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GREENWOOD / BLACK WALL STREET WILMINGTON 1898 LITTLE ROCK NINE TUSKEGEE STUDY ROSEWOOD 1923 THE TUSKEGEE AIRMEN SENECA VILLAGE BLACK TOWNS GREENWOOD / BLACK WALL STREET WILMINGTON 1898 LITTLE ROCK NINE TUSKEGEE STUDY ROSEWOOD 1923 THE TUSKEGEE AIRMEN SENECA VILLAGE BLACK TOWNS
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MY'STORY

The MOVE Fire

This is a personal recollection on the Move fire on May 13, 1985 Philadelphia police fired thousands of rounds at the MOVE house, city officials approved dropping an explosive device on the roof, the resulting fire was allowed to burn, 11 people—including five children—died, and 61 homes were destroyed. Philadelphia City Council later called it a “brutal attack carried out by the City of Philadelphia on its own citizens” and acknowledged that no individual faced criminal consequences for the bombing. One timeline correction worth preserving for the BHP record: the major previous MOVE-police confrontation was August 8, 1978, about seven years before the bombing, not a year or two earlier. Officer James Ramp was killed, other police and firefighters were wounded, nine MOVE members were later convicted, and television cameras recorded police beating Delbert Africa during his arrest. The 1985 MOVE Commission later specifically criticized city planners for failing to adequately use lessons from that 1978 confrontation. And that actually strengthens the point you’re making: 1985 did not happen without precedent or institutional memory. There had already been a deadly confrontation with MOVE, years of conflict, negotiations and police involvement before Osage Avenue.

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BLACK FACTS
The Truths They Never Taught You...

Wilmington 1898 — An American Coup

Wilmington, North Carolina once had a thriving Black middle class and an elected interracial government. In 1898 white supremacists used violence to overthrow that government, kill Black residents and drive many others from the city.

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BHP gathered finds from its connected research sources. Showing the 4 strongest Black History matches.
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NMAAHC

Reproduction of evening bodice and skirt made by Elizabeth Keckley

Date
20th century
Created by
Fredsapp, American
Subject of
Black Fashion Museum, American, 1979 - 2007
Elizabeth Keckly, American, 1818 - 1907
Description
This is a reproduction of an evening bodice and skirt made by Elizabeth Keckly for First Lady Mary Lincoln. The original garment is in the First Ladies Collection at the Smithsonian National Museum of American History.
The bodice (a) features a v-neckline that is trimmed with maroon synthetic lace. It is slightly off the shoulder with a Bertha collar with three layers of lace. Under the layer of synthetic maroon lace, is a layer of black lace, and then a layer of white lace. The white machine lace is composed of two pieces of lace that have been sewn together to make a wider band. The black and white lace has been hand gathered and then sewn under the marron lace trim. The front of the bodice is composed of four panels of purple synthetic velvet fabric. White satin piping separates each panel of purple velvet, creating a center front seam and a princess seam. White satin piping is also sewn along the Basque waistline. The sleeves are made from one panel of purple velveteen that are seamed together at the underarm. Each sleeve features a layer of white machine lace around the upper arm. Black machine lace and white machine lace have been hand gathered and sewn to the inside of the sleeve.
The back of the bodice closes with three sets of metal hook and eye closures at the center back. Below the hook and eye closures is a 10” metal zipper that is machine stitched on the proper right side of the bodice and hand stitched on the proper left side. Four panels of purple velveteen make up the back of the bust – two center back panels and two side panels. Each panel is separated by a line of white satin piping, creating a center back seam and princess seam. The inside of the bodice is lined with four panels of lavender synthetic lining. There are four darts in total – two bust darts and two back darts. A white fabric label is machine stitched to the interior lining of the bust. The label reads [FREDSAPP] in black text.
The skirt (b) is composed of nine panels of purple velveteen fabric that have been hand gathered and machine sewn to 2.75” waistband. Four front panels, two side panels, and three back skirt panels are all separated with white satin piping, which also trims the skirt hem. The back of the skirt closes with two sets of flat metal hook and eyes that are handsewn to the waistband. An 8” plastic zipper with a metal pull bisects the center back of the skirt. It is hand stitched on the proper left and machine stitched to the proper right.
A white fabric label machine stitched to the proper back interior waistband reads [FREDSAPP] in black text. There is an interior skirt made from seven panels of lavender lining, machine stitched together with raw edges and the seams pressed open. Two hanging tabs made from lavender synthetic lining are on either side of the interior waist of the skirt. A 2” band of synthetic horsehair material is sewn to skirt hem at the inside.
Cataloging Notes
This project received Federal support from the Smithsonian American Women’s History Initiative Pool, administered by the Smithsonian American Women’s History Museum.
Topic
African American
Clothing and dress
Fashion
U.S. History, Civil War, 1861-1865
See more items in
National Museum of African American History and Culture Collection
Collection title
Black Fashion Museum Collection
Classification
Clothing - Fashion and Historical
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane
Data Source
National Museum of African American History and Culture
Object number
2007.3.640ab
Type
bodices
skirts
Restrictions & Rights
No known copyright restrictions
Proper usage is the responsibility of the user.
Medium
synthetic velveteen, satin piping, synthetic lace, synthethic faille lining, horsehair, and metal
Dimensions
a: Bust 38 in., Waist 31 in., Length 18.5 in., Hem 36 in.
b: Waist 28.25 in., Front Length 44 in., Back Length 58 in., Hem 197 in.
Title
Object Name • Reproduction of evening bodice and skirt made by Elizabeth Keckley
Record ID
nmaahc_2007.3.640ab
Museum
NMAAHC
Title Sort
REPRODUCTION OF EVENING BODICE AND SKIRT MADE BY ELIZABETH KECKLEY
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2000s • 1900s
Name
Fredsapp • Keckly, Elizabeth • Black Fashion Museum
Topic
U.S. History, Civil War, 1861-1865 • Clothing and dress • Fashion
Culture
African Americans
Type
Bodices • Skirts (garments)
Online Media Type
Images
Online Media Rights
No Known Copyright Restrictions

Media

Source: National Museum of African American History and Culture, Smithsonian Institution. Rights and restrictions shown above are supplied by the Smithsonian record.

NMAAHC

Carte-de-visite of Hubert Gideon Welles in outfit sewn by Elizabeth Keckly

Date: Date

Description

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NMAAHC

Cabinet card of Mary Jane Hale Welles in a funeral dress by Elizabeth Keckly

Date: Date

Caption

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NMAAHC

Pair of stars and stripes slippers attributed to Elizabeth Keckly

Date: Date

Description

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NMAAHC

Reproduction of evening bodice and skirt made by Elizabeth Keckley

Date: Date

Description

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TOPIC OF THE DAY

Greenwood / Black Wall Street

Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.

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TRIVIA QUESTION OF THE DAY

What prosperous Tulsa district became widely known as “Black Wall Street”?

The Greenwood District.