On July 20, 1969, Americans from all walks of life gathered around television sets to witness a truly remarkable event. Broadcast live to half a billion people, Commander Neil Armstrong stepped down from the lunar lander onto the surface of the moon at 10:56 p.m. EDT and uttered his iconic phrase, “That’s one small step for man, one giant leap for mankind.” Outer space has long captured the popular imagination, fascinating people of all ages and backgrounds, including Members of Congress.
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For his maiden speech in the 69th Congress (1925–1927), Representative Robert Alexis “Lex” Green, as he was known, chose to take on his own party, arguing against an inheritance tax that would affect his aging Florida constituents. House Democratic leaders responded to his impudence by assigning him to the most “prosaic” of committees: the Committee on Disposition of Useless Executive Papers.
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In 1994, an Appropriations Committee staffer discovered an old wooden trunk tucked away in the attic of the Cannon House Office Building. The trunk, it turned out, contained letters older than the building itself and belonged to none other than the powerful Speaker of the House, Joe Cannon.
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Art on February 6, 2019
In October 1951, every Member of the House of Representatives and the Senate received an unusual petition in the mail from an artist named Thomas Hart Benton.
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Fifty years ago this month, Shirley Chisholm, the charismatic and outspoken Brooklyn educator and politician, made history when she became the first African-American woman to serve in Congress. Small in stature, but with a larger-than-life persona, “Fighting Shirley” was a tireless advocate for her constituents, quotable and stylish and unyielding. Chisholm encapsulated the resolve of the civil rights movement of the 1960s and brought national attention to the issues she championed.
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Art on November 9, 2018
For our second blog post highlighting military veteran-artists in the House Collection of Art and Artifacts, we look back to the 19th century, at the careers of two Civil War soldiers.
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Newspapers called it “the battle of the portraits.” As many as 16 artists entered the fray of the late Speaker Henry Rainey’s official portrait commission, a tradition in the House of Representatives.
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On December 7, 1941, the Japanese military attacked the U.S. naval base at Pearl Harbor, Hawaii, pulling America into World War II. On February 13, 1942, referencing the presence of Japanese Americans and immigrants living on the West Coast, the congressional delegation from those states called for a policy that became one of the darkest chapters in American history: the forced imprisonment and internment of 120,000 Japanese Americans.
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Since the 1st Congress (1789–1791) the House has organized into committees in order to more thoroughly consider pending legislation and to allow Members to specialize in certain legislative areas.
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For his entire adult life, Walter F. Brown dutifully climbed the career ladder in Toledo, Ohio, building a law firm, running businesses, and branching out into Republican politics at the state and local level. In 1920, he even ran for a seat in the U.S. Senate, only to lose in the GOP primary. It was a comfortable, fully successful life, but unremarkable in the sense that an untold number of men like Walter F. Brown lived in an untold number of American towns like Toledo.
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Laughter flooded the House Chamber, rising from both sides of the floor and cascading down from the crowded galleries. Atop the marble rostrum Speaker Joseph G. Cannon of Illinois, looking to regain order, banged his gavel so hard that he cracked the top of his desk. The cause of this ruckus stood frozen at the chamber’s entrance looking bewildered and embarrassed—a House Doorkeeper and a White House clerk who had just interrupted debate with an announcement from President Theodore Roosevelt.
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In 1884, Native American activist, author, and educator Sarah Winnemucca sent a petition to Congress for the Paiute Indians to be restored to the Malheur Reservation in southern Oregon. Unlike many appeals addressed to Congress in the late 1800s, and particularly unlike those written by women, the tone of Winnemucca’s petition is one of righteous demand rather than supplication.
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