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                <text>A replica of a wallet fashioned out of tin containing “Freedom Papers.” &#13;
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                <text>Learn more about this object from the&lt;a href="https://nmaahc.si.edu/object/nmaahc_2014.25" target="_blank"&gt; National Museum of African American History and Culture&lt;/a&gt;</text>
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                <text>Replica by Martha Edgerton. 2016&#13;
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                <text>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</text>
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                <text>&lt;a href="https://archive.org/details/captivesofamista00bald" target="_blank"&gt;Read or download the pamphlet&lt;/a&gt;</text>
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                <text>A young Josephine.   She challenged the prevailing image of beauty for Black women.</text>
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                <text>undated</text>
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                <text>In a 1969 letter, Curt Flood declares:&#13;
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                <text>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</text>
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                <text>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.</text>
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                <text>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.&#13;
&#13;
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.</text>
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                <text>Gold Star Mothers photo, MS. 0617, Box 1, August 16, 1930, Johnny T. Hill Photograph Album, Special Collections, The Johns Hopkins University</text>
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                  <text>&lt;h3&gt;&lt;strong&gt;Freedom Papers: Black Assertions from the Archives&lt;/strong&gt;&lt;/h3&gt;</text>
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                <text>African American Real Photo Postcard Collection, MS. 0583, Box 2, Special Collections,&#13;
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The Johns Hopkins University</text>
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                <text>Johns Hopkins Special Collections has &lt;a href="https://www.flickr.com/photos/hopkinsarchives/sets/72157689099621576" target="_blank"&gt;scanned the entire African American Real Postcard collection making it available to everyone.&lt;/a&gt;</text>
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                <text> Vernacular photography refers to photos that focus on everyday life and people and makes the ordinary and familiar matter.&#13;
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&#13;
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.</text>
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                  <text>&lt;h3&gt;&lt;strong&gt;Freedom Papers: Black Assertions from the Archives&lt;/strong&gt;&lt;/h3&gt;</text>
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                <text>Vernacular photography refers to photos that focus on everyday life and people and makes the ordinary and familiar matter.&#13;
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                <text>African American Real Photo Postcard Collection, MS. 0583, Box 2, Special Collections,&#13;
&#13;
The Johns Hopkins University</text>
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                <text>March 23, 1918  </text>
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