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Helen Keller and her teacher Anne Sullivan 

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Helen Keller and her teacher Anne Sullivan 

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A big part of Keller's story is abount learning to communicate despite the obstacles of deafness and blindness. Her life work centered around communicating the need for government programs to help the deaf and blind, and she was successful in communicating the importance of providing support to people with disabilities.

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A big part of Keller's story is abount learning to communicate despite the obstacles of deafness and blindness. Her life work centered around communicating the need for government programs to help the deaf and blind, and she was successful in communicating the importance of providing support to people with disabilities.

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Helen Keller was a pioneer and role model for deaf and blind people, as well as all people with disabilities. Her accomplishments showed people that people with disabilities were capable and 

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Helen Keller was a pioneer and role model for deaf and blind people, as well as all people with disabilities. Her accomplishments showed people that people with disabilities were capable and 

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deserving of fair and equal treatment She was an author and activist who fought tirelessly for equal rights for all people. She participated in many campaigns to raise awareness, money and support for the blind and was successful.

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1.) Despite being deaf and blind, Helen Keller learned how to speak, read, and write using sign language and braille.

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1.) Despite being deaf and blind, Helen Keller learned how to speak, read, and write using sign language and braille.

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2.) Keller graduated with honors from Radcliffe college in 1904 and began her work as a humanitarian helping people in need (including the deaf and blind) around the world.
3.) Keller published several books. Her first book was The Story of My Life. She also co-founded the American Civil Liberties Union (ACLU) and organization that still exists and fights for equal rights for ALL people.

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Helen Keller was born in Tuscaloosa, Alabama and graduated from Radcliffe College in Cambridge, Mass. She lived most of her adult life in Cambridge, Mass. 

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Helen Keller was born in Tuscaloosa, Alabama and graduated from Radcliffe College in Cambridge, Mass. She lived most of her adult life in Cambridge, Mass. 

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https://www.biography.com/activist/helen-keller

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https://www.history.com/topics/first-ladies/eleanor-roosevelt#section_4

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Eleanor Roosevelt was born in New York City and was attending private school until she was 15 and was send to Allenswood Academy, a school for girls in England. Her formal education ended at age 18.

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Eleanor Roosevelt was born in New York City and was attending private school until she was 15 and was send to Allenswood Academy, a school for girls in England. Her formal education ended at age 18.

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https://www.history.com/topics/world-war-i/christmas-truce-of-1914

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1) In the 1920's, Eleanor got more involved in the Democratic Party and was part of activist organizations like the Women's Union Trade League and the League of Women Voters.

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1) In the 1920's, Eleanor got more involved in the Democratic Party and was part of activist organizations like the Women's Union Trade League and the League of Women Voters.

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2) She encouraged her husband to elect more women to federal positions, and she had hundreds of press conferences for female reporters, at the time when women were not allow to be in the White House press conferences.
3. She continued support of the civil rights movement and an anti-lynching bill earned her of the KKK, who put $25,000 for her head in 1960.

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Ruth Bader Ginsburg and the womens right project.

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WWll Recruit

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You are here

1. Learn /

2. About WWI /

3. Women in WWI /

4. Grace Banker

Chief Operator of the U.S. Signal Corps' women telephone operators

Grace Banker was the Chief Operator of the U.S. Signal Corps' women telephone operators. Women telephone operators were recruited in the states for their civilian experiences and ability to speak French.

Banker wrote "the work was fascinating; much of it was in codes changed frequently. 'Ligny' was 'waterfall.' 'Toul' might be 'Podunk' one day and 'Wabash' the next. Once in a mad rush of work I heard one of the girls say desperately, can't I get 'Uncle' and another no I didn't get 'Jam.' The girls had to speak both French and English and they also had to understand American Doughboy French." The women were often in range of German artillery, but they stayed at their posts because their work was essential.

Grace Banker's citation for the Distinguished Service Medal read: "She served with exceptional ability as chief operator in the Signal Corps exchange at General Headquarters, American Expeditionary Forces, and later in a similar capacity at 1st Army Headquarters. By untiring devotion to her exacting duties under trying conditions she did much to assure the success of the telephone service during the operations of the 1st Army against the St. Mihiel salient and to the north of Verdun [Meuse Argonne]."

After the war, Banker and the other female telephone operators were treated as volunteers and discharged without proper veteran's status. It wasn't until 1977, long after her death in 1960, that this was rectified by legislation and the surviving telephone operators received full recognition and benefits.

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Grace Banker | National WWI Museum and Memorial

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Grace Banker was the Chief Operator of the U.S. Signal Corps' women telephone operators. Women telephone operators were recruited in the states for their civilian experiences and ability to speak French. Banker wrote "the work was fascinating; much of it was in codes changed frequently. 'Ligny' was 'waterfall.'

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https://www.history.com/news/ruth-bader-ginsburgs-landmark-opinions-womens-rights-supreme-court

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Contents

1. Who Was Sojourner Truth?

2. Walking from Slavery to Freedom

3. Sojourner Truth, First Black Woman to Sue White Man-And Win

4. Sojourner Truth's Spiritual Calling

5. 'Ain't I A Woman?' Speech and Controversy

6. Sojourner Truth During the Civil War

7. Sojourner Truth Quotes

8. Sojourner Truth's Later Years

Sojourner Truth was an African American evangelist, abolitionist, women's rights activist and author who was born into slavery before escaping to freedom in 1826. After gaining her freedom, Truth preached about abolitionism and equal rights for all. She became known for a speech with the famous refrain, "Ain't I a Woman?" that she was said to have delivered at a women's convention in Ohio in 1851, although accounts of that speech (and whether Truth ever used that refrain) have since been challenged by historians. Truth continued her crusade throughout her adult life, earning an audience with President Abraham Lincoln and becoming one of the world's best-known human rights crusaders.
LISTEN: Sojourner's Truth on HISTORY This Week Podcast
Who Was Sojourner Truth?

Sojourner Truth was born Isabella Baumfree in 1797 to enslaved parents James and Elizabeth Baumfree, in Ulster County, New York. Around age nine, she was sold at an auction to John Neely for $100, along with a flock of sheep.

Neely was a cruel and violent master who beat the young girl regularly. She was sold two more times by age 13 and ultimately ended up at the West Park, New York, home of John Dumont and his second wife Elizabeth.

Around age 18, Isabella fell in love with an enslaved man named Robert from a nearby farm. But the couple was not allowed to marry since they had separate owners. Instead, Isabella was forced to marry another enslaved man owned by Dumont named Thomas. She eventually bore five children: James, Diana, Peter, Elizabeth and Sophia.
WATCH: Women's History Documentaries on HISTORY Vault
Walking from Slavery to Freedom

At the turn of the 19th century, New York started legislating emancipation, but it would take over two decades for liberation to come for all enslaved people in the state.

