Author: Hillary Kativa

Getting Meta with Metadata

Post author By Hillary Kativa
Post date June 28, 2011

Metadata. This rather ambiguous term is the skeleton underneath every image on PhillyHistory.org. Metadata is how we know when and where a photograph was taken. It is how we know who took the photograph and, to some extent, why they took it. Without metadata, searching PhillyHistory.org for photographs of Independence Hall or your grandmother’s house would be nearly impossible. But what is metadata?!

Metadata is essentially “data about data,” meaning information about any type of “data” – whether it’s a letter, a photograph, a painting, or even a piece of furniture. Metadata can range from the time and date something was created to who created it and even the reason behind its creation. At its core, metadata allows us to describe an object and, in the case of databases like PhillyHistory.org, use that description to locate one item out of thousands. When you enter a book’s title and author into a library catalog, you’re using metadata to find the specific book you want to read. Similarly, when you search PhillyHistory.org for a photograph taken at a specific location, that location and any other information about the photograph is metadata.

PhillyHistory_Administrative_Page — Each image on PhillyHistory.org is connected to an administrative page where members of the PhillyHistory team can enter metadata information.

Before we upload a new photograph to PhillyHistory.org, we first create a database record, known as an “asset,” that details as much information as possible about the image. For the majority of the photographs in our collections, this includes a title, description, photographer name, location, and date, as well as the photograph’s record group and negative number. By and large, this information is taken from the original envelope containing the negative or from a log book kept by the photographers as shown here.

City_Archives_PhotoLogBook — A photographer's logbook provides metadata for many of the historic images.

When entering metadata into a new record, we follow certain standards, commonly known within the archival community as “best practices.” Perhaps the cardinal rule of metadata is that all information must be entered as it appears in the original historical record. In our case, this means entering each title as the photographer recorded it in the log book or on the original envelope, even if the title is as general as “Houses, Stores, Etc.” In these instances, PhillyHistory.org users or one of the members of the PhillyHistory team often recognize a building or a house and suggest a better title for the photograph, but, according to the rules of metadata, we can’t change the title. Instead, additional details from a user or one of our archivists are entered in the “Notes” field. In a PhillyHistory.org record, the “Notes” field is our chance to add anything the photographer forgot or to correct something that is wrong or misleading. One common correction involves location, as the location the photographer recorded is sometimes not the one pictured in the photograph but rather the location from which the photograph was taken. In these cases, we title the photograph just as the photographer did, “Northeast Corner of 12th and Market Streets” for example, but leave a note about the difference between the photographer’s location and the location pictured in the photograph.

One other fun fact about metadata – if a photographer misspelled a street name, best practices tells us to enter the street name as the photographer recorded it, followed by the correct spelling in brackets. In the archival world, brackets indicate a change or addition to the original historical record and are peppered throughout the records on PhillyHistory.org. In this way, metadata is also about translating records that someone wrote fifty or a hundred years ago, an endeavor almost as challenging as understanding metadata!

Managing metadata in an archive comes with all sorts of additional and complex issues. For more information beyond this brief introduction, visit the following links.

“Metadata Resources” – Compiled by the Minnesota State Archives.

“Metadata Standards/ About” – Compiled by the Princeton University Library.

“Understanding Metadata” – Published by the National Information Standards Organization Press in 2004.

“Getting Meta with Metadata” is the second article in “Behind the Scenes at PhillyHistory.org,” a new series of blog entries that will provide insights into the activities that go into creating PhillyHistory.org.

Behind the Scenes

Oh Where Can This Be?: Photos Without a Location

Post author By Hillary Kativa
Post date June 15, 2011

When we enter new photographs into the PhillyHistory.org database, we include as much information as possible about an image from the date and photographer’s name to the location. Without a doubt, location is one of the most important parts of our photo collections as many of the historic images depict street scenes and the exterior of buildings. Whenever possible, we try to geocode (assign latitude and longitude coordinates) to an image. We can geocode a photo by identifying an address, street intersection, or place name (such as City Hall) or by selecting a point on a map. The software behind PhillyHistory.org will take this information and calculate the latitude and longitude coordinates associated with that spot. Once a photo has been geocoded, users can search for and find the image based on its geographic criteria. The geographic location of a photo is crucial as PhillyHistory.org users search for images by address or neighborhood more than keyword or any other search criteria. If a photo has an identified location, users also can download it to Google Earth or compare the historical images with the present-day Google Street View.

However, what we know about a photo depends upon what information the photographer left behind. Sometimes, we unfortunately have little or no knowledge of where a photo was taken. Photographs of bridges, railroads, and creeks are among the most challenging to locate since the photographer’s terminology is frequently too broad or too narrow for our purposes. In some instances, photographers used surveying markers to describe their location, but unfortunately “North from Station 109+70” can’t tell us exactly where a photo is located along the Frankford Creek. Alternately, some locations were recorded in very basic terms. In these cases, tracking down an address often requires some ingenuity and super sleuthing, along with a little help from our friends.

So how do we do it? Here’s an example using a PhillyHistory.org image taken on March 27, 1898.

The title, “Broad Street Bridge,” places the photo at any number of locations along Broad Street. When the title and the description provided by the photographer prove vague or indefinite, we turn to the photo for more details. Fortunately, the photo itself provides a few clues; we can see that this was a railroad bridge and there is a sign on the right-hand side building that reads “Gas And…” Following these leads, I turned to the Greater Philadelphia GeoHistory Network (www.philageohistory.org), a pilot project of the Philadelphia Area Consortium of Special Collections Libraries and now led by the Athenaeum of Philadelphia.

Among other resources, the GeoHistory Network provides digitized copies of historical maps and atlases from the nineteenth and twentieth centuries, along with an awesome interactive maps viewer that allows users to zoom in on a location and compare the historic map with the current street grid. To find a location for this photo, I used the 1910 Philadelphia Atlas by G.W. Bromley. Following North Broad Street from City Hall, I found the old Philadelphia and Reading Railroad freight yard at North Broad and Callowhill Streets, which seemed like a good candidate for this photo’s location. To confirm my suspicions, I scanned the map area, which lists business names on the building outlines, and found the Horn and Brannen Gas and Electric Fixtures Factory at the next intersection – North Broad and Noble Streets. This matched the “Gas And…” sign visible on the right-hand side of the photo and, to make my final determination, I zoomed in on a high resolution copy of the image. Not only was the full factory name visible, but the building on the left-hand side turned out to be the Baldwin Locomotive Works, which was also visible on the map. Satisfied with my findings, I geocoded this photo to North Broad and Callowhill Streets and set the Street View to look north toward the intersection of Broad and Noble Streets.

Often, the maps from the GeoHistory Network are an invaluable resource in our efforts to locate photos; additionally, we also rely on the knowledge of our users who can submit comments and error reports for any photo on PhillyHistory.org. As the story of this one photo shows, sometimes all it takes is a keen eye, a bit of research, and a little luck to solve the mystery of photos without a location.

