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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

Satin gown worn by Marian Anderson and Denyce Graves

Date
mid 20th century; altered 2009
Designed by
Barbara Karinska, Ukrainian, 1886 - 1983
Worn by
Marian Anderson, American, 1897 - 1993
Denyce Graves, American, born 1964
Description
This pale bronze gown was designed by Barbara Karinska and worn by Marian Anderson, then later altered and worn by Denyce Graves. The gown is made from slubbed silk satin and has a fitted sleeveless bodice with a natural waistline and a full skirt with a slight train. Portions of a cream and metallic gold floral lace are cut and sewn to the bodice around the scoop neckline, along the shoulder straps, and around the waist side seams. The gown closes at the center back with a metal zipper that extends below the waist and one (1) metal hook-and-eye at the top of the zipper.
The bodice of the dress is lined with an undyed cotton. The interior neckline and shoulder straps are lined with a light brown synthetic fabric, likely an alteration for Graves. The skirt is fully lined in a cream silk faille. A cream fabric label with black woven and handwritten text is sewn at the interior center front waist that reads "KARINSKA / 112 WEST 44TH ST. NEW YORK / Name_______ / Act [handwritten] ANDERSON / Scene_________".
Topic
African American
Clothing and dress
Costume design
Design
Opera (Music)
Singers (Musicians)
See more items in
National Museum of African American History and Culture Collection
Classification
Clothing - Costume
Exhibition
Musical Crossroads
On View
NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Denyce Graves
Data Source
National Museum of African American History and Culture
Object number
2012.49.1
Type
gowns
Restrictions & Rights
No Known Copyright Restrictions
Proper usage is the responsibility of the user.
Medium
silk satin, silk faille, cotton, synthetic fiber, synthetic and metallic lace, and metal fasteners
Dimensions
H x W: 69 x 31 in. (175.3 x 78.7 cm)
Title
Object Name • Satin gown worn by Marian Anderson and Denyce Graves
Record ID
nmaahc_2012.49.1
Museum
NMAAHC
Title Sort
SATIN GOWN WORN BY MARIAN ANDERSON AND DENYCE GRAVES
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1930s • 1990s
Name
Anderson, Marian • Graves, Denyce • Karinska, Barbara
Topic
Design • Opera (Music) • Costume • Clothing and dress • Singers (Musicians)
Culture
African Americans
Exhibition
NMAAHC • Musical Crossroads
Type
Dresses (garments)
On Physical Exhibit
Yes
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

Satin gown worn by Marian Anderson and Denyce Graves

Date: Date

Description

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NMAAHC

Photograph of Denyce Graves wearing a Donna Langman designed dress for "Carmen"

Date: Date

Description

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NMAAHC

Fabric fragments from a dress worn by Marian Anderson altered for Denyce Graves

Date: Date

Description

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NMAAHC

Black Enterprise, Volume 20, No. 9

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

Which heavyweight champion was known as the “Brown Bomber”?

Joe Louis.