In the meantime, Dumont promised Isabella he'd grant her freedom on July 4, 1826, "if she would do well and be faithful." When the date arrived, however, he had a change of heart and refused to let her go.

Incensed, Isabella completed what she felt was her obligation to Dumont and then escaped his clutches, infant daughter in tow. She later said, "I did not run off, for I thought that wicked, but I walked off, believing that to be all right."

In what must have been a gut-wrenching choice, she left her other children behind because they were still legally bound to Dumont.

Isabella made her way to New Paltz, New York, where she and her daughter were taken in as free people by Isaac and Maria Van Wagenen. When Dumont came to reclaim his "property," the Van Wagenens offered to buy Isabella's services from him for $20 until the New York Anti-Slavery Law emancipating all enslaved people took effect in 1827; Dumont agreed.

Sojourner Truth, First Black Woman to Sue White Man-And Win

After the New York Anti-Slavery Law was passed, Dumont illegally sold Isabella's five-year-old son Peter. With the help of the Van Wagenens, she filed a lawsuit to get him back.

Months later, Isabella won her case and regained custody of her son. She was the first Black woman to sue a white man in a United States court and prevail.

Sojourner Truth's Spiritual Calling

The Van Wagenens had a profound impact on Isabella's spirituality and she became a fervent Christian. In 1829, she moved to New York City with Peter to work as a housekeeper for evangelist preacher Elijah Pierson.

She left Pierson three years later to work for another preacher, Robert Matthews. When Elijah Pierson died, Isabella and Matthews were accused of poisoning him and of theft but were eventually acquitted.

Living among people of faith only emboldened Isabella's devoutness to Christianity and her desire to preach and win converts. In 1843, with what she believed was her religious obligation to go forth and speak the truth, she changed her name to Sojourner Truth and embarked on a journey to preach the gospel and speak out against slavery and oppression.

'Ain't I A Woman?' Speech and Controversy

In 1844, Truth joined a Massachusetts abolitionist organization called the Northampton Association of Education and Industry, where she met leading abolitionists such as Frederick Douglass and effectively launched her career as an equal rights activist.

Among Truth's contributions to the abolitionist movement was the speech she delivered at the Ohio Women's Rights Convention in 1851, where she spoke powerfully about equal rights for Black women. Twelve years later, Frances Gage, a white abolitionist and president of the Convention, published an account of Truth's words in the National Anti-Slavery Standard. In her account, Gage wrote that Truth used the rhetorical question, "Ar'n't I a Woman?" to point out the discrimination Truth experienced as a Black woman.

Various details in Gage's account, however, including that Truth said she had 13 children (she had five) and that she spoke in dialect have since cast doubt on its accuracy. Contemporaneous reports of Truth's speech did not include this slogan and quoted Truth in standard English. In later years, this slogan was further distorted to "Ain't I a Woman?", reflecting the false belief that as a formerly enslaved woman, Truth would have had a Southern accent. Truth was, in fact, a proud New Yorker.

There is little doubt, nonetheless, that Truth's speech-and many others she gave throughout her adult life-moved audiences. Another account of Truth's 1851 speech, published in a newspaper about a month later, reported her saying, "I have plowed and reaped and husked and chopped and mowed, and can any man do more than that?"

Truth's powerful rhetoric won her audiences with leading women's rights activists of her day, including Elizabeth Cady Stanton and Susan B. Anthony.
READ MORE: Early Women's Rights Activists Wanted Much More than Suffrage
Sojourner Truth During the Civil War

Like another famous escaped enslaved woman, Harriet Tubman, Truth helped recruit Black soldiers during the Civil War. She worked in Washington, D.C., for the National Freedman's Relief Association and rallied people to donate food, clothes and other supplies to Black refugees.

Her activism for the abolitionist movement gained the attention of President Abraham Lincoln, who invited her to the White House in October 1864 and showed her a Bible given to him by African Americans in Baltimore.

While Truth was in Washington, she put her courage and disdain for segregation on display by riding on whites-only streetcars. When the Civil War ended, she tried exhaustively to find jobs for freed Black Americans weighed down with poverty.

Later, she unsuccessfully petitioned the government to resettle formerly enslaved people on government land in the West.

Sojourner Truth Quotes

"If the first woman God ever made was strong enough to turn the world upside down all alone, these women together ought to be able to turn it back, and get it right side up again! And now they is asking to do it, the men better let them."

"Then that little man in Black there, he says women can't have as much rights as men, 'cause Christ wasn't a woman! Where did your Christ come from? Where did Christ come from? From God and a woman! Man had nothing to do with Him."

And what is that religion that sanctions, even by its silence, all that is embraced in the 'Peculiar Institution'? If there can be any thing more diametrically opposed to the religion of Jesus, than the working of this soul-killing system - which is as truly sanctioned by the religion of America as are her ministers and churches-we wish to be shown where it can be found."

"Now, if you want me to get out of the world, you had better get the women votin' soon. I shan't go till I can do that."

Sojourner Truth's Later Years

In 1867, Truth moved to Battle Creek, Michigan, where some of her daughters lived. She continued to speak out against discrimination and in favor of woman's suffrage. She was especially concerned that some civil rights leaders such as Frederick Douglass felt equal rights for Black men took precedence over those of Black women.

Truth died at home on November 26, 1883. Records show she was age 86, yet her memorial tombstone states she was 105. Engraved on her tombstone are the words, "Is God Dead?" a question she once asked a despondent Frederick Douglass to remind him to have faith.

Truth left behind a legacy of courage, faith and fighting for what's right and honorable, but she also left a legacy of words and songs including her autobiography, The Narrative of Sojourner Truth, which she dictated in 1850 to Olive Gilbert since she never learned to read or write.

Perhaps Truth's life of Christianity and fighting for equality is best summed up by her own words in 1863: "Children, who made your skin white? Was it not God? Who made mine Black? Was it not the same God? Am I to blame, therefore, because my skin is Black? .... Does not God love colored children as well as white children? And did not the same Savior die to save the one as well as the other?"

Sources

Sojourner Truth: Ain't I A Woman? National Park Service.

Sojourner Truth: A Life of Legacy and Faith. Sojourner Truth Institute.

Sojourner Truth Meets Abraham Lincoln-On Equal Ground. Biography.

Sojourner Truth. National Park Service.

Sojourner Truth. WHMN: National Women's History Museum.

Sojourner's Words and Music. Sojourner Truth Memorial Committee.

Truth, Sojourner. American National Biography.