“Oh Where Can This Be?” is the first article in “Behind the Scenes at PhillyHistory.org,” a new series of blog entries that will provide insights into the activities that go into creating PhillyHistory.org.

Events and People Urban Planning

A Special Relationship: Philadelphia and Great Britain

Post author By Hillary Kativa
Post date April 28, 2011

With the royal wedding of Prince William and Kate Middleton dominating the news, we here at PhillyHistory.org have been reflecting on the historical ties between Philadelphia and Great Britain, many of which are captured in our photo collections. As a former colony of Great Britain, the United States has always maintained a special relationship with its mother country and, in many ways, Philadelphia and Great Britain have their own special relationship as well. A brief survey of writings on Philadelphia and Great Britain shows that historians have explored topics as diverse as trade relationships, the Quaker influence on British abolitionism, architecture, industrialization, and theater and popular culture, just to name a few. Moreover, the historical ties between Philadelphia and Great Britain do not end with the colonial era but rather extend over centuries and have had an enduring impact on the city that Philadelphia was and the city it has become.

From its inception, the connections between Philadelphia and Great Britain were literally laid into the foundations of the city by virtue of the grid system that William Penn and his surveyor Thomas Holme designed. In hopes of staving off the overcrowding, fire, and disease that plagued European cities, Penn envisioned Philadelphia as a city modeled after an English country village, with ample space separating homes and businesses and an abundance of gardens and orchards. Published in 1683, Holme’s A Portraiture of the City of Philadelphia in the Province of Pennsylvania, 1683 brought Penn’s vision to life, laying out the city on a grid system of wide streets intersecting at right angles between the Schuylkill River to the west and the Delaware River to the east. Also visible on the 1683 map is perhaps the best known feature of Penn and Holme’s design, the four squares of dedicated parkland that Holme envisioned as “for the like Uses, as the More-fields in London.” Further proof of the English influence on Philadelphia’s topography, Moorefields was a public garden that notably evoked the “well-ordered spaces” of public recreation that, according to William Penn, would bring a sense of moral discipline and healthful living to the city. Along with Centre Square (later the site of City Hall), the four original squares of dedicated parkland were Northeast Square (now Franklin Square), Northwest Square (now Logan Square/Logan Circle), Southwest Square (now Rittenhouse Square), and Southeast Square (now Washington Square). Notably, while Philadelphia’s five squares have largely endured in one form or another, Penn and Holme’s careful, English-style planning did not; as early settlers began to populate Philadelphia, they largely ignored the grid design and crowded by the Delaware River, which remained the city’s de facto economic and social hub for more than a century.

Even as Philadelphia did not develop according to William Penn’s original vision, the city did emerge as a principal colonial trading port and, as the social and geographic center of the original thirteen colonies, was once the second-largest city in the British Empire. Of course, Philadelphia was also a key site of political and military activity during the American Revolution, including the British occupation of Philadelphia, then the national capital, during the winter of 1777-78. While many historians have highlighted the Philadelphia campaign as a turning point that eventually led to the defeat of the undermanned British forces at Saratoga and France’s entry into the war, the British occupation of Philadelphia also has a more subtle cultural legacy. As it had done in New York City the winter before, the British army staged theatre productions during its occupation of Philadelphia both for general amusement and to benefit the widows and orphans of British army and naval officers. Performed at the Southwark Theatre at Fourth and South Street, productions ran throughout the winter and into the spring and included several Shakespearean dramas, as well as such lesser known works as Duke and No Duke and The Wonder: a Woman Keeps a Secret. Interestingly, the spectacle of British theatre performed in Philadelphia continued even after the Revolution, as the scarcity of American texts in the new nation caused British dramas to dominate Philadelphia theatre productions in the early nineteenth century.

As America established itself as an independent nation, larger cities like New York and Boston increasingly overshadowed Philadelphia, which nonetheless became a popular destination for British tourists. Recounting travelers’ impressions of the United States between 1840 and 1940, historian Richard L. Rapson observes that of the cities along the Eastern seaboard British tourists found Boston more English than other cities, but Philadelphia was often complimented for being pleasant and “clean.” And, with its wealth of historic sites and attractions, Philadelphia has remained a prime destination for tourists and dignitaries alike – from King Hussein of Jordan and Queen Beatrix of the Netherlands to Queen Elizabeth II of England.

In 1976, Philadelphia memorably played host as the first stop on a six-day state visit by Queen Elizabeth II and her husband Prince Phillip in celebration of America’s Bicentennial. On July 6th, an estimated 5,000 Philadelphians greeted the British royals at Penn’s Landing, where they arrived aboard the 412-foot royal yacht Britannia. Wearing a dress with white and navy blue stripes, a matching coat, and white straw hat, the Queen was greeted by Mayor Rizzo who then received the Queen and the Duke of Edinburgh at City Hall. The royal couple also took in a panoramic view of the city from the Penn Mutual Building and hosted a luncheon party aboard the Britannia where 54 V.I.P. guests dined on lobster and eggs, lamb cutlets, and apple caramel.

Following the luncheon, the Queen and her husband toured Independence Hall and the Liberty Bell pavilion, but the centerpiece of the Queen’s visit to Philadelphia was the official presentation of the Bicentennial Bell. Cast in London’s Whitechapel Foundry where the original Liberty Bell was cast in 1752, the six-and-one-half ton Bicentennial Bell was a gift from the British people in commemoration of the 200-year anniversary of American independence and bore the inscription “For the people of the United States from the people of Britain 4 July 1976. Let Freedom Ring.” Delivered to Philadelphia in June 1976, the Bicentennial Bell was installed in the bell tower of the Independence National Park Visitor Center where it still resides today. At the ceremony, the Queen signaled for the bell to be rung for the first time and spoke about Independence Day as a day of mutual celebration for America and Great Britain, two nations bonded by the common cause of freedom. An estimated crowd of 75,000 witnessed the afternoon’s festivities, and the royal visit to Philadelphia concluded that evening with a dinner and reception at the Philadelphia Museum of Art.

From street design and theatre performances to visits by British tourists and even the royal family, Great Britain has left its mark on Philadelphia and vice versa. The historic ties between our mother country and the City of Brotherly Love add yet another dimension to Philadelphia’s reputation as a city rich with history and tradition, a legacy so vividly captured here in PhillyHistory.org’s photograph collections.

References

“Queen Calls 1776 a Lesson that Aided Britain.” The New York Times, July 7, 1976.

Charlton, Linda. “Queen Gets Rousing Welcome as Visit Begins in Philadelphia.” The New York Times, July 7, 1976.

Greater Philadelphia Geohistory Network. “A portraiture of the city of Philadelphia in the province of Pennsylvania in America, 1683.” Accessed April 27, 2011, http://www.philageohistory.org/rdic-images/view-image.cfm/HOL1683.Phila.001.Map.

