Fredrick Douglass was born into slavery in 1818. At the age of 10 he was given to the Auld family.

As a child, he worked as a house slave and was able to learn to read and write, and he attempted to teach his fellow slaves the same skills.

At the age of 15, he was given to Thomas Auld, a cruel man who beat and starved his slaves and thwarted any opportunity for them to practice their faith or to learn to read or write.


At the age of 20, after five years of working as a field hand, Douglass summed up the courage to run away. Armed with fake papers and a sailor-suit disguise, he escaped to the north with the help of Anne Murray, an emancipated woman who lived in Baltimore.

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He settled in New Bedford in 1838 with his new wife Anne and began to share his story at abolitionist meetings and became a regular lecturer on the topic of slavery.

At the urging of abolitionist William Llyod Garrison, Douglass would write his first autobiography “Narrative of the Life of Frederick Douglass, an American Slave,” in 1845 and it would go on to become a bestseller in America and Europe.

In 1848, on the tenth anniversary of his enslavement, he wrote a letter to his former master, Thomas Auld, that was published in his newspaper “The North Star.”

The letter is a beautifully written, harsh rebuke of both Auld and the institution of slavery. In the letter he speaks out about equality, the horrors of slavery, and asks Auld about the family members that he left back on the Auld estate.

The letter begins with Douglas refusing to write harsh words about his former master, but clearly letting him know how he feels.

“…I will not therefore manifest ill temper, by calling you hard names. I know you to be a man of some intelligence, and can readily determine the precise estimate which I entertain of your character. I may therefore indulge in language which may seem to others indirect and ambiguous, and yet be quite well understood by yourself.”

He confessed to Auld the fear he felt the morning he ran away.

The hopes which I had treasured up for weeks of a safe and successful escape from your grasp, were powerfully confronted at this last hour by dark clouds of doubt and fear, making my person shake and my bosom to heave with the heavy contest between hope and fear. I have no words to describe to you the deep agony of soul which I experienced on that never-to-be-forgotten morning — for I left by daylight. I was making a leap in the dark.

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Douglass began to question his enslavement at a young age.

The very first mental effort that I now remember on my part, was an attempt to solve the mystery — why am I a slave? and with this question my youthful mind was troubled for many days, pressing upon me more heavily at times than others. When I saw the slave-driver whip a slave-woman, cut the blood out of her neck, and heard her piteous cries, I went away into the corner of the fence, wept and pondered over the mystery. I had, through some medium, I know not what, got some idea of God, the Creator of all mankind, the black and the white, and that he had made the blacks to serve the whites as slaves. How he could do this and be good, I could not tell. I was not satisfied with this theory, which made God responsible for slavery, for it pained me greatly, and I have wept over it long and often.

Then he realized why …

I was puzzled with this question, till one night while sitting in the kitchen, I heard some of the old slaves talking of their parents having been stolen from Africa by white men, and were sold here as slaves. The whole mystery was solved at once.

He told Auld that his decision to run away was based on the fact that, as a black man, he was equal to him and needn’t be subservient. A revolutionary claim to make in 1855.

I am myself; you are yourself; we are two distinct persons, equal persons. What you are, I am. You are a man, and so am I. God created both, and made us separate beings. I am not by nature bond to you, or you to me. Nature does not make your existence depend upon me, or mine to depend upon yours. I cannot walk upon your legs, or you upon mine. I cannot breathe for you, or you for me; I must breathe for myself, and you for yourself. We are distinct persons, and are each equally provided with faculties necessary to our individual existence. In leaving you, I took nothing but what belonged to me, and in no way lessened your means for obtaining an honest living. Your faculties remained yours, and mine became useful to their rightful owner.

He shared the joy he felt making his first dollar as a free man.