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Who Was Sojourner Truth? Walking from Slavery to Freedom Sojourner Truth, First Black Woman to Sue White Man-And Win Sojourner Truth's Spiritual Calling 'Ain't I A Woman?' Speech and Controversy Sojourner Truth During the Civil War Sojourner Truth Quotes Sojourner Truth's Later Years Sojourner Truth was an African American evangelist, abolitionist, women's rights activist and author who was born into slavery before escaping to freedom in 1826.

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Ruth Bader Ginsburg lived from 1933-2020

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Ruth Bader Ginsburg lived from 1933-2020

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She lived From 1892-1960

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As the United States prepared for war, military leaders had a long list of needs-guns, tanks, ships, and equipment of every kind. One of the things they needed most of all, however, was people. In 1939, the US Army only had 174,000 soldiers, including the Army Air Forces. At its peak during the war, the Army grew to over 8 million men and women in uniform, joined by an additional 3.4 million in the Navy. The new additions were mostly young Americans who would normally have been pursuing jobs, schooling, and family life, but instead were answering the nation's call to arms. Many of them had never even traveled outside their home state, let alone Europe, Asia, or the Pacific Islands. Preparing these millions of civilians for war would be one of the military's most daunting challenges.

About 39% of the new recruits volunteered to serve; the remainder were called up through conscription, also known as the draft. Congress established the nation's first peacetime draft in 1940 by passing the Selective Training and Service Act, which required all men between the ages of 21 and 35 to register for potential military service. Once the United States entered the war, the requirement expanded to include all men 18 to 65 years of age. Over 10 million men were inducted into the military while the Selective Training and Service Act was in effect from September 16, 1940, to March 1947. Volunteers came from a variety of sources. Some belonged to training programs at their high schools or colleges, like the Army's Reserve Officer Training Corps (ROTC), and entered the military directly from school. Others signed up for duty at one of the many recruiting centers that popped up all over the United States, especially right after the attack on Pearl Harbor in 1941. Sidney Phillips of Mobile, Alabama, remembered deciding to join the Navy along with a friend after hearing about the attack. When they met the next morning to go to the recruiter, however, the lines of young men waiting to enlist were already longer than a football field! "We thought we were going to be the early birds," Phillips recalled. He and his friend ended up joining the Marines, thanks to a shorter line and a persuasive recruiter.

Each branch of military service required different skills, but all new recruits went through a few weeks of basic training, often called "boot camp." The goal was to turn the wide variety of individuals who entered the service into teams of fighters who could work seamlessly with one another to achieve their objectives. To do this, basic training taught a new recruit to think of himself less as an individual and more as an integral part of his unit. As soon as they arrived, new recruits turned in their civilian clothes and belongings and received standard issue uniforms and equipment. Camp personnel shaved the heads of the recruits and assigned them serial numbers. Platoons of recruits slept, ate, and learned together, and even did hours upon hours of physical fitness training as a unit. Following commands, they practiced the same basic skills over and over- marching, loading, unloading, and cleaning their weapons. Drill instructors used tough methods to force the newcomers to become attentive to detail and protocol. Even the smallest mistakes could result in extra kitchen duty or a challenging physical punishment-sometimes for the entire group. "It was a little scary at first," remembered William G. Dabney, an African American soldier from Virginia. "The main thing was to obey orders ... as long as you did that you'd get along."

Many veterans remember those first few weeks of basic training as a transformative experience. "When you go through boot camp and they pass you," recalled Ben Quintana of Mississippi, "you're ready to fight anything." Before reporting to a ship or heading overseas, however, most recruits went through more specialized training for their specific duties within their branch of the military. Some learned how to operate radios or other communications equipment. Others trained to use special weapons or invasion techniques. Depending on the assignment, servicemembers sometimes trained at six or more different locations before finally deploying overseas, and even then they might have received further training before seeing action.

As each new group of servicemembers deployed, many were understandably anxious about what lay ahead. Their training, however, had taught them how to stick together and make the most of whatever situation might arise. "You learn to depend on each other," said Frank Buschmeier, a gunner from Ohio. "You can't survive by yourself."

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Training the American GI | The National WWII Museum | New Orleans

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As the United States prepared for war, military leaders had a long list of needs-guns, tanks, ships, and equipment of every kind. One of the things they needed most of all, however, was people. In 1939, the US Army only had 174,000 soldiers, including the Army Air Forces.

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Valley forge

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The Draft and WWII

On September 16, 1940

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Ruth Bader ginsburg
president bill clinton
The supreme court
women & men

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Winston Churchill, Franklin Delano Roosevelt, Emperor Hirohito, Adolf Hitler, Benito Mussolini, Joseph Stalin, Douglas MacArthur, Dwight Eisenhower).

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Rosa Parks' Early Life

Rosa Louise McCauley was born in Tuskegee, Alabama, on February 4, 1913. She moved with her parents, James and Leona McCauley, to Pine Level, Alabama, at age 2 to reside with Leona's parents. Her brother, Sylvester, was born in 1915, and shortly after that her parents separated.

Did you know? When Rosa Parks refused to give up her bus seat in 1955, it wasn't the first time she'd clashed with driver James Blake. Parks stepped onto his very crowded bus on a chilly day 12 years earlier, paid her fare at the front, then resisted the rule in place for Black people to disembark and re-enter through the back door. She stood her ground until Blake pulled her coat sleeve, enraged, to demand her cooperation. Parks left the bus rather than give in.

Rosa's mother was a teacher, and the family valued education. Rosa moved to Montgomery, Alabama, at age 11 and eventually attended high school there, a laboratory school at the Alabama State Teachers' College for Negroes. She left at 16, early in 11th grade, because she needed to care for her dying grandmother and, shortly thereafter, her chronically ill mother. In 1932, at 19, she married Raymond Parks, a self-educated man 10 years her senior who worked as a barber and was a long-time member of the National Association for the Advancement of Colored People ( NAACP). He supported Rosa in her efforts to earn her high-school diploma, which she ultimately did the following year.

Rosa Parks: Roots of Activism

Raymond and Rosa, who worked as a seamstress, became respected members of Montgomery's large African American community. Co-existing with white people in a city governed by " Jim Crow " (segregation) laws, however, was fraught with daily frustrations: Black people could attend only certain (inferior) schools, could drink only from specified water fountains and could borrow books only from the "Black" library, among other restrictions.

Although Raymond had previously discouraged her out of fear for her safety, in December 1943, Rosa also joined the Montgomery chapter of the NAACP and became chapter secretary. She worked closely with chapter president Edgar Daniel (E.D.) Nixon. Nixon was a railroad porter known in the city as an advocate for Black people who wanted to register to vote, and also as president of the local branch of the Brotherhood of Sleeping Car Porters union.

December 1, 1955: Rosa Parks Is Arrested

On Thursday, December 1, 1955, the 42-year-old Rosa Parks was commuting home from a long day of work at the Montgomery Fair department store by bus. Black residents of Montgomery often avoided municipal buses if possible because they found the Negroes-in-back policy so demeaning. Nonetheless, 70 percent or more riders on a typical day were Black, and on this day Rosa Parks was one of them.