Milroy, Elizabeth. “‘For the Like Uses, as the Moore-fields:’ The Politics of Penn’s Squares.” Pennsylvania Magazine of History and Biography 130:3 (July 2006): 257-282.

Pattee, Fred Lewis. “The British Theater in Philadelphia in 1778.” American Literature 6:4 (January 1934): 381-9.

Rapson, Richard L. “British Tourists in the United States, 1840-1940.” History Today 16:8 (August 1966): 519-527.

New Features

Something New in Your Neighborhood: Augmented Reality

Post author By Hillary Kativa
Post date February 16, 2011

One of the coolest features of PhillyHistory.org is the ability to browse historical photographs alongside the contemporary Google street view, enabling users to meld past and present at the click of a mouse. But what would that feature look like in real time – not through a computer screen but rather on a smart phone via an application that overlays a historic image on the modern landscape? Through a combination of the GPS and camera technologies available on today’s smart phones, a prototype augmented reality application for PhillyHistory.org will provide users with the opportunity to experience the site’s archival collections in this truly unique way. Currently, we plan on making nearly every image in the PhillyHistory database that is associated with a location available on the augmented reality prototype. Out of the whole collection, however, we’ve also selected 500 images that can be viewed separately. These 500 images have been “pinned” in 3-D space, meaning that we’ve tried to line up points in the photo with points that still exist in the current landscape such as a roof line or street corner. The result, we’re hoping, is that the photos will appear on your phone in the correct orientation. If you’re slightly to the left of the location where the photo was taken, the photo will be angled slightly to the left. If you’re facing the location, the photo will be visible head-on. This should enable users to more easily see how the historic image compares to the current landscape. While this technology underlying augmented reality is exciting, a lot of other behind-the-scenes work in the City Archives is also helping to bring the project to fruition.

Everyone has a favorite photograph or area of the city to explore on PhillyHistory.org but to select approximately 500 photographs out of the site’s roughly 93,000 images was a daunting challenge. From the outset, we aimed to provide broad geographical coverage of the city in our selections, as well as represent the variety of collections available on PhillyHistory.org. In addition to the Department of Records, the database also includes images from the Free Library of Philadelphia, the Library Company of Philadelphia, the Philadelphia Office of the City Representative, and the Philadelphia Water Department. Primary considerations for selection included the date of the photograph, historical and aesthetic interest, and educational value, as well as how accurately a photograph matched up with the available Google Street View (current street level photos of Philadelphia), which we used to pin the photos as described above. In addition, we were interested not only in photographs of locations that had changed dramatically but also photographs where some elements of the historic image and current street view were the same. We also had to avoid aerial photos since users would never be able to physically reach the point where the photo was taken. Ultimately, even with all these parameters in mind, our search of PhillyHistory’s collections yielded a fascinating wealth of photographs that offer compelling snapshots of the ties between Philadelphia’s past and present.

Some of the most interesting areas of the city to explore through augmented reality are college and university campuses, which have often changed dramatically over time. Several of the photographs selected from the University of Pennsylvania area notably highlight the development of Woodland Walk, the central artery through campus that, in 1936, was a far cry from the manicured walkway that it is today. Similarly, images of St. Joseph’s University around 54th Street and City Avenue chronicle City Avenue’s transition from a largely undeveloped road to a bustling commercial hub over a scant twenty years time. In North Philadelphia, Temple University’s expansion down North Broad Street is evidenced in various photographs of the Chinese restaurants, Victrola stores, and automobile license centers that have been replaced by campus buildings.

Another aspect of PhillyHistory’s collections that we chose to highlight in the augmented reality project is best described as “new looks at old places,” meaning photographs that show popular Philadelphia destinations and attractions in new or unexpected ways. Perhaps the best example of this phenomenon is Independence Hall and the surrounding area between Chestnut and Market Streets before many of the older buildings were cleared away for the construction of Independence Mall. Photographs of the Benjamin Franklin Parkway and prominent institutions like the Franklin Institute and the Philadelphia Museum of Art also offer a new look at a familiar landscape, one that historically featured more open space than busy highway. Other notable landmarks that augmented reality enables us to see in a different light include the Betsy Ross House, Market East Station, Reading Terminal Market, and City Hall, particularly before Broad Street Station was demolished in the 1950s to make way for Penn Plaza.

In the course of our selection process, the developers at Azavea, the software company assisting with the augmented reality application, created a map showing the geographic distribution of our selections to help ensure that nearly all of Philadelphia was adequately represented in the augmented reality prototype. Many of the images were taken in Center City since PhillyHistory.org is especially rich in images of that area. While we strove to include a mix of neighborhoods beyond Center City, some areas were especially challenging in terms of selection. Fairmount Park yielded few photographs where the location or Google Street View was precise enough for augmented reality. In addition, Strawberry Mansion and the far Northeast proved challenging in terms of the subject of the photographs, many of which depict the minutia of street and bridge construction. While these photos capture the development of the urban landscape, it’s hard to pinpoint the exact location of each section of road. On the other end of the spectrum, neighborhoods such as Chestnut Hill, Overbrook, and South Philadelphia offered a plethora of historic images that captivated us and often uncannily echoed the contemporary Google Street View. From the street signs of the Italian Market to train and trolley stops, many photographs from these neighborhoods featured the true convergence of past and present that is at the heart of augmented reality. As the project moves forward, we are so excited to share the prototype application with you in the coming months. Hopefully, you will find our photograph selections as interesting and intriguing as we do and maybe even find something new (or old) in YOUR neighborhood.

Augmented Reality by PhillyHistory.org is funded by a Digital Humanities Start-Up Grant from the National Endowment for the Humanities Office of Digital Humanities. Any views, findings, conclusions, or recommendations expressed in this application do not necessarily reflect those of the National Endowment for the Humanities.

Entertainment

Philadelphia at the Movies

Post author By Hillary Kativa
Post date January 26, 2011

As the film industry’s annual awards season gets underway, Philadelphia’s connections to Hollywood and the movies is a fascinating topic to explore through the various entertainment-related photographs available on PhillyHistory.org.

For Philadelphians and film buffs alike, Sylvester Stallone’s 1976 film Rocky exemplifies the intersection of Hollywood storytelling and the spirit of the city more than any other. The story of a small-time boxer from Philadelphia’s Kensington neighborhood who rises to fight for the world heavyweight championship, Rocky won the 1976 Academy Award for Best Picture and Best Director and spawned five sequels over the next thirty years. In that time, the film’s connection to Philadelphia became undeniable, epitomized by the famed scene in which Rocky triumphantly runs up the steps of the Philadelphia Museum of Art and looks out over the Ben Franklin Parkway.