Three out of the ten years since I left you, I spent as a common laborer on the wharves of New Bedford, Massachusetts. It was there I earned my first free dollar. It was mine. I could spend it as I pleased. I could buy hams or herring with it, without asking any odds of anybody. That was a precious dollar to me. You remember when I used to make seven, or eight, or even nine dollars a week in Baltimore, you would take every cent of it from me every Saturday night, saying that I belonged to you, and my earnings also. I never liked this conduct on your part—to say the best, I thought it a little mean. I would not have served you so.

Douglas soon began to work for Garrison who encouraged him to speak out about the horrors of slavery, including those inflicted on him by Auld.

After remaining in New Bedford for three years, I met with William Lloyd Garrison, a person of whom you have possibly heard, as he is pretty generally known among slaveholders. He put it into my head that I might make myself serviceable to the cause of the slave, by devoting a portion of my time to telling my own sorrows, and those of other slaves, which had come under my observation. This was the commencement of a higher state of existence than any to which I had ever aspired. I was thrown into society the most pure, enlightened, and benevolent, that the country affords. Among these I have never forgotten you, but have invariably made you the topic of conversation — thus giving you all the notoriety I could do. I need not tell you that the opinion formed of you in these circles is far from being favorable. They have little respect for your honesty, and less for your religion.

After having his own children, the terror of slavery seemed to intensify in Douglas’ eyes.

There are no slaveholders here to rend my heart by snatching them from my arms, or blast a mother’s dearest hopes by tearing them from her bosom. These dear children are ours — not to work up into rice, sugar, and tobacco, but to watch over, regard, and protect, and to rear them up in the nurture and admonition of the gospel — to train them up in the paths of wisdom and virtue, and, as far as we can, to make them useful to the world and to themselves. Oh! sir, a slaveholder never appears to me so completely an agent of hell, as when I think of and look upon my dear children. It is then that my feelings rise above my control.

He then asks Auld if he still owns his three sisters and grandmother.

If my grandmother be still alive, she is of no service to you, for by this time she must be nearly eighty years old — too old to be cared for by one to whom she has ceased to be of service; send her to me at Rochester, or bring her to Philadelphia, and it shall be the crowning happiness of my life to take care of her in her old age. Oh! she was to me a mother and a father, so far as hard toil for my comfort could make her such. Send me my grandmother! that I may watch over and take care of her in her old age.

In the most provocative part of the latter, Douglass asks Auld what if would be like for him if the tables had been turned.

How, let me ask, would you look upon me, were I, some dark night, in company with a band of hardened villains, to enter the precincts of your elegant dwelling, and seize the person of your own lovely daughter, Amanda, and carry her off from your family, friends, and all the loved ones of her youth — make her my slave — compel her to work, and I take her wages — place her name on my ledger as property — disregard her personal rights — fetter the powers of her immortal soul by denying her the right and privilege of learning to read and write—feed her coarsely—clothe her scantily, and whip her on the naked back occasionally; more, and still more horrible, leave her unprotected — a degraded victim to the brutal lust of fiendish overseers, who would pollute, blight, and blast her fair soul—rob her of all dignity — destroy her virtue, and annihilate in her person all the graces that adorn the character of virtuous womanhood? I ask, how would you regard me, if such were my conduct?

He concludes the letter by telling Auld he will use his experience as his slave to attack the institution itself.

I intend to make use of you as a weapon with which to assail the system of slavery—as a means of concentrating public attention on the system, and deepening the horror of trafficking in the souls and bodies of men. … In doing this, I entertain no malice toward you personally. There is no roof under which you would be more safe than mine, and there is nothing in my house which you might need for your comfort, which I would not readily grant. Indeed, I should esteem it a privilege to set you an example as to how mankind ought to treat each other.

I am your fellow-man, but not your slave.

Frederick Douglass

You can read the entire letter here.

Douglass would later learn that when his grandmother was deemed too old to work, she was given to another owner and was eventually “turned out” or sent to live by herself in a hut in the woods.

In 1877, 14 years after the emancipation proclamation, Douglass met with an aging Auld and they could’t hold back the tears. After the meeting, the two parted as friends.