Segregation was written into law; the front of a Montgomery bus was reserved for white citizens, and the seats behind them for Black citizens. However, it was only by custom that bus drivers had the authority to ask a Black person to give up a seat for a white rider. There were contradictory Montgomery laws on the books: One said segregation must be enforced, but another, largely ignored, said no person (white or Black) could be asked to give up a seat even if there were no other seat on the bus available.

Nonetheless, at one point on the route, a white man had no seat because all the seats in the designated "white" section were taken. So the driver told the riders in the four seats of the first row of the "colored" section to stand, in effect adding another row to the "white" section. The three others obeyed. Parks did not.

"People always say that I didn't give up my seat because I was tired," wrote Parks in her autobiography, "but that isn't true. I was not tired physically... No, the only tired I was, was tired of giving in."

Eventually, two police officers approached the stopped bus, assessed the situation and placed Parks in custody.

Rosa Parks and the Montgomery Bus Boycott

Although Parks used her one phone call to contact her husband, word of her arrest had spread quickly and E.D. Nixon was there when Parks was released on bail later that evening. Nixon had hoped for years to find a courageous Black person of unquestioned honesty and integrity to become the plaintiff in a case that might become the test of the validity of segregation laws. Sitting in Parks' home, Nixon convinced Parks-and her husband and mother-that Parks was that plaintiff. Another idea arose as well: The Black population of Montgomery would boycott the buses on the day of Parks' trial, Monday, December 5. By midnight, 35,000 flyers were being mimeographed to be sent home with Black schoolchildren, informing their parents of the planned boycott.

On December 5, Parks was found guilty of violating segregation laws, given a suspended sentence and fined $10 plus $4 in court costs. Meanwhile, Black participation in the boycott was much larger than even optimists in the community had anticipated. Nixon and some ministers decided to take advantage of the momentum, forming the Montgomery Improvement Association (MIA) to manage the boycott, and they elected Reverend Dr. Martin Luther King Jr.-new to Montgomery and just 26 years old-as the MIA's president.

As appeals and related lawsuits wended their way through the courts, all the way up to the U.S. Supreme Court, the Montgomery Bus Boycott engendered anger in much of Montgomery's white population as well as some violence, and Nixon's and Dr. King's homes were bombed. The violence didn't deter the boycotters or their leaders, however, and the drama in Montgomery continued to gain attention from the national and international press.

On November 13, 1956, the Supreme Court ruled that bus segregation was unconstitutional; the boycott ended December 20, a day after the Court's written order arrived in Montgomery. Parks-who had lost her job and experienced harassment all year-became known as "the mother of the civil rights movement."

Rosa Parks's Life After the Boycott

Facing continued harassment and threats in the wake of the boycott, Parks, along with her husband and mother, eventually decided to move to Detroit, where Parks' brother resided. Parks became an administrative aide in the Detroit office of Congressman John Conyers Jr. in 1965, a post she held until her 1988 retirement. Her husband, brother and mother all died of cancer between 1977 and 1979. In 1987, she co-founded the Rosa and Raymond Parks Institute for Self-Development, to serve Detroit's youth.

In the years following her retirement, she traveled to lend her support to civil-rights events and causes and wrote an autobiography, Rosa Parks: My Story. In 1999, Parks was awarded the Congressional Gold Medal, the highest honor the United States bestows on a civilian. (Other recipients have included George Washington, Thomas Edison, Betty Ford and Mother Teresa.) When she died at age 92 on October 24, 2005, she became the first woman in the nation's history to lie in honor at the U.S. Capitol.

HISTORY Vault: Black History

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Rosa Parks: Bus Boycott, Civil Rights & Facts | HISTORY

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Rosa Parks (1913-2005) helped initiate the civil rights movement in the United States when she refused to give up her seat to a white man on a Montgomery, Alabama bus in 1955. Her actions inspired the leaders of the local Black community to organize the Montgomery Bus Boycott.

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Rosa Parks: and the Montgomery buss boycott

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1913 Woman Suffrage Procession (U.S. National Park Service)

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inez milholland, alice paul, ida b wells-barnett, and other women. 

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inez milholland, alice paul, ida b wells-barnett, and other women. 

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The Motion Picture Production Code was a set of industry guidelines for the self-censorship of content that was applied to most United States motion pictures released by major studios from 1934 to 1968. It is also popularly known as the Hays Code, after Will H. Hays, who was the president of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 to 1945. Under Hays' leadership, the MPPDA, later known as the Motion Picture Association of America (MPAA), adopted the Production Code in 1930 and began rigidly enforcing it in mid-1934. The Production Code spelled out what was acceptable and unacceptable content for motion pictures produced for a public audience in the United States.

From 1934 to 1954, the code was closely identified with Joseph Breen, the administrator appointed by Hays to enforce the code in Hollywood. The film industry followed the guidelines set by the code well into the late 1950s, but during this time, the code began to weaken owing to the combined impact of television, influence from foreign films, controversial directors (such as Otto Preminger) pushing boundaries, and intervention from the courts, including the US Supreme Court. In 1968, after several years of minimal enforcement, the Production Code was replaced by the MPAA film rating system.

In 1922, after several risqué films and a series of off-screen scandals involving Hollywood stars, the studios enlisted Presbyterian elder Will H. Hays to rehabilitate Hollywood's image. Hollywood in the 1920s was rocked by a number of notorious scandals, such as the murder of William Desmond Taylor and alleged rape of Virginia Rappe by popular movie star Roscoe "Fatty" Arbuckle, which brought widespread condemnation from religious, civic, and political organizations. Many felt the movie industry had always been morally questionable.

Political pressure was increasing, with legislators in 37 states introducing almost one hundred movie censorship bills in 1921. Faced with the prospect of having to comply with hundreds, and potentially thousands, of inconsistent and easily changed decency laws in order to show their movies, the studios chose self-regulation as the preferable option.

Hays was paid the then-lavish sum of $100,000 a year (equal to $1,530,000 today). Hays, Postmaster General under Warren G. Harding and former head of the Republican National Committee, served for 25 years as president of the Motion Picture Producers and Distributors of America (MPPDA), where he "defended the industry from attacks, recited soothing , and negotiated treaties to cease hostilities".

The move mimicked the decision Major League Baseball had made in hiring judge Kenesaw Mountain Landis as League Commissioner the previous year to quell questions about the integrity of baseball in the wake of the 1919 World Series gambling scandal; The New York Times even called Hays the "screen Landis". In 1924, Hays introduced a set of recommendations dubbed "The Formula", which the studios were advised to heed, and asked filmmakers to describe to his office the plots of pictures they were planning on making.

