BMA: Black Media Archive

In this episode, Reverend O.L. Holliday delivered a stirring message titled "Freedom After Awhile" to the congregation of the Second Baptist Church in Baltimore, Maryland (1968). This sermon was dedicated to the memory of Dr. Martin Luther King, Jr.

In this episode, Reverend O.L. Holliday delivered a stirring message titled "Freedom After Awhile" to the congregation of the Second Baptist Church in Baltimore, Maryland (1968). This sermon was dedicated to the memory of Dr. Martin Luther King, Jr.

In this episode, Coretta Scott King, widowed only three weeks, delivers a speech from her husband's notes, including the "Ten Commandments On VietNam" on April 27, 1968 in Central Park in New York City.

In this episode, Coretta Scott King, widowed only three weeks, delivers a speech from her husband's notes, including the "Ten Commandments On VietNam" on April 27, 1968 in Central Park in New York City.

This episode is Dr. Martin Luther King, Jr.'s speech and follow-up questioning after appearing at a demonstration supporting anti-war activitists imprisoned at the Santa Rita rehabilitation center in California on January 14, 1968.

This episode is Dr. Martin Luther King, Jr.'s speech and follow-up questioning after appearing at a demonstration supporting anti-war activitists imprisoned at the Santa Rita rehabilitation center in California on January 14, 1968.

This is an episode of "The Beulah Show," (1952) the first TV series to feature an African-American woman in the lead role. This episode titled "The New Arrival" starred Louise Beavers and ran on ABC Tuesday nights at 7:30 ET from October 3, 1950 to September 22, 1953 when it was cancelled after much criticism.

This is an episode of "The Beulah Show," (1952) the first TV series to feature an African-American woman in the lead role. This episode titled "The New Arrival" starred Louise Beavers and ran on ABC Tuesday nights at 7:30 ET from October 3, 1950 to September 22, 1953 when it was cancelled after much criticism.

In a Harlem flat, Ethel (Ethel Waters) works night and day, feeding and cleaning up after her loafter of a husband and his exceedingly numerous useless relatives who've taken over the place without ever helping, treating her as their personal maid. "Bubbling Over" (1934) is a short "soundie," such as were the music videos of their day. Many a soundie featured all-black casts, with slim stories concocted, on which to hang a number of songs.

In a Harlem flat, Ethel (Ethel Waters) works night and day, feeding and cleaning up after her loafter of a husband and his exceedingly numerous useless relatives who've taken over the place without ever helping, treating her as their personal maid. "Bubbling Over" (1934) is a short "soundie," such as were the music videos of their day. Many a soundie featured all-black casts, with slim stories concocted, on which to hang a number of songs.

Movie: The conclusion of the film "Zouzou" (1934), conceived as a vehicle for Josephine Baker, then among Europe's most popular entertainers. This was her debut talking film and a huge success in France upon its original release. It is definitely Baker's show, despite the presence of Jean Gabin, who was himself on the brink of international stardom. The film places Baker in several lavish production numbers in which she is sumptuously dressed and supported by a large chorus. But it is the poignant rendition of "Haiti" that remains indelible. Seated on a swing in an oversize birdcage, scantily clad in feathers like some exotic bird of paradise, she sings nostalgically for her Caribbean home and leaves a permanent record on film of her unique style and powerful charisma.

Movie: The conclusion of the film "Zouzou" (1934), conceived as a vehicle for Josephine Baker, then among Europe's most popular entertainers. This was her debut talking film and a huge success in France upon its original release. It is definitely Baker's show, despite the presence of Jean Gabin, who was himself on the brink of international stardom. The film places Baker in several lavish production numbers in which she is sumptuously dressed and supported by a large chorus. But it is the poignant rendition of "Haiti" that remains indelible. Seated on a swing in an oversize birdcage, scantily clad in feathers like some exotic bird of paradise, she sings nostalgically for her Caribbean home and leaves a permanent record on film of her unique style and powerful charisma.

Movie: The film "Zouzou" (1934) was conceived as a vehicle for Josephine Baker, then among Europe's most popular entertainers. This was her debut talking film and a huge success in France upon its original release. It is definitely Baker's show, despite the presence of Jean Gabin, who was himself on the brink of international stardom. The film places Baker in several lavish production numbers in which she is sumptuously dressed and supported by a large chorus. But it is the poignant rendition of "Haiti" that remains indelible. Seated on a swing in an oversize birdcage, scantily clad in feathers like some exotic bird of paradise, she sings nostalgically for her Caribbean home and leaves a permanent record on film of her unique style and powerful charisma.

Movie: The film "Zouzou" (1934) was conceived as a vehicle for Josephine Baker, then among Europe's most popular entertainers. This was her debut talking film and a huge success in France upon its original release. It is definitely Baker's show, despite the presence of Jean Gabin, who was himself on the brink of international stardom. The film places Baker in several lavish production numbers in which she is sumptuously dressed and supported by a large chorus. But it is the poignant rendition of "Haiti" that remains indelible. Seated on a swing in an oversize birdcage, scantily clad in feathers like some exotic bird of paradise, she sings nostalgically for her Caribbean home and leaves a permanent record on film of her unique style and powerful charisma.

Movie: The conclusion of "Sanders of the River," a 1935 film about a British colonial District Officer (Leslie Banks) in 1930's Nigeria who manages to keep the peace between the African tribes loyal to His Majesty and those loyal to the African king. His right-hand man, one of the tribal leaders, Bosambo (Paul Robeson), does all he can to help Commissioner Sanders maintain the peace, but when Sanders takes a trip away from the region, all hell breaks loose.