“Frederick,” said Auld, “I always knew you were too smart to be a slave, and had I been in your place, I should have done as you did.”

“I did not run away from you,” Douglass replied. “I ran away from slavery.”

  • The church fathers of early Christianity are showing their swag – on TikTok
    Photo credit: Holger Uwe Schmitt/Wikimedia Commons, CC BY-SASt. Paul is one of the many Christian figures whose paintings have made an appearance.

    It begins with the music: a late 1990s rap song. Then someone appears on screen, moving slowly into a pose that can only be called deeply, theatrically serious. Then comes the reveal: The video fades from the person into a medieval painting of a haloed man doing almost the exact same pose.

    Videos imitating “church fathers,” bishops and theologians who helped shape early Christianity have been popping up across social media since late 2025. Several versions have drawn hundreds of thousands of views.

    In part, they’re funny because of the incongruity: hoodies, bedrooms and phone cameras, suddenly paired with the solemn authority of saints. As an art historian who studies Christian images, I know that these types of paintings were carefully made to communicate holiness through visual cues like books, clothing, gestures and posture.

    But the humor also comes from how current they feel. These paintings may be centuries old, but the visual language is timeless. The raised hand, the open book, the severe gaze – they all communicate power. On TikTok or Instagram, a gesture once used to symbolize doctrine or wisdom starts to look like confidence, coolness, even swagger. The captions say as much: “They had swag fr,” one reads – for real.

    When the trend crossed my feed, I had to try it. What better way to show how these images work than by stepping into the pose?

    Church fathers

    Church fathers” were not “founders” in the simple sense, but foundational authorities: figures whose writings later Christians returned to when debating central questions about doctrine, scripture and religious life.

    Today’s social media trend uses the term more loosely. In addition to early Christian authors, many of the videos show later saints, monks, bishops and theologians, especially from Eastern Orthodox traditions. Online, “church father” becomes shorthand for religious authority itself.

    The paintings circulating online range from Eastern Orthodox icons to Western European Renaissance and Baroque paintings. In most cases, they were made long after the saints had died, so they don’t document what the men actually looked like.

    Instead, this style of art was meant to inspire awe, surrounding worshippers with a sense of religious authority. The saints’ books, rich vestments and formal poses were visible signs of holiness, symbolizing their learning, discipline and eloquence. Such images did not merely decorate sacred spaces; they taught viewers what closeness to divine truth – saintliness itself – could look like.

    Man of books and learning

    Several of the videos show Athanasius of Alexandria, a fourth-century bishop and theologian traditionally considered one of the church fathers.

    Painted by the Italian painter Domenichino in the 17th century, Athanasius stands in “contrapposto,” a pose inherited from classical art and common in Renaissance and Baroque painting. He leans back with his left shoulder, causing the right side of his body to project outward toward the viewer. The saint is dressed in a rich damask dalmatic – a long, wide-sleeved robe – over a white silk tunic.

    A bearded figure in an orange and brown robe gestures toward a large open book that he holds in one hand.
    An image of Athanasius by the 17th-century Italian artist Domenichino on the walls of the Santa Maria di Grottaferrata monastery outside Rome. The Web Gallery of Art

    Athanasius’ shifting stance and sweeping vestments create drama. They also direct attention to the open book he holds in one hand and points to with the other – a reminder of his place among the great teachers of the church. In religious art, books are not just props. They help the viewer recognize the figure as someone whose words matter.

    The Greek text on the page begins with the words “Whoever wishes to be saved”: the opening of the Athanasian Creed, a statement of Christian doctrine long associated with Athanasius. In the fourth century, he became famous for defending the idea that Christ was fully divine, a fiercely debated issue at the time.

    TikTokers recreating Athanasius’ pose today use a Bible or another thick volume, wielding the book with as much swagger as the saint himself.

    They lose the luxurious vestments, trading Athanasius’ sumptuous robes for hoodies and jeans. Yet their captions recognize the force of the look: Church fathers “knew the fit was hard,” one video says. The language is modern, but the point is old: Clothing, books and posture make authority visible.