The Supreme Court had already decided unanimously in 1915 in Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures, and while there had been token attempts to clean up the movies before-such as when the studios formed the National Association of the Motion Picture Industry (NAMPI) in 1916-little had come of the efforts.

New York became the first state to take advantage of the Supreme Court's decision by instituting a censorship board in 1921. Virginia followed suit the following year, with eight individual states having a board by the advent of sound film, but many of these were ineffectual. By the 1920s, the New York stage-a frequent source of subsequent screen material-had topless shows, performances filled with curse words, adult subject matter, and sexually suggestive dialog.

Early in the sound system conversion process, it became apparent that what was acceptable in New York might not be so in Kansas. Film-makers were facing the possibility that many states and cities would adopt their own codes of censorship, necessitating a multiplicity of versions of films made for national distribution. Self-censorship was deemed a preferable outcome.

In 1927, Hays suggested to studio executives that they form a committee to discuss film censorship. Irving G. Thalberg of Metro Goldwyn Mayer, Sol Wurtzel of Fox, and E. H. Allen of Paramount responded by collaborating on a list they called the "Don'ts and Be Carefuls", which was based on items that were challenged by local censor boards. This list consisted of eleven subjects best avoided and twenty-six to be handled very carefully.

The list was approved by the Federal Trade Commission (FTC), and Hays created the Studio Relations Committee (SRC) to oversee its implementation; however, there was still no way to enforce tenets. The controversy surrounding film standards came to a head in 1929.

Pre-Code: "Don'ts" and "Be Carefuls", as proposed in 1927

In a resolution passed on June 29, 1927, the Motion Picture Producers and Distributors of America codified a lists of "don'ts" and "be carefuls" into what they colloquially called their " Magna Carta". Many of these would later become key points in the Code. Specifically, the MPPDA resolved, "that those things which are included in the following list shall not appear in pictures produced by the members of this Association, irrespective of the manner in which they are treated":

1. Pointed profanity-by either title or lip-this includes the words God, Lord, Jesus, Christ (unless they be used reverently in connection with proper religious ceremonies), Hell, S.O.B., damn, Gawd, and every other profane and vulgar expression however it may be spelled;

2. Any licentious or suggestive nudity-in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture;

3. The illegal traffic in drugs;

4. Any inference of sex perversion;

5. White slavery;

6. Miscegenation (sex relationships between the white and black races);

7. Sex hygiene and venereal diseases;

8. Scenes of actual childbirth-in fact or in silhouette;

9. Children's sex organs;

10. Ridicule of the clergy;

11. Willful offense to any nation, race or creed; and

BE IT FURTHER RESOLVED, that special care be exercised in the manner in which the following subjects are treated, to the end that vulgarity and suggestiveness may be eliminated and that good taste may be emphasized:

1. The use of the Flag;

2. International Relations (avoid picturizing in an unfavorable light another country's religion, history, institutions, prominent people and citizenry);

3. Arson;

4. The use of firearms;

5. Theft, robbery, safe-cracking, and dynamiting of trains, mines, buildings, et cetera (having in mind the effect which a too-detailed description of these may have upon the moron);

6. Brutality and possible gruesomeness;

7. Technique of committing murder by whatever method;

8. Methods of smuggling;

9. Third-Degree methods;

10. Actual hangings or electrocutions as legal punishment for crime;

11. Sympathy for criminals;

12. Attitude toward public characters and institutions;

13. Apparent cruelty to children and animals;

14. Branding of people or animals;

15. The sale of women, or of a woman selling her virtue;

16. Rape or attempted rape;

17. First-night scenes;

18. Man and woman in bed together;

19. Deliberate seduction of girls;

20. The institution of marriage;

21. Surgical operations;

22. The use of drugs;

23. Titles or scenes having to do with law enforcement or law-enforcing officers;

24. Excessive or lustful kissing, particularly when one character or the other is a "heavy".

In 1929, a Catholic layman, Martin Quigley (editor of the prominent trade paper Motion Picture Herald) and the Jesuit priest Father Daniel A. Lord created a code of standards and submitted it to the studios. Lord was particularly concerned with the effects of sound film on children, whom he considered especially susceptible to their allure.

In February 1930, several studio heads-including Irving Thalberg of Metro-Goldwyn-Mayer (MGM)-met with Lord and Quigley. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention. It was the responsibility of the SRC (headed by Colonel Jason S. Joy, a former American Red Cross Executive Secretary) to supervise film production and advise the studios when changes or cuts were required. On March 31, the MPPDA agreed it would abide by the Code. The production code was intended to put a limitation on films which were distributed to a large audience, making it more difficult to appeal to all individuals in the audiences.

The code was divided into two parts. The first was a set of "general principles" which prohibited a picture from "lowering the moral standards of those who see it", so as not to wrongly influence a specific audience of views including, women, children, lower-class, and those of "susceptible" minds, called for depictions of the "correct standards of life", and lastly forbade a picture to show any sort of ridicule towards a law or "creating sympathy for its violation".

The second part was a set of "particular applications", which was an exacting list of items that could not be depicted. Some restrictions, such as the ban on homosexuality or on the use of specific curse words, were never directly mentioned, but were assumed to be understood without clear demarcation.

Homosexuals were de facto included under the proscription of sex perversion. The depiction of miscegenation (as defined specifically as sexual relationships between black and white races) was forbidden. It also stated that the notion of an "adults-only policy" would be a dubious, ineffective strategy that would be difficult to enforce; however, it did allow that "maturer minds may easily understand and accept without harm subject matter in plots which does younger people positive harm". If children were supervised and the events implied elliptically, the code allowed "the possibility of a cinematically inspired thought crime".

The code sought not only to determine what could be portrayed on screen, but also to promote traditional values. Sexual relations outside marriage-which were forbidden to be portrayed as attractive or beautiful-were to be presented in a way that would not arouse passion or make them seem permissible. Any sexual act considered perverted, including any suggestion of same sex relationships, sex, or romance, was ruled out.

All criminal action had to be punished, and neither the crime nor the criminal could elicit sympathy from the audience, or the audience must at least be aware that such behavior is wrong, usually through "compensating moral value". Authority figures had to be treated with respect, and the clergy could not be portrayed as comic characters or villains. Under some circumstances, politicians, police officers, and judges could be villains, as long as it was clear that those individuals portrayed as villains were the exceptions to the rule.

The entire document was written with Catholic undertones, and stated that art must be handled carefully because it could be "morally evil in its effects", and because its "deep moral significance" was unquestionable. It was initially decided to keep the Catholic influence on the Code secret. A recurring theme was "that throughout, the audience feels sure that evil is wrong, and good is right". The Code also contained an addendum commonly referred to as the Advertising Code, which regulated advertising copy and imagery.