Among the most enduring and referenced moments in entertainment, the scene has made the Art Museum a prime pop culture destination and inspired passionate debate about Rocky’s place in Philadelphia’s cultural heritage. For the filming of Rocky III in 1982, Mr. Stallone commissioned a bronze, 8-foot statue of the character to sit atop the celebrated steps and, once filming was complete, left the statue as a gift to the city. Viewed by the Philadelphia Art Commission as more of a movie prop than a piece of art, the statue was moved to the Spectrum at the South Philadelphia Sports Complex, leaving only a pair of footprints at the top of the stairs to mark the scene of Rocky’s illustrious climb. Nonetheless, the association between Rocky and the Art Museum endured and, over the next twenty years, the statue was re-installed on the steps for the filming of Rocky V, Philadelphia, and other films before permanently returning to the Museum in 2006. By a 6-2 margin, the Art Commission voted to install the statue on a granite pedestal just off Kelly Drive, about thirty yards north of the Museum steps. A public dedication ceremony was held on September 8, 2006 and featured a screening of the first Rocky, a film and character that, as Mr. Stallone told the crowd of approximately 3,000 spectators, “could only come from the City of Brotherly Love.”

Beyond Rocky, countless movies have been filmed in Philadelphia, including The Sixth Sense, In Her Shoes, Invincible, The Lovely Bones, and Marley and Me. A Philadelphia-native and graduate of Friends’ Central School in Wynnewood, legendary filmmaker Brian De Palma has filmed a number of movies in the city, including Dressed to Kill (1980) and Blow Out (1981). While filming Dressed to Kill in 1979, Mr. De Palma and actress Angie Dickinson were honored at the Philadelphia Museum of Art, which serves as the setting for a scene in which Ms. Dickinson’s character encounters a mysterious stranger at a museum. Likewise, key scenes from Blow Out, which starred John Travolta and Nancy Allen, were filmed in and around such Philadelphia landmarks as Independence Mall, 30th Street Station, and City Hall. Perhaps most notable is the climatic chase scene in which John Travolta’s character drives a Jeep through the City Hall courtyard before crashing into a display window at Wanamaker’s Department Store. After filming was complete, Blow Out premiered at the Budco Regency Theater at 16th and Chestnut Streets on July 23, 1981. Welcomed back to Philadelphia by a crowd of enthusiastic fans, Mr. Travolta received an Independence Hall replica from City Representative Richard A. Doran, while Ms. Allen received a replica of City Hall.

If Rocky is the quintessential Philadelphia film, Grace Kelly, Princess of Monaco, is perhaps the most illustrious native among the many actors and actresses who hail from the City of Brotherly Love. The Kelly family resided in Philadelphia’s East Falls neighborhood and Grace’s father, John Brendan “Jack” Kelly, was a prominent Democrat who ran for Mayor in 1935 and later served on the Fairmount Park Commission. The future Princess Grace graduated from Stevens School in Germantown in 1947 and went on to become an Academy-Award winning actress best known for her roles in Alfred Hitchcock’s Rear Window and To Catch a Thief. She left Hollywood to marry Prince Rainier III of Monaco in 1956 and visited Philadelphia several times in the years following her marriage. In April 1963, the royal couple was on-hand to inaugurate the Monaco pavilion at a travel and vacation exposition in the city and was welcomed by both Mayor James H.J. Tate and Miss Philadelphia, as seen in the photographs from their visit. During that same trip, Princess Grace and Prince Rainier were also the guests of honor at a ball at the Philadelphia Museum of Art sponsored by the Philadelphia Fashion Group, which honored the Princess for her “leadership in fashion.”

Incidentally, Princess Grace was not the only Kelly family member to become the stuff of Philadelphia legend; her brother, John B. Kelly, Jr., was an Olympic rower who won a bronze medal at the 1956 games and subsequently became the namesake of Kelly Drive. This bit of trivia is just another instance of how entertainment and celebrity have been woven into the fabric of the city throughout its history and allowed Philadelphia to continually captivate audiences and filmmakers alike.

References

“IMDb: Most Popular Titles With Locations Matching ‘Philadelphia, Pennsylvania, USA.’” The Internet Movie Database. <http://www.imdb.com/search/title?endings=on&&locations=Philadelphia,%20Pennsylvania,%20USA> (Accessed 14 January 2011).

“Princess Grace is honored at Philadelphia Fashion Ball.” The New York Times, April 23, 1963.

“Rainiers Coming to United States.” The New York Times, February 27, 1963.

Ronberg, Gary. “They Came, They Saw, and Travolta Conquered.” The Philadelphia Inquirer, July 24, 1981.

Vitez, Michael. “‘Rocky and I thank you:’ Statue unveiled; Stallone unbridled.” The Philadelphia Inquirer, September 9, 2006.

Vitez, Michael. “Rocky statue ready to hit the steps: With a win, the fictional pugilist is back at his old haunt- The Art Museum.” The Philadelphia Inquirer, September 7, 2006.

Entertainment

“Sleigh Bells Ring…:” Philadelphia’s Winter Wonderland

Post author By Hillary Kativa
Post date December 20, 2010
1 Comment on “Sleigh Bells Ring…:” Philadelphia’s Winter Wonderland

Even as a winter chill descends upon the Northeast, Philadelphians have always known how to keep the season fun and festive with a variety of recreational activities and events. From ice skating on Reyburn Plaza to sleighing through Fairmount Park, the Philadelphia region has historically provided residents and visitors with myriad opportunities to lift their spirits and make the most of winter’s frosty days and nights.

Throughout the years, Philadelphia has traditionally welcomed winter with a mix of holiday displays and decorations, from the famed light show at Wanamaker’s department store to the Christmas trees and menorahs erected across the city at such sites as Independence Hall, Dilworth Plaza, and Rittenhouse Square. Notably, Philadelphia held its first-ever community tree-lighting in 1913 after New York City popularized a new tradition when it erected a municipal Christmas tree in Madison Square Park the year before. The Philadelphia tree was erected in Independence Square between the Commodore Barry statue and Independence Hall and was decorated with 4,200 red, white, and blue lights. A crowd of approximately 20,000 people witnessed the spectacle and Mayor Blankenburg’s wife Lucretia had the honor of lighting the Star of Bethlehem that topped the tree. Evoking the significance of the tree’s location, the tree-topper was made up of fifty-six little stars, which represented the signers of the Declaration of Independence. Prior to the tree-lighting, two bands led about 200 children down Twelfth Street to Independence Square, where they gather around a grandstand. Candles were lit in every window of Independence Hall, while the area immediately surrounding the tree remained cloaked in virtual darkness until it was illuminated at the stroke of 6 o’clock. A program of music by the Moravian Trombone Choir of Bethlehem, Pennsylvania and the United Singers of Philadelphia followed the lighting of the tree, which remained on display until New Year’s Day.