    Charged with meaning

    Another star in the videos is Gregory Palamas, a 14th-century Byzantine theologian and Orthodox saint – and he presents another type of authority altogether.

    Palamas is best known for defending Hesychasm, a mystical tradition in the Orthodox Church that joins repeated prayer with contemplation. He represented holy power grounded not only in learning, but also in spiritual practice.

    An icon shows a brunette man with a long beard, wearing white robes and positioned against a gold backdrop.
    An icon of St. Gregory Palamas from the 15th century. Pushkin State Museum of Fine Arts via Wikimedia Commons

    Unlike Domenichino’s dramatic Athanasius, the painting of Palamas appears still and distant. He is not turning toward the viewer with theatrical movement, but formally facing outward, set against a plain gold background – a sacred figure, held outside ordinary time.

    Palamas’ image is an icon, a sacred image used in Orthodox Christian worship and devotion. The saint raises his hand in the Orthodox gesture of blessing, with his fingers forming the letters “IC XC,” a Greek abbreviation for Jesus Christ.

    In sacred art, hands are rarely idle. Christ and the Christ child often hold up their hands to bless the viewer. Mary and John the Baptist draw viewers’ attention to Christ through their gestures and sometimes their gaze. Saints lift their hands in prayer, teaching or intercession.

    To some viewers online, Palamas’ raised hand may simply look solemn or strange, charged with an unknown or mysterious meaning. But that gap in knowledge, I’d argue, is part of what makes the “church fathers” trend work. On social media, a hand gesture doesn’t need to be fully explained to feel meaningful: a slow point toward the camera, a hand over the heart, a peace sign.

    TikTokers today may be a great distance from the church fathers, but their images still resonate – even, and perhaps especially, on the internet.

    This article originally appeared on The Conversation. You can read it here.

  • Why Gen Z is falling in love with film photography
    Photo credit: Yasin Akgul/AFP via Getty ImagesChildren look at developed film in a darkroom during an analog photography workshop held in southeastern Turkey on June 14, 2026.
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    Why Gen Z is falling in love with film photography

    Analog cameras offer a slower, social antidote to digital life.

    Film photography is experiencing a resurrection, summoned by unlikely conjurers: Gen Z.

    It wasn’t too long ago that analog photography – which uses photographic film and chemical processing – was declared all but dead, relegated to the province of niche hobbyists and professional artists.

    Digital cameras had taken over nearly all areas of photographic production. Film industry titans like Polaroid and Kodak had shrunk dramatically from their heyday, becoming shells of their former selves. Darkrooms, where students learned how to manually develop and print film, shuttered at high schools and college campuses across the country, replaced by digital labs. For most people, the spirit of analog photography was mainly channeled through Instagram filters.

    But within the past five years, younger people have been increasingly drawn to the old way of doing photography.

    In 2025, 35% of the 42 million active film camera users worldwide were reported to be between the ages of 18 and 30. The year prior, online searches for analog photography saw a 41% rise.

    Disposable camera sales have been steadily increasing since 2023. The photography journal PetaPixel went a step further and announced 2024 as “film’s best year in decades,” as major brands have introduced new cameras in response to renewed demand and revived classic modelsMore than 30% of respondents to a 2024 Ilford Photo survey on film photography were in the 25-34 age group.

    As I’ve witnessed more and more of my undergraduate art and design students embrace analog photography, I’m not seeing this as a trend rooted in a nostalgic yearning for the past. Instead, I’m seeing it as young people rejecting algorithms, breaking free from the alienation of social media and reacting to childhoods spent on Zoom and TikTok – a deliberate move to redefine the future of art, social connection and engagement with the world.

    Pining for a ‘third place’

    In my work as a historian of photography and lecturer at the University of Southern California, I’ll often ask my students about how they take photos – whether they’re using digital cameras their smartphones or analog devices.