On February 19, 1930, published the entire content of the Code and predicted that state film censorship boards would soon become obsolete; however, the men obliged to enforce the code-Jason Joy (head of the Committee until 1932) and his successor, Dr. James Wingate-were generally unenthusiastic and/or ineffective. The first film the office reviewed, The Blue Angel, which was passed by Joy with no revisions, was considered indecent by a California censor. Although there were several instances where Joy negotiated cuts from films and there were definite-albeit loose-constraints, a significant amount of lurid material made it to the screen. Joy had to review 500 films a year with a small staff and little power. He was more willing to work with the studios, and his creative writing skills led to his hiring at Fox. On the other hand, Wingate struggled to keep up with the flood of scripts coming in, to the point where Warner Bros.' head of production Darryl Zanuck wrote him a letter imploring him to pick up the pace. In 1930, the Hays office did not have the authority to order studios to remove material from a film, and instead worked by reasoning and sometimes pleading with them. Complicating matters, the appeals process ultimately put the responsibility for making the final decision in the hands of the studios.

One factor in ignoring the code was the fact that some found such censorship prudish, owing to the libertine social attitudes of the 1920s and early 1930s. This was a period in which the Victorian era was sometimes ridiculed as being naïve and backward. When the Code was announced, the liberal periodical attacked it. The publication stated that if crime were never to be presented in a sympathetic light, then taken literally that would mean that "law" and "justice" would become one and the same. Therefore, events such as the Boston Tea Party could not be portrayed. If clergy must always be presented in a positive way, then hypocrisy could not be dealt with either. The Outlook agreed, and, unlike Variety, The Outlook predicted from the beginning that the Code would be difficult to enforce. The Great Depression of the 1930s led many studios to seek income by any way possible. Since films containing racy and violent content resulted in high ticket sales, it seemed reasonable to continue producing such films. Soon, the flouting of the code became an open secret. In 1931, The Hollywood Reporter mocked the code and quoted an anonymous screenwriter saying that "the Hays moral code is not even a joke any more; it's just a memory"; two years later Variety followed suit.

On June 13, 1934, an amendment to the Code was adopted which established the Production Code Administration (PCA) and required all films released on or after July 1, 1934, to obtain a certificate of approval before being released. The PCA had two offices - one in Hollywood, and the other in New York City. The first film to receive an MPPDA seal of approval was The World Moves On (1934). For more than thirty years, virtually all motion pictures produced in the United States adhered to the code. The Production Code was not created or enforced by federal, state, or city government; the Hollywood studios adopted the code in large part in the hopes of avoiding government censorship, preferring self-regulation to government regulation.

Father Daniel A. Lord, a Jesuit, wrote: "Silent smut had been bad. Vocal smut cried to the censors for vengeance." Thomas Doherty, Professor of American studies at Brandeis University, has defined the code as "... no mere list of Thou-Shalt-Nots, but a homily that sought to yoke Catholic doctrine to Hollywood formula. The guilty are punished, the virtuous rewarded, the authority of church and state is legitimate, and the bonds of matrimony are sacred." What resulted has been described as "a Jewish owned business selling Catholic theology to Protestant America".

In 1934, Joseph I. Breen - a prominent Catholic layman who had worked in public relations - was appointed head of the new Production Code Administration (PCA). Under Breen's leadership of the PCA, which lasted until his retirement in 1954, enforcement of the Production Code became notoriously rigid. (Even cartoon sex symbol Betty Boop had to change from being a flapper and began to wear an old-fashioned housewife's skirt.) Breen's power to change scripts and scenes angered many writers, directors, and Hollywood moguls. Breen influenced the production of Casablanca, objecting to any explicit reference to Rick and Ilsa having slept together in Paris and to the film mentioning that Captain Renault extorted sexual favors from his supplicants; however, both remained strongly implied in the finished version. Adherence to the Code also ruled out any possibility of the film ending with Rick and Ilsa consummating their adulterous love, making inevitable the ending with Rick's noble renunciation, one of Casablanca's most famous scenes.

The first major instance of censorship under the Production Code involved the 1934 film Tarzan and His Mate, in which brief nude scenes involving a body double for actress Maureen O'Sullivan were edited out of the master negative of the film. Another famous case of enforcement involved the 1943 western , produced by Howard Hughes. The Outlaw was denied a certificate of approval and kept out of theaters for years, because the film's advertising focused particular attention on Jane Russell's breasts. Hughes eventually persuaded Breen that the breasts did not violate the code, and the film could be shown.

The PCA also engaged in political censorship. When Warner Bros. wanted to make a film about Nazi concentration camps, the production office forbade it-citing the above-mentioned prohibition on depicting "in an unfavorable light" another country's "institutions [and] prominent people"-with threats to take the matter to the federal government if the studio went ahead.[when? ] This policy prevented a number of anti-Nazi films being produced. In 1938, the FBI unearthed and prosecuted a Nazi spy ring, subsequently allowing Warner to produce Confessions of a Nazi Spy, with the Three Stooges' short subject You Nazty Spy! (January 1940) being the first Hollywood film of any sort to openly spoof the Third Reich's leadership.

Some films produced outside the mainstream studio system flouted the code. One example is Child Bride (1938), which featured a nude scene involving a twelve-year-old child actress ( Shirley Mills). The Code began to weaken in the late 1940s, when the formerly taboo subjects of rape and miscegenation were allowed in Johnny Belinda (1948) and (1949), respectively.[citation needed ] In 1951, the MPAA revised the code to make it more rigid; the 1951 revisions spelled out more words and subjects that were prohibited. In 1954, Breen retired, largely because of ill health, and Geoffrey Shurlock was appointed as his successor.

Some of Hollywood's creative class managed to find positives in the Code's limitations. Director Edward Dmytryk later said that the Code "had a very good effect because it made us think. If we wanted to get something across that was censorable... we had to do it deviously. We had to be clever. And it usually turned out to be much better than if we had done it straight."

Hollywood continued to work within the confines of the Production Code throughout the 1950s, but during this time, the movie industry was faced with very serious competitive threats. The first threat came from a new technology, television, which did not require Americans to leave their house to watch moving pictures. Hollywood needed to offer the public something it could not get on television, which itself was under an even more restrictive censorship code. In addition to the threat of television, there was also increasing competition from foreign films, such as Vittorio De Sica's Bicycle Thieves (1948), the Swedish film One Summer of Happiness (1951), and Ingmar Bergman's Summer with Monika (1953). Vertical integration in the movie industry had been found to violate anti-trust laws, and studios had been forced to give up ownership of theaters by the Supreme Court in United States v. Paramount Pictures, Inc. (1948). The studios had no way to keep foreign films out, and foreign films were not bound by the Production Code. Some British films - (1961), A Taste of Honey (1961), and The Leather Boys (1963) - challenged traditional gender roles, and openly confronted the prejudices against homosexuals, all in clear violation of the Hollywood Production Code.