While Christmas trees and holiday lights enhance Philadelphia’s seasonal atmosphere, recreational activities are ongoing sources of amusement and celebration throughout the winter months. Perhaps the quintessential winter sport, ice skating is an enduring popular amusement that, over the years, has been enjoyed at many locations across the Philadelphia region. Situated just north of the Queen Lane pumping station, man-made Gustine Lake was a popular destination for ice-skaters in the early to mid decades of the twentieth century until the lake was converted to a swimming pool in the 1950s. In the post-World War II era, a renewed focus on city planning and urban renewal brought an ice-skating rink to Penn Center near 17th Street and Pennsylvania Avenue, later John F. Kennedy Boulevard. However, as the office complex surrounding City Hall grew and evolved, the skating rink was eventually shut down and replaced by 8 Penn Center in the 1970s. Nonetheless, ice-skating enthusiasts could still hone their skills at rinks in Reyburn Plaza and recreation centers around the city, including the Simons Playground near Woolston Avenue and Walnut Lane and the Tarken Ice Rink at Frontenac and Levick Streets.

In the winter months, Philadelphia’s Fairmount Park has also proved to be a popular recreational destination for seasonal diversions such as tobogganing, sledding, and sleigh riding. In the latter decades of the nineteenth century, winter carnivals in Montreal and other Canadian cities popularized toboggan slides, which consequently popped up in many Philadelphia-area parks, including Fort Washington State Park and Willow Grove. In the 1880s, William M. Singerly, a member of the Fairmount Park Commission, gave Philadelphia a toboggan slide to be erected in Fairmount Park. The slide, which measured 2,200 feet and had a fall of 132 feet, opened to the public on February 2, 1887, though the exact location of the slide and how long it remained in the Park is unknown. Accessible on PhillyHistory, a group of photographs from the Office of the City Representative show youngsters trying out a toboggan slide in Fairmount Park in 1968, but this toboggan slide may or may not be the same slide that Mr. Singerly gifted to the city. Also of note, tobogganing was popular enough in the 1880s to even inspire a fashionable “winter sporting costume.” An 1885 article from The Philadelphia Inquirer describes a “charming design for a toboggan dress,” with folds that drape artistically over the hips and a plush jacket, cloak, and wrap that are a “showy and rich” costume for those who “engage in outdoor merry-making.” Fortunately, those merry-makers who preferred to skate or sleigh were not left out, as the article also details dainty skating costumes that were “wonderfully attractive, far more so than toboggan outfits,” and hats and furs that perfectly complemented a winter sleigh ride.

For fashionable winter revelers Philadelphia’s famed department stores were also a historic source of recreation and amusement, particularly during the holiday shopping season. In terms of holiday spectacle, little rivaled the Wanamaker’s light show, in which seasonal shapes and figures such as snowflakes, nutcrackers, and the like were outlined in colorful lights above the store’s world-renowned pipe organ. At Strawbridge’s department store, the fourth floor was devoted to a life-size walk-through of Charles Dickens’ classic A Christmas Carol, while just east of Strawbridge’s at 8th and Market Streets, Lit Brothers drew people with its Christmas Village display. And across from Lit Brothers, Gimbel’s winter holiday “Toyland” was highlighted every year by the arrival of Santa Claus at the conclusion of the Philadelphia Thanksgiving Day parade. At each department store, such indoor attractions were a warm and welcome counterpoint to the city’s outdoor recreation activities. Ultimately, whether admiring festive retail displays, caroling at a tree-lighting, or sledding down a snowy hill, Philadelphians past and present have celebrated the season with a variety of winter traditions that will likely endure as long as Jack Frost continues to make his annual pilgrimage to the region.

References

Ryan Caviglia, “Christmas in Philly,” The New Colonist, Calendar of Antiques: Your Guide to Antique and Art Events, undated. http://www.newcolonist.com/phil_xmas.html Accessed December 17, 2010.

Alfred L. Shoemaker and Don Yoder. Christmas in Pennsylvania: A Folk-Cultural Study. (Kutztown: Pennsylvania Folklife Society, 1959).

“Bethlehem Star in Great Spruce Shines on 20,000.” The Philadelphia Inquirer, December 25, 1913.

“The Fashions: Novelties in Outdoor Winter Sporting Costumes.” The Philadelphia Inquirer, December 14, 1885.

“Tingling Weather Increases the Park’s Popularity.” The Philadelphia Inquirer, January 29, 1912.

Entertainment

Floats, Balloons, and Celebrities, Oh My!: Philadelphia’s Thanksgiving Day Parade

Post author By Hillary Kativa
Post date November 22, 2010

By Timothy Horning and Hillary Kativa

Since 1920, Philadelphia’s annual Thanksgiving Day Parade has been a city tradition. Although the Macy’s parade in New York City is perhaps better known, Philadelphia’s Thanksgiving Day Parade is recognized as the oldest in the country and was originally the brainchild of Ellis Gimbel, one of the founding brothers of the eponymous department store. Ever the industrious capitalist, Gimbel imagined the parade as a clever marketing tool for his store, which would not only signal the start of the holiday shopping season, but also remind Philadelphians that Gimbels department store could serve all of their holiday needs.

The first parade in 1920 was made up of only fifty Gimbels employees but quickly grew into a festival of floats, balloons, and high school marching bands that draws thousands of spectators each year. Traditionally, the parade began at the Philadelphia Museum of Art and moved down the Benjamin Franklin Parkway before concluding at Gimbels department store on Eighth and Market Streets. A float featuring a costumed Santa Claus and his sleigh typically closed the parade as Santa Claus, upon reaching Gimbels, would scale a fire truck ladder to the store’s eighth floor, conveniently the home of Gimbels “Toyland.” Over the years, the parade became immensely popular and other cities and stores, including Macy’s in New York City, quickly instituted their own annual Thanksgiving Day parades based on Gimbels’ prototype.

The parade continued for sixty-five years until the Gimbels department store was taken over by Allied Stores Corporation and renamed “Stern’s” in 1986. The new company had no interest in continuing the annual parade and, without its chief creator and sponsor, the fate of the Philadelphia Thanksgiving Parade was very much in doubt. Ultimately, local television station WPVI, an ABC affiliate who had broadcast the parade since 1966, took on the costs of producing it and eventually convinced other corporate sponsors to join. WPVI partnered with Reading-based department store chain Boscov’s for several years and, seeking to compete with the ever-popular Macy’s spectacle, organizers decided to expand the parade by adding more floats, balloons, and bands as well as feature celebrities in the parade. The 1986 parade boasted twenty bands, twenty floats, and forty-eight balloons, as well as 4,500 people assisting with the production. 76ers basketball star Julius Erving served as the parade’s grand marshal and was joined by such illustrious pop culture figures as Fred Flintstone, the Care Bears, and Mickey and Minnie Mouse. In 1986, the parade, freed from its long-standing association with Gimbels, also reversed its route and ran from 20th and Market Streets to City Hall before turning onto the Benjamin Franklin Parkway and concluding on the steps of the Philadelphia Museum of Art.