    This year, for the first time, some of my students discussed images they’d printed and the physical photography albums they’d put together of their friends and family. They talked about how they’d also been sending postcards, writing letters and tacking photographs to their bedroom walls.

    Young Black man wearing a black hat and black sweatshirt holds a small camera up to his eyes to snap a photograph.
    New York Knicks forward OG Anunoby snaps a photo with a disposable film camera during the team’s victory rally on June 18, 2026, after winning the NBA Finals. Craig T. Fruchtman/Getty Images

    I couldn’t help but think about how so much of the language tied to early social media seemed to refashion physical gestures for a virtual world – “posting” on a “wall,” “poking,” “tagging” and “bookmarking,” not to mention “friending.”

    This was a rhetorical move by social media companies, likely designed to help people feel as though they were in a familiar terrain of social connection. Yet the underlying business model of these platforms depended more on maximizing engagement and advertising revenue than on nurturing authentic relationships.

    Everyone knows what happened next: The more connected young people became online, the more isolated and detached they started to feel. The COVID-19 lockdown pushed social life online even further, and researchers are only now starting to see how the combination of increased screen time and isolation negatively affected adolescents’ mental health. By 2023, 51% of American teenagers reported they spend at least four hours a day on social media.

    I see the attraction of analog photography as a response to life lived through screens, a pathway toward community engagement and the desire for what sociologists call “a third place.”

    Coined by sociologist Ray Oldenburg in his 1989 book “The Great Good Place,” third places are meant as a space separate from home and work. They offer a reprieve for the in-between, generating the conditions needed for creative cross-pollination. They might include a local cafe, a neighborhood writing group, a weekly Magic: The Gathering game or a college fraternity – any space that allows for social interaction and personal growth.

    These spaces also combat loneliness. They get people out of their heads and into a community. Oldenburg also referred to them as “havens of sociability,” places or gatherings where people can arrive alone to join others, and the atmosphere is “democratic and festive.”

    Analog communities IRL

    In April 2026, the inaugural AnalogCon took place in Los Angeles. Organized by the Los Angeles Center of Photography, where I serve as executive director and chief curator, it was a festival for all things analog photography. It didn’t just serve as a third place for photography enthusiasts; it also showed how analog photography – as a practice, ritual and community – is flourishing.

    Vendors, industry leaders, artists and teachers participated in the two-day event, which included exhibitions, panels, demonstrations and guided photography tours around Little Tokyo. The excitement and thirst for similar events was palpable.

    Photography now joins a broader trend of a generational preoccupation with physical cultural objects and media. Although music streaming represents 82% of revenues generated in the music industry, vinyl records sales have been rising for over a decade, crossing the US$1 billion threshold in the U.S. in 2025.

    A table featuring an array of camera equipment spanning different eras, with hands holding some of the objects.
    Customers peruse vintage film cameras at a stall on Brick Lane in London’s East End on June 14, 2026. Richard Baker/In Pictures via Getty Images

    Nearly 60% of Gen Z are now purchasing records. VHS tapes and VCR players are also making a strange comeback, with stores like Be Kind Video and Videotheque in California offering VHS, DVDs and Blu-ray rentals.

    But beyond that, record stores and video rental shops have become third places in their own right. There’s a big difference between selecting a film to stream from your bed and getting out of the house, going to a store and talking about movies with a clerk and fellow film enthusiasts.

    Think about the sound a tape cassette makes when you open and close it, or the vibrant graphics on the covers of DVDs or VHS tapes. Think about rewinding or making a mixtape for your recent crush. These are objects of belonging that signal specific cultural moments, rituals and aesthetics, and many young people today are starting to experience them for the first time.

    Now, think about gently inserting a roll of film into a camera. Think about choosing an angle carefully when snapping a photo, because the number of frames is limited and you want to make them count. Think about the thrill of discovery when the pictures finally emerge as objects on paper.

    To me, these are more than fleeting trends. They signal a push against a digital culture that is designed to cultivate envy and reward outrage, insults and humiliation.