In 1952, in the case of Joseph Burstyn, Inc. v. Wilson, the U.S. Supreme Court unanimously overruled its 1915 decision (Mutual Film Corporation v. Industrial Commission of Ohio) and held that motion pictures were entitled to First Amendment protection, so that the New York State Board of Regents could not ban The Miracle, a short film that was one half of (1948), an anthology film directed by Roberto Rossellini. Film distributor Joseph Burstyn released the film in the U.S. in 1950, and the case became known as the "Miracle Decision" because of its connection to Rossellini's film. That reduced the threat of government regulation, which had formerly been cited as justification for the Production Code, and the PCA's powers over the Hollywood industry were greatly reduced. By the 1950s, American culture also began to change. A boycott by the National Legion of Decency no longer guaranteed a film's commercial failure, and several aspects of the code had slowly lost their taboo. In 1956, areas of the code were re-written to accept subjects such as miscegenation, adultery, and prostitution. For example, the re-make of a pre-Code film dealing with prostitution, Anna Christie, was cancelled by MGM twice, in 1940 and in 1946, as the character of Anna was not allowed to be portrayed as a prostitute. By 1962, such subject matter was acceptable, and the original film was given a seal of approval.

By the late 1950s, increasingly explicit films began to appear, such as Anatomy of a Murder (1959), Suddenly, Last Summer (1959), (1960), and The Dark at the Top of the Stairs (1961). The MPAA reluctantly granted the seal of approval for these films, although not until certain cuts were made. Owing to its themes, Billy Wilder's Some Like It Hot (1959) was not granted a certificate of approval, but it still became a box office smash, and, as a result, it further weakened the authority of the Code.

At the forefront of contesting the Code was director Otto Preminger, whose films violated the Code repeatedly in the 1950s. His 1953 film The Moon Is Blue, about a young woman who tries to play two suitors off against each other by claiming that she plans to keep her virginity until marriage, was released without a certificate of approval. He later made The Man with the Golden Arm (1955), which portrayed the prohibited subject of drug abuse, and Anatomy of a Murder (1959), which dealt with murder and rape. Like Some Like It Hot, Preminger's films were direct assaults on the authority of the Production Code, and their success hastened its abandonment. In the early 1960s, films began to deal with adult subjects and sexual matters that had not been seen in Hollywood films since the early 1930s. The MPAA reluctantly granted the seal of approval for these films, although again not until certain cuts were made.

In 1964, the Holocaust film The Pawnbroker, directed by Sidney Lumet and starring Rod Steiger, was initially rejected because of two scenes in which the actresses Linda Geiser and Thelma Oliver fully expose their breasts, as well as because of a sex scene between Oliver and Jaime Sánchez described as "unacceptably sex suggestive and lustful". Despite the rejection, the film's producers arranged for Allied Artists to release the film without the Production Code seal, with the New York censors licensing the film without the cuts demanded by Code administrators. The producers appealed the rejection to the Motion Picture Association of America. On a 6-3 vote, the MPAA granted the film an exception, conditional on "reduction in the length of the scenes which the Production Code Administration found unapprovable". The requested reductions of nudity were minimal; the outcome was viewed in the media as a victory for the film's producers.

The Pawnbroker was the first film featuring bare breasts to receive Production Code approval. The exception to the code was granted as a "special and unique case" and was described by The New York Times at the time as "an unprecedented move that will not, however, set a precedent". In Pictures at a Revolution, a 2008 study of films during that era, Mark Harris wrote that the MPAA approval was "the first of a series of injuries to the Production Code that would prove fatal within three years".

In 1966, Warner Bros. released Who's Afraid of Virginia Woolf?, the first film to feature the "Suggested for Mature Audiences" (SMA) label. When Jack Valenti became President of the MPAA in 1966, he was faced with censoring the film's explicit language. Valenti negotiated a compromise: the word "screw" was removed, but other language remained, including the phrase "hump the hostess". The film received Production Code approval despite the previously prohibited language.

That same year, the British-produced, American-financed film was denied Production Code approval. MGM released it anyway, the first instance of an MPAA member company distributing a film that did not have an approval certificate. That same year, the original and lengthy code was replaced by a list of eleven points. The points outlined that the boundaries of the new code would be current community standards and good taste. Any film containing content deemed suitable for older audiences would feature the label SMA in its advertising. With the creation of this new label, the MPAA unofficially began classifying films.

By the late 1960s, enforcement had become impossible and the Production Code was abandoned entirely. The MPAA began working on a rating system, under which film restrictions would lessen. The MPAA film rating system went into effect on November 1, 1968, with the four rating symbols: G means suggested for general exhibition (persons of all ages admitted), M means suggested for mature audiences, R means suggested as restricted (persons under 16 not admitted unless accompanied by a parent or adult guardian), and X means persons under 16 will not be admitted. By the end of 1968, Geoffrey Shurlock stepped down from his post.

In 1969, the Swedish film I Am Curious (Yellow), directed by Vilgot Sjöman, was initially banned in the U.S. for its frank depiction of sexuality; however, this was overturned by the Supreme Court. In 1970, because of confusion over the meaning of "mature audiences", the M rating was changed to GP meaning "for general exhibition, but parental guidance is suggested". and then in 1972 to the current PG, for "parental guidance suggested". In 1984, in response to public complaints regarding the severity of horror elements in PG-rated titles such as and Indiana Jones and the Temple of Doom, the PG-13 rating was created as a middle tier between PG and R. In 1990, the X rating was replaced by NC-17 (under 17 not admitted), partly because of the stigma associated with the X rating, and partly because the X rating was not trademarked by the MPAA; pornographic bookstores and theaters were using their own X, XX, and XXX symbols to market products.

As the American Humane Association's Hollywood office depended on the Hays Office for the right to monitor sets, the closure of the Hays Office in 1966 corresponded with an increase in animal cruelty on movie sets. According to a writer for Turner Classic Movies, the association's access did not return to Hays-era standards until 1980.

Arnold, Jeremy. "Jesse James". Turner Classic Movies. Retrieved December 4, 2014.

"Censored: Wielding the Red Pen". Exhibit at the University of Virginia Library, September 2000 - February 2001. Retrieved November 7, 2015.

Doherty, Thomas (May 20, 2006). "The Code Before 'Da Vinci'". The Washington Post. Retrieved February 10, 2014.

Doherty, Thomas Patrick (2007). Hollywood's Censor: Joseph I. Breen and the Production Code Administration. Columbia University Press. ISBN 978-0-231-51284-8.