From 1986 forward, Boscov’s and WPVI/6ABC continued to sponsor the Thanksgiving Day Parade until Boscov’s filed for bankruptcy in 2008. Swedish furniture maker IKEA, whose U.S. corporate headquarters are located in nearby Plymouth Meeting, stepped in to co-sponsor the parade following Boscov’s bankruptcy. The 2010 6ABC/IKEA Thanksgiving Day Parade, now in its 91st year, will begin at 8:30 AM at 20th Street and John F. Kennedy Boulevard and follow the route begun in 1986, moving up to City Hall, then the Benjamin Franklin Parkway, and finally the Art Museum steps. Special guests include Sam Champion from “Good Morning America,” singer and “Dancing with the Stars” contestant Brandy, Miss America 2010 Caressa Cameron, and the Philadelphia Eagles Cheerleaders. For those who are not able to attend in-person, the parade will be broadcast live on 6ABC and, of course, the Philadelphia Thanksgiving Day Parade’s illustrious history is also chronicled in the fun and festive photos on display here at PhillyHistory.org.

Sources:

“2010 6ABC IKEA Thanksgiving Day Parade.” 6ABC.com. <http://dig.abclocal.go.com/wpvi/html/wpviThanksGivingParade.html>(18 November 2010).

Detjen, Jim. “Wet Walk in Showers, the Annual Parade Heralds Shopping Season Start.” The Philadelphia Inquirer, 29 November 1985. Newsbank. Accessed 16 November 2010.

Gillin, Beth. “A Glorious Day, A Grand March the Sun Shines and City Spirits Glow for the Thanksgiving Day Parade.” The Philadelphia Inquirer. 28 November 1986. Newsbank. Accessed 16 November 2010.

Kadaba, Lini. “Thanksgiving Parade Draws 500,000.” The Philadelphia Inquirer, 27 November 1987. NewsBank. Accessed 16 November 2010.

Nunnally, Derrick. “Tradition Marches On At Thanksgiving Parade.” The Philadelphia Inquirer, 28 November 2008. NewsBank. Accessed 18 November 2010.

Woodall, Martha. “The City is Set to Let Loose a Parade of Thanksgiving.” The Philadelphia Inquirer, 26 November 1987. Newsbank. Accessed 16 November 2010.

Urban Planning

The City that Might Have Been: Edmund Bacon’s Philadelphia

Post author By Hillary Kativa
Post date October 19, 2010

Heralded as the father of modern Philadelphia, famed city planner Edmund Bacon was the man behind many of the city’s most notable post-WWII redevelopment projects, from Penn Center and Market East to Penn’s Landing and Society Hill. While these projects are well-known and have become essential parts of the Philadelphia landscape, the plans and projects that never came to fruition are also a compelling part of Bacon’s legacy. As outlined in his 1959 essay on urban planning and redevelopment, Bacon envisioned a new golden age for Philadelphia in the postwar years, one that would reinvigorate community investment and development to ensure “no part of Philadelphia is ugly or depressed” in fifty years time. While some of Bacon’s projects succeeded and others never came to pass, both outcomes provide a window into the evolution of city planning and the city itself in the post-industrial age as well as the ongoing struggles to navigate Philadelphia’s future in a new era.

A Philadelphia native and Cornell-educated architect, Edmund Bacon served as Executive Director of the Philadelphia City Planning Commission from 1949 to 1970. Under Bacon’s direction, the Planning Commission sought to capitalize on postwar optimism and looked to the future with coordinated, comprehensive plans to eliminate blight and liberate Philadelphia from its now obsolete industrial clutter. Whereas urban renewal projects in cities like New York and Chicago meant the wholesale demolition of unsavory neighborhoods, Bacon and his colleagues emphasized small-scale demolition and often restored older structures so that new features like shops and parks were interwoven with the existing landscape. Best exemplified in the redevelopment of Society Hill, these design principles were also publicly showcased at the Better Philadelphia Exhibition in 1947. The Exhibition, which Bacon as a Planning Commission staff member co-designed with Oskar Stonorov and Louis Kahn, took up two floors of Gimbel’s Department Store at 8th and Market Streets and attracted 385,000 visitors between September 8th and October 15th. Following the theme “What City Planning Means to You and Your Children,” the exhibition contained movies, murals, dioramas, and, most spectacularly, a 30-by-14 foot model of Center City that boasted 45,000 buildings, 25,000 cars and buses, and 12,000 trees. Notably, as a recorded narrator highlighted various parts of the model, segments flipped over to reveal the planners’ future vision for the site, which frequently included open space, planning for pedestrians, and efforts to work within the original landscape.

The Better Philadelphia Exhibition effectively paved the way for Bacon’s ascension to the Executive Director position and pushed his vision for transforming Philadelphia into a competitive world center to the forefront of urban planning. Bacon presented many of the projects and guiding tenets of his approach to redevelopment in his seminal 1959 essay “Philadelphia in the Year 2009,” which specifically outlined plans for a transportation center at East Market Street, development along the Delaware Riverfront, and a 1976 World’s Fair to showcase the city. For Bacon, the World’s Fair was the project around which all other projects revolved, providing an impetus for urban redesign and the construction of buildings and transportation hubs with long-term benefits. While Bacon proposed that most of the Fair’s structures be erected in Fairmount Park, he nonetheless envisioned the Fair as a city-wide event where a variety of attractions, from the “Lights of Freedom” spectacle on Independence Mall to outdoor performances of Shakespeare and Kabuki theatre in the City Hall courtyard, were all easily accessible through underground streets and moving sidewalks linked to the proposed Crosstown Expressway. In terms of transportation, Bacon also conceived of an overhead cable car system that ran from Fairmount Park to the west bank of the Schuylkill and out across the river to Chestnut Street, which would be equipped with an electric tram system. In these plans, Bacon simultaneously saw the 1976 Philadelphia World’s Fair as a showcase for American culture and technology that would also spur civic activity and development and ultimately have long-lasting implications for the city’s renewal.

Initially, Bacon’s World’s Fair proposal was warmly received, especially since a 1976 Fair would coincide with America’s Bicentennial Year. A committee was formed to seek federal funding and petition the Bureau of International Expositions to reserve 1976 for Philadelphia, but as early as 1960 Bacon was dissatisfied with the committee’s progress. By 1964, the plan had encountered several additional stumbling blocks, including the failure and widespread criticism of the 1964 New York World’s Fair and skepticism about Bacon’s assertion that the Fair’s building and structures could be re-purposed later for private development. In the coming years, political and community resistance to the Fair arose, as did competing proposals from activist groups like the Young Professionals. With the so-called “World’s Fair” concept itself increasingly criticized as antiquated, the Young Professionals argued that a modern Philadelphia Fair should be more socially conscious and work to alleviate racial and social problems like the disconnect between Center City and outer-lying ghetto neighborhoods such as Mantua and Powelton Village. To this end, the group proposed holding the Fair in a megastructure to be built over the rail yards at 30th Street Station that would enhance transportation and access to all parts of the city. The megastructure idea dominated plans into the late 1960s, but struggles over the rights to the area and control over the design ultimately defeated it. Afterwards, organizers briefly resurrected Bacon’s proposal to locate the crux of the Fair in Fairmount Park, while alternately suggesting Penn’s Landing, Port Richmond, Byberry, and Fort Mifflin as additional options. However, no viable site was ever agreed upon and the 1976 Philadelphia World’s Fair eventually succumbed to inertia, as well as President Nixon’s reluctance to endorse any urban renewal project associated with former President Johnson’s Great Society agenda.