    Instead, armed with rolls of film, more and more Gen Zers appear to be opting out of their algorithmic feeds in favor of experiencing life in ways that feel more deliberate, personal and tangible.

    This article originally appeared on The Conversation. You can read it here.

  • As Route 66 turns 100, what is it that we’re actually celebrating?
    Photo credit: Heather Diehl/Getty ImagesA stretch of Route 66 in Albuquerque, N.M., pictured on June 7, 2026. Towns and cities located along the highway are gearing up to celebrate the iconic road’s centennial.
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    As Route 66 turns 100, what is it that we’re actually celebrating?

    The Mother Road’s milestone comes with a complicated legacy

    Working in concert, the American Association of State Highway Officials and the Bureau of Public Roads adopted a uniform highway numbering system and corresponding map on November 11, 1926. The numbering system and map replaced the confusing patchwork of highways and trails, like the Lincoln Highway or the Old Trails Road, with an official network of numbered highways sanctioned by federal and state highway authorities.

    Since then, a small group of these highways have attained the status of cultural icon. There’s Route 1, which snakes all the way from Maine to Florida. Route 101 is celebrated for its majestic views of the Pacific Ocean, while Route 6 was immortalized in “On the Road,” Jack Kerouac’s classic novel.

    The most famous, though, is arguably Route 66, nicknamed the “Main Street of America” and the “Mother Road.”

    Yet as the towns that dot the highway prepare to celebrate its centennial, I’ve found myself wondering what it is, exactly, that’s being celebrated.

    As a historian of Route 66, I’ve written about how there are really two versions of this 2,448-mile (3,940-kilometer) stretch of pavement.

    There’s the actual highway, which reflected the 20th-century expansion of the nation’s infrastructure. Then there’s the mythic highway – a cultural icon imbued with nostalgia for a specific, 20th-century idea of romance, adventure, freedom and the American West.

    There was almost no 66

    As state highway commissioners in the 1920s wrangled over the specifics of the nation’s new highway system, they prized highway numbers that ended in zero, since they indicated a cross-country route. The thinking went that these routes would get the most traffic and, with it, the most business.

    Oklahoma State Highway Commissioner Cyrus Avery had been a big booster for a Chicago-to-Los Angeles road in order to juice highway traffic through the Midwest. He suggested calling it Route 60, claiming a coveted cross-country number.

    But commissioners from Kentucky and Virginia objected, noting that Avery’s proposed road didn’t go from coast to coast. As an alternative, they suggested 62. Avery countered with a number that he thought had a better ring to it: 66.

    With the numbering controversy settled, the map of America’s first highway system was approved. But another 12 years would pass before Route 66 was fully built out, making it the first U.S. highway to be paved end to end.

    A map of the southwestern United States with a web of highways marked in red.
    In this detail of the official highway system map adopted in 1926, Route 66 winds through New Mexico and Arizona before ending in Southern California. United States Geological Survey/Wikimedia Commons

    Adventure, redemption and reinvention

    While it took over a decade for the full, physical stretch of road to be completed, the making of the Route 66 myth began almost immediately.

    Construction of the road had barely begun when Avery, John T. Woodruff and other prominent civic leaders along the highway’s path convened in January 1927 to form the U.S. Highway 66 Association to promote travel along the route.

    The association began advertising Route 66 as the best West Coast travel route and even trademarked a slogan for the road, “The Main Street of America.” The association also sponsored spectacles like the Trans-American Footrace to help publicize Route 66.

    The race, which started on March 4, 1928, in Los Angeles, received widespread media coverage. Reporters breathtakingly described the epic struggles of the racers, coupled with vivid descriptions of the Southwest landscape. The effect was a marriage of Route 66 to ideas of adventure and romance in America’s collective subconscious.

    During the Great Depression and Dust Bowl years, thousands of migrants from the Great Plains and Midwest traveled west along Route 66, hoping to rebuild their lives in California.