Flinders staff. "Col. Jason S. Joy profile". Flinders Institute for Research in the Humanities. Retrieved November 7, 2015.

Fox, David J. (September 27, 1990). "X Film Rating Dropped and Replaced by NC-17". Los Angeles Times. Retrieved April 17, 2014.

Gardner, Eric (February 2005). "The Czar of Hollywood". Indianapolis Monthly, pp. 89-96. ISSN 0899-0328.

Jacobs, Lea (1997). The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942. Madison: University of Wisconsin Press. ISBN 0-520-20790-4.

Jowett, Garth S. (1999) [1989]. "'A Capacity For Evil': The 1915 Supreme Court Mutual Decision". In Bernstein, Matthew. Controlling Hollywood: Censorship and Regulation in the Studio Era. Rutgers University Press. ISBN 0-8135-2707-4.

LaSalle, Mick (2000). Complicated Women: Sex and Power in Pre-Code Hollywood. New York: St. Martin's Press. ISBN 0-312-25207-2.

LaSalle, Mick. "Pre-Code Hollywood", GreenCine.com. Retrieved October 4, 2010.

Leff, Leonard J. (1996). "Hollywood and the Holocaust: Remembering The Pawnbroker". American Jewish History, (84) 4: 353-376. Accessed March 9, 2009. doi:10.1353/ajh.1996.0045.

McGilligan, Patrick (2004). Alfred Hitchcock: A Life in Darkness and Light. New York: Harper Perennial. ISBN 978-0-06-098827-2.

Mondello, Bob (August 8, 2008). "Remembering Hollywood's Hays Code, 40 Years On". . Retrieved April 17, 2014.

Mushnik, Phil (July 14, 2013). "Three Stooges first to blast Hitler". New York Post. Retrieved April 17, 2014.

Yagoda, Ben (February/March 1980). "Hollywood Cleans Up Its Act; The curious career of the Hays Office". American Heritage, 31(2): 12-21. Retrieved March 19, 2014.

# data[].attributes.attachment_link.description
The Motion Picture Production Code was a set of industry guidelines for the self-censorship of content that was applied to most United States motion pictures released by major studios from 1934 to 1968. It is also popularly known as the Hays Code, after Will H.

# data[].attributes.headline
The Hays code started in the 1934 and ended in 1968.

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The Hays code started in the 1934 and ended in 1968.

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The Hays code occur in Hollywood and in New York.

# data[].attributes.subject
The Hays code occur in Hollywood and in New York.

# data[].attributes.headline
1) Hollywood in the 1920s was rocked by a number of notorious scandals, such as the murder of William Desmond Taylor and alleged rape of Virginia Rappe.                     2)All criminal action had to be punished, and neither the crime or the criminal could show sympathy from the audience or the audience must at least be aware that such behavior is wrong, usually through "compensating moral value".                                         3) Authority figures had to be treated with respect, and the clergy could not be portrayed as comic characters or villains. 

# data[].attributes.subject
1) Hollywood in the 1920s was rocked by a number of notorious scandals, such as the murder of William Desmond Taylor and alleged rape of Virginia Rappe.                     2)All criminal action had to be punished, and neither the crime or the criminal could show sympathy from the audience or the audience must at least be aware that such behavior is wrong, usually through "compensating moral value".                                         3) Authority figures had to be treated with respect, and the clergy could not be portrayed as comic characters or villains. 

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Harvard university, columbia universaty, New york

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1. Ruth was in the U.S. court of Appeals judge for 13 years than she had 27 years as a supreme court justice

2. Ruth is one of the reasons women started getting payed equally as men. Ruth fought for this by always bringing up the equal pay Act.

3. Ruth stood firm with the womens right to choose.

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Even though Eleanor Roosevelt  was a serious, awkward child, she grew up to be a woman that fought for rights. When she was the first lady she became more active in her husband's administration to make change. Eleanor wanted more woman to be apart of the industry, even though some were against it.

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Even though Eleanor Roosevelt  was a serious, awkward child, she grew up to be a woman that fought for rights. When she was the first lady she became more active in her husband's administration to make change. Eleanor wanted more woman to be apart of the industry, even though some were against it.

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Eleanor uses communication with her voice, radio programs, television and wrote books as well talking about human rights and women rights. Also to be able to give help to impoverished young people and women.  

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Eleanor uses communication with her voice, radio programs, television and wrote books as well talking about human rights and women rights. Also to be able to give help to impoverished young people and women.  

# data[].attributes.body
Grace D. Banker was put in Chaumont, France where The Hello Girls headquarter was stationed.

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My topic is important because without Grace D. Banker WW1 we wouldnt have won the war.

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Grace D. Banker was Chief Operator of the U.S. Signal Corps’ women telephone operators in WW1

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Sojourner Truth Frederick Douglass Elizabeth Candy Stanton Susan B. Anthony

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Sojourner Truth was an African American evangelist, abolitionist, women’s rights activist and author who lived a miserable life as a slave, serving several masters throughout New York before escaping to freedom in 1826.

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1. Sojourner Truth was the first black woman to sue a white man and win.                                              2. At the age of 9 she was sold at a slave auction to John Neely for $100 along with a sheep
3. Dumont promised Sojourner Truth to grand her freedom in July 4, 1826 but at the end he change his mind and did not let her go.

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It is important in history because we must remember the woman who got equal rights towards black women also her activism for the abolitionist movement gained the attention of so many people, later on she unsuccessfully petitioned the government to resettle free blacks on government land in the west

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It is important in history because we must remember the woman who got equal rights towards black women also her activism for the abolitionist movement gained the attention of so many people, later on she unsuccessfully petitioned the government to resettle free blacks on government land in the west

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a song that was sung from the trenches took place in a Christmas Truce in 1914

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a song that was sung from the trenches took place in a Christmas Truce in 1914

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1. German soldiers emerged from their trenches and approached the allied lines to scream out "Merry Christmas" to their enemies.
2. Some Germans lit up Christmas trees around their trenches to get in the Christmas spirit in these hard times.
3. The Christmas truce didn't last for too long it came only five months after the outbreak of the war in Europe and was one of the last examples of the outdated notion of chivalry between enemies in warfare.

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My topic is important because it tells us how the soldiers got through the horrible state they were in war and told us that the soldiers made the best of it on Christmas Day by forgetting about the war for a bit and sing along Christmas carols with their enemies.

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this event connects to the theme communication in history by knowing that in the World War 1 the soldiers weren't expecting did not expect to celebrate on the battlefield but even then a world war could not destroy the Christmas spirit.

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Occupation of Alcatraz

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Winston Churchill, Franklin Delano Roosevelt, Emperor Hirohito, Adolf Hitler, Benito Mussolini, Joseph Stalin, Douglas MacArthur, Dwight Eisenhower).