Even without the impetus of a World’s Fair, several of Bacon’s key redevelopment projects, such as the Market East transportation center and improvements to the Far Northeast, were eventually realized, albeit with alterations to Bacon’s original designs. In many ways, both projects sought to provide suburban amenities in an urban context, as Bacon aimed to draw middle-class families back to the city following the population dispersal of the postwar years. To this end, Bacon’s plans for the Far Northeast included family-friendly residential homes positioned in loop streets that echoed the area’s natural topography and preserved open spaces for children to play. In addition, retail centers with connections to downtown transit would serve as the central hubs of these communities, though in the end retail centers were eliminated in favor of strip malls and the loop street design evolved into cul-de-sacs.

Interestingly, the Far Northeast was not the only area to see alternations to Bacon’s original street plan; as detailed in Bacon’s 1959 essay, Chestnut Street was to be a pedestrian-only thoroughfare of open-air, bazaar-style storefronts with a trolley at its center. As with so many other elements of Bacon’s vision for Philadelphia, Chestnut Street never fully evolved to meet his expectations, but those expectations still offer a compelling snapshot of the plans and possibilities that captured Philadelphia’s imagination in the postwar years. And in the end, whether in Philadelphia’s physical landscape or the photographic history presented here on PhillyHistory, Ed Bacon’s vision lives on, a legacy demonstrated by both the city that might have been and the city that came to be.

Note: This article provides an overview of Bacon’s career accomplishments and several developments including the Yorktown Housing Development were not included. Please leave comments on the post if there are additional developments you would like to highlight.

References:

Edmund N. Bacon. “Philadelphia in the Year 2009” aka “Tomorrow: A Fair Can Pace It.” Greater Philadelphia Magazine, 1959.

The Ed Bacon Foundation. 28 September 2010. http://www.edbacon.org/index.htm (Accessed 13 October 2010).

Scott Gabriel Knowles, ed. Imagining Philadelphia: Edmund Bacon and the Future of the City. (Philadelphia, PA: University of Pennsylvania Press, 2009).

Nathaniel Popkin. “The Future is Now.” Philadelphia Citypaper, December 16, 2009.

Entertainment Events and People

Goats Versus Mules: The Army-Navy Game in Philadelphia

Post author By Hillary Kativa
Post date August 16, 2010

Much like the city of Philadelphia itself, the annual college football match-up between the U.S. Military and Naval Academies, colloquially known as the Army-Navy Game, has a storied history that echoes that of the city in which the match has been held more than any other. Since the Army-Navy Game’s inception in 1890, Philadelphia has hosted the match a record 81 times, far surpassing its nearest competitors, New York (11) and Baltimore (4). After the rivalry’s first four matches incited passionate reactions and a near duel between two officers in 1893, the Army-Navy Game was suspended for five years until Philadelphia was selected as a neutral site for the game in 1899. Roughly equidistant from both West Point and Annapolis, Philadelphia was considered a prime location, as organizers hoped relocating the game away from the campuses of either academy would diffuse tensions and encourage good sportsmanship. Throughout the early 20th century, the Army-Navy Game was held at Franklin Field on the campus of the University of Pennsylvania before moving to Municipal Stadium, later John F. Kennedy Memorial Stadium, in 1936 and later Lincoln Financial Field in 1980.

Newspaper accounts from the turn of the 20th century describe the Army-Navy Game as a city-wide event, with hotels and homes bedecked in the blue, yellow, and gray of West Point or the blue and gold of Annapolis, while citizens and tourists alike flooded the streets of Philadelphia carrying badges and pennants to show their allegiance to either academy. The players themselves, accompanied by marching bands and their respective mascots, the Navy Goat and Army Mule, processed through the streets up to Franklin Field, which consistently exceeded its seating capacity. Ticket scalpers were common and by 1934 were charging as much as $75 for choice seats, a blemish on the event that later inspired a Congressional investigation. Traditionally, the Secretary of the Navy and Secretary of War attended as representatives of their respective departments and the game also drew many governors, mayors, and other political notables. In addition, the game was also a significant event on the East Coast social calendar, as special luncheons and dinners, including a Naval Academy alumni dance at the Bellevue-Stratford hotel, surrounded the match and the box seats occupied by socialites and dignitaries were chronicled in the New York Times society pages.

Inevitably, Franklin Field struggled to accommodate the sheer number of people who desired to attend the Army-Navy Game and the search for a new location with larger facilities threatened to move the match out of Philadelphia. In 1905, the Army-Navy Game took place at Osborne Field on the campus of Princeton University, but transportation problems involving the local train lines rendered Princeton a less desirable option moving forward. The Army-Navy Game returned to Philadelphia and Franklin Field from 1906-1912 before relocating to the New York Polo Grounds in 1913. The Polo Grounds then became a favored site for the game for the rest of the decade and thereafter the Army-Navy Game was periodically played at other sites as well, including Chicago’s Soldier Field and New York City’s Yankee Stadium. Notably, the variety of venues, which continued into the mid-1930s, was considered more equitable to both sides after representatives from West Point argued that holding the game in Philadelphia every year favored Annapolis, which generally had an easier time commuting to Franklin Field.

In 1936, Philadelphia mayor-elect S. Davis Wilson proposed hosting the Army-Navy Game at Municipal Stadium, a 100,000 seat stadium located at the far southern end of South Broad Street that was originally built for the 1926 Sesquicentennial Exposition. The first Army-Navy Game at Municipal Stadium drew a capacity crowd that included First Lady Eleanor Roosevelt, and the Pennsylvania Railroad ran 35 special trains direct to the stadium out of a fleet of 105 locomotives put in service especially for the event. In the years that followed, Municipal Stadium became the favored venue for the Army-Navy Game, which also saw Presidents Truman, Kennedy, and Ford in attendance over the years. President Kennedy especially took an active part in the game, conducting the coin toss at the start of each match and parading across the field at halftime. Following President Kennedy’s assassination in November 1963, officials considered canceling the Army-Navy Game, but the match was eventually held on December 7 at the express request of First Lady Jacqueline Kennedy. The following year, Municipal Stadium was renamed John F. Kennedy Memorial Stadium in honor of the late President and the President’s brother, Bobby Kennedy, attended the Army-Navy Game with his family to mark the occasion.

John F. Kennedy Memorial Stadium continued to host the Army-Navy Game until 1980, at which time it moved to neighboring Veterans Stadium and ultimately to Lincoln Financial Field. By the time the match relocated to Veterans Stadium, the Army-Navy Game had declined in national importance and the crowd of 60,470 who attended the game in 1981 was the lowest crowd recorded since 1943. Still, the Army-Navy Game remains a legendary event in American sports and a notable part of Philadelphia history, as captured so vividly in the collection of photographs now displayed on PhillyHistory.org.