    Author John Steinbeck dubbed Route 66 the “Mother Road” in “The Grapes of Wrath,” likening it to an umbilical cord that delivered Oakie refugees fleeing the Dust Bowl in the Oklahoma Panhandle to a new life in California. Working for the New Deal-era Farm Security Administration, photographer Dorothea Lange documented the same Oakies fictionalized by Steinbeck. Her 1938 photograph “Family on the Road” captured a husband, wife and their two young children hitchhiking on Route 66 near Weatherford, Oklahoma, after losing their farm.

    Black-and-white photo of an old car hauling a trailer of belongings along a dusty stretch of highway.
    For families devastated by the Great Depression and the Dust Bowl, Route 66 served as a conduit for redemption and reinvention, inspiring author John Steinbeck to call it ‘The Mother Road.’ Bettmann/Getty Images

    Together, Steinbeck and Lange helped imbue Route 66 with new layers of meaning tied to loss and redemption. Then, after World War II, Route 66 came to mythologize the postwar boom.

    Bobby Troup’s 1946 song “(Get Your Kicks) on Route 66,” first recorded by the Nat King Cole Trio, cast the road as a postwar rite of passage. Millions of Americans went on to take family vacations to the American Southwest via Route 66, staying at roadside mom-and-pop motels, grabbing burgers at neon-lit diners and posing beside oversized roadside landmarks.

    Myth versus reality

    But the iconic imagery and myths of Route 66 are often at odds with the reality of the road.

    I’ve come to see Troup’s song as encapsulating the tension between these two versions of Route 66.

    In 1946, when Nat King Cole recorded “(Get Your Kicks on) Route 66,” Cole and his band were unable to get their own “kicks” on Route 66. That’s because few businesses located along Route 66 were willing to serve them. Jim Crow-era copies of the Green Book – a directory of businesses that would accommodate Black road trippers – show just how few options there were.

    Faded sign featuring a Route 66 highway logo and the text 'Get Your Kicks.'
    ‘(Get Your Kicks on)’ Route 66’ helped immortalize the highway in American culture. Al Drago/Getty Images

    It would take passage of the Civil Rights Act of 1964 – and subsequent enforcement efforts by the Justice Department – for the travel amenities and services along Route 66 to be equally available to all Americans, regardless of their race.

    Yet by the time the highway’s motels, diners, auto repair shops and gas stations were open to all travelers, Route 66’s downturn had already begun.

    The 1956 Federal Aid Highway Act turbocharged the construction of new, limited-access interstate highways. These new postwar highways prioritized fast travel between major cities and their suburbs, where Americans were flocking to in large numbers.

    Fast travel, however, came at the expense of small towns bypassed by the new highways, depriving many Route 66 businesses of the customers they needed to survive.

    In contrast to older mom-and-pop businesses, national corporate chain motels, restaurants and gas stations dominated the new interstate highway exits. Rather than risk exposing themselves to Justice Department Civil Rights scrutiny, they made it known that they welcomed all travelers, further enticing drivers away from older establishments.

    Now, as Route 66 turns 100, there’s a gap between how the road is remembered by some and how it functioned for most. Free and easy travel on the road and “getting your kicks” were limited to white Americans. Much of Route 66’s iconography emerged from early highway association marketing efforts aimed at white Americans. Few African American or Latino travelers likely feel the same nostalgia.

    Today, a lot of Route 66 nostalgia has a “back to the 1950s” vibe that celebrates pre-Civil Rights America as a purer, simpler, more authentic era. This faux-authentic America better reflects the place some Americans today wish they could live in – a less complicated, less diverse land of adventure, romance and opportunity, rather than the nuanced, complicated America they actually inhabit today.

    A roadside motel at dusk with a vintage car parked in the lot and a large blue and pink neon sign reading 'Blue Swallow Motel.'
    Oversized neon signs, like at this Route 66 motel, enticed weary drivers to stop and stay, but these establishments were not available to all travelers. Al Drago/Getty Images

    This article originally appeared on The Conversation. You can read it here.

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