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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...

Ruler of the Mali Empire in the 14th century

Mansa Musa was the ruler of the Mali Empire in West Africa. Details recorded here should be sourced; unknown information is left blank.

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

Cream lace wedding gown with corded floral motifs

Date
1895
Attributed to
Annie Hauer, American
Subject of
Black Fashion Museum, American, 1979 - 2007
Description
A cream lace wedding gown with corded floral motifs created by Annie Hauer in 1895. The bodice (a) is made of cotton point d'esprit lace and has a high band collar. The collar is sewn to the neckline at the proper right side and slightly on the back. It attaches with hooks and eyes at the front, proper right side and at the center back. A band of silk satin binding is stitched to the edge of the neckline and collar. The bodice opens at the center front, a band of floral lace trim is added to each side of the opening. Large flowers made of silk organza edged with cream cotton cord are stitched to the front of the bodice down the outer length of the sleeves. The large bell sleeves are edged with featherstitch embroidery and the inner sleeve seam is ruched at the bottom. A band of ruched synthetic organza is added to the top of the sleeve close to the shoulder as a later addition. A band of pleated cream silk is sewn to the bottom of the bodice at the waistline. Cream silk satin is visible at the sides of the bodice underneath the lace. Large flowers made of silk organza edged with cream cotton cord are stitched to the center back of the bodice overtop of the point d'esprit lace. Cream silk satin is stitched under the lace starting five inches below the neckline. The band of pleated cream silk continues onto the back of the bodice ending at a decorative gathered flounce at the back slightly off center. The bottom two thirds of the bodice are lined in cream silk satin and cotton. Ten pieces of boning made of featherbone wrapped in cotton thread are set into the cotton lining. Two metal hooks are stitched to the interior of the bodice at the center back. The bodice closes with ten hooks and eyes on the cotton lining and one hook and eye on the silk satin. The top of the bodice is lined with synthetic net and the sleeves are lined with synthetic organza both were a later addition. The bodice is machine stitched, and hand finished while the interior bodice is completely handstitched.
The skirt (b) is made of cotton point d'esprit lace and has a waistband made of cream silk satin which is machine stitched to the body of the skirt. The lace is covered with large flowers made of silk organza edged with cream cotton cord, matching that found on the bodice. Two columns of the flowers edged with cord run down the center front of the skirt. Underneath this, two horizontal rows of similar trim are stitched with the addition of rings of cording and intersecting lines. Synthetic organza is sewn between the two horizontal rows as a later addition. Another row of floral trim is stitched along the hemline. The edge of the lace is finished with a scalloped hem and one band of cream cord. Cream silk satin is visible underneath the cotton lace which is slightly longer than the lace at the hemline. The skirt opens in the center back at the waistband but is slightly offset to the proper left at the skirt placket. The waistband of the skirt closes with a metal hook and eye. Two metal hooks are sewn to the proper right side of the waistband, matching up with the metal eyes found at the bottom of the bodice. The lace and flowers edged with cord match the decoration on the front of the skirt. The back of the skirt has an added train made of cream silk satin. The train has a center back seam that is finished with the fabric’s selvage. The silk satin used to make the skirt is made of three front panels and two back panels, all these seams are pressed open at the interior. Two hanger loops made of self-fabric silk satin are stitched to the interior waistband at each side. The hem of the silk satin is folded inwards and hand whip stitched.
Topic
African American
Clothing and dress
Fashion
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
2007.3.182.1ab
Type
bodices
skirts
wedding dresses
Restrictions & Rights
No known copyright restrictions
Proper usage is the responsibility of the user.
Medium
silk, silk satin, cotton lace, synthetic fiber, synthetic net, cotton cording, metal, linen, silk organza, and featherbone
Dimensions
L x W (a. bodice): 17 × 14 in. (43.2 × 35.6 cm)
Waist: 11 1/2 in. (29.2 cm)
L x W (b. skirt): 57 × 12 in. (144.8 × 30.5 cm)
Title
Object Name • Cream lace wedding gown with corded floral motifs
Record ID
nmaahc_2007.3.182.1ab
Museum
NMAAHC
Title Sort
CREAM LACE WEDDING GOWN WITH CORDED FLORAL MOTIFS
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1890s
Name
Hauer, Annie • Black Fashion Museum
Topic
Clothing and dress • Fashion
Culture
African Americans
Type
Wedding dresses • 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.

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Black textured wool bodice and skirt with lace

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Stitching pony belonging to and used by William Sugg

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NMAAHC

Brown bodice and skirt with green silk trim

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NMAAHC

Cream lace wedding gown with corded floral motifs

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.