References

“102,000, East’s Largest Football Crowd, Will See Army-Navy Classic Today.” New York Times, November 28, 1936.

“Army-Navy Game.” 26 July 2010. Wikipedia: The Free Encyclopedia. http://en.wikipedia.org/wiki/Army%E2%80%93Navy_Game (Accessed 6 August 2010).

“Army-Navy Game History: Rivalry History.” Philadelphia’s Official Army-Navy Website 6 August 2010 http://www.phillylovesarmynavy.com/RIVALRY-HISTORY (Accessed 6 August 2010).

“Army-Navy Game Postponed to November 7; Usual Ceremonies Will be Eliminated.” New York Times, November 27, 1963.

“Army Triumphs Over Navy in Football.” New York Times, November 29, 1903.

“Army Versus Navy: A Dimming of Splendor.” New York Times, November 29, 1975.

Entertainment Events and People

‘There’s A Party Going On Right Here:’ Philadelphia Civic Celebrations – Part Three: Race, Redevelopment, and the Bicentennial

Post author By Hillary Kativa
Post date July 9, 2010

From their inception, Philadelphia’s civic celebrations were invested with political messages and social values that, as the city’s population grew more diverse, often betrayed the politics of inclusion and exclusion in the City of Brotherly Love. As celebrations increasingly became city-wide endeavors, they served as a means to build communities, both real and imagined, and define civic identity based upon who was invited to participate and in what fashion. More often than not, African-Americans found themselves excluded from civic celebrations, beginning with the earliest Independence Day festivities and continuing into the 20th century. While individuals like prominent black sail maker James Forten criticized efforts to drive free African-Americans away from festivities at Independence Hall in 1813, public commemoration only grew more segregated along racial lines over time. In response, African-Americans largely resolved to celebrate their history and achievements in their own manner, though these efforts often did little to resolve both the political and racial conflicts underlying Philadelphia’s public observances.

By and large, the most significant African-American civic celebration in Philadelphia was the 1913 Emancipation Exposition, which marked the fiftieth anniversary of the Emancipation Proclamation. After Congressional support for a national exposition fell through, activists in Philadelphia received $95,000 in state funding for an exposition at the site of today’s Marconi Plaza at Broad Street and Oregon Avenue. Despite strong criticism from the white community and bureaucratic maneuvers over building permits, African-Americans organized an exposition site that included an Agricultural Hall, an Administration Building featuring an auditorium, dining room, and exhibit space, and an Amusement Building with concert and lecture halls. Crucially, the area in which African-Americans were permitted to stage the exposition was an Italian neighborhood to which they had no historical or contemporary connection and was also the southern-most limit of the city’s residential and commercial development at the time. Nonetheless, 5,000 visitors attended the Exposition’s opening Congress and other festivities throughout its run included an athletics festival and lectures about African-American progress and achievements. The Exposition also included a parade down Girard Avenue that drew an estimated crowd of 25,000 to 50,000 spectators.

The buildings at Broad Street and Oregon Avenue were subsequently demolished after the Exposition, which was largely forgotten and overshadowed by the Sesquicentennial festivities on the same site in 1926. However, inspired by the Exposition’s efforts to memorialize Emancipation as part of the legacy of the Civil War, Richard R. Wright Sr. created National Freedom Day in the 1940s to mark the day that President Lincoln signed the 13th Amendment prohibiting slavery into law.

In the latter half of the 20th century, the racial politics of civic celebrations were further exemplified by the Bicentennial festivities and the redevelopment projects that accompanied them. As far back as the 1950s, city officials conceived of the Bicentennial as Philadelphia’s emergence as a viable commercial center and tourist attraction as the city transitioned from its industrial past to a post-industrial future. Hoping to stem the tide of manufacturing losses and the middle-class exodus to the suburbs, reformist Democrats like Richardson Dilworth developed plans for a new transportation infrastructure, including the construction of the Vine Street and Crosstown expressways, multi-level parking garages, pedestrian walkways, and a downtown shopping plaza that would make Philadelphia the nerve center of the region. On the whole, these redevelopment plans favored the city’s central business district and largely neglected neighborhood housing, save for the revitalization of Society Hill. Benefiting from its close proximity to Independence Hall, which was undergoing its own redevelopment with the demolition of areas north of the site to make way for Independence Mall, Society Hill was aesthetically transformed into a historically rich environment of luxury apartments and green spaces. Under the direction of planner Edmund Bacon, other redevelopment projects included the revitalization of spaces along the Delaware River, Walnut and Market Streets, and the area between City Hall and the Ben Franklin Parkway, all culturally rich and historic areas through which Philadelphia would be defined.

To critics, redevelopment favored the white middle-class at the expense of African-Americans and other minorities, many of whom were forced out of neighborhoods like Society Hill either by demolition or rising housing costs. To activists like Milton Street, the Bicentennial celebrations, which would be staged in the revitalized Center City district, embodied these injustices and provided a focal point for protest. While Bicentennial planners envisioned a combined international exposition and patriotic spectacle that showcased the downtown area, Street organized a counter-Bicentennial called “People’s ‘76” that would take place in city neighborhoods and emphasize popular participation in the Revolution. Ultimately, neither side’s plans were fully executed, as the idea for an international exposition was scrapped for lack of a feasible site and “People’s ‘76” faltered due to lack of funding and participation. By default, the theme of the city Bicentennial was family entertainment, with a July 4th parade featuring high school bands and cheerleaders and a 50,000 pound, five-story birthday cake at Memorial Hall baked by the Sara Lee Company. For their part, “People’s ‘76” did stage a competing parade on July 4th, which included African-Americans, Native Americans and Puerto Rican nationalists among others and ran through North Philadelphia to highlight its blighted manufacturing and residential districts.

Ultimately, the Bicentennial concentrated and intensified opposition to the city’s redevelopment projects and protests continued in the coming decades under the leadership of Milton Street. From the early days of the new nation to the 20th century, Philadelphia’s civic celebrations were invested with political and social significance that extended far beyond the day’s events and offer fascinating portraits of Philadelphia throughout its history.

References:

Andrew Feffer, “Show Down in Center City: Staging Redevelopment and Citizenship in Bicentennial Philadelphia, 1974-1977,” Journal of Urban History, vol. 30, no. 6 (September 2004): 791-825.

Charlene Mires, “Race, Place, and the Pennsylvania Emancipation Exposition of 1913,” Pennsylvania Magazine of History and Biography, vol. 128, no. 3 (July 2004): 257-278.

Gary B. Nash, First City: Philadelphia and the Forging of Historical Memory (Philadelphia, PA: University of Pennsylvania Press, 2006).

Edwin Wolf, Philadelphia: Portrait of an American City (Philadelphia, PA: The Library Company of Philadelphia, 1990).