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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

Costume worn by Nona Hendryx of Labelle

Date
1975
Designed by
Larry LeGaspi, American, 1950 - 2001
Worn by
Nona Hendryx, American, born 1944
Subject of
Labelle, American, founded 1962
Description
This costume was worn by Nona Hendryx of Labelle during a live performance on the television show "The Midnight Special" in 1975. The costume consists of a silver skullcap (.1), a silver unitard (.2), a silver overbodice (.3), and silver boot covers (.4ab).
Skullcap, .1: The silver metallic skullcap is similar in style to an aviator's cap. It is made from two (2) layers of silver synthetic fiber that serve as the facing and the lining fabrics. The fabric is quilted in a series of parallel lines along the top of the cap from the forehead to the nape of the neck. The area covering the ears is not quilted and extends into two thinner strips, one on each side of the head, with rounded tops. The seams of the quilted sections are left exposed on the interior of the cap, but are finished with serge stitching.
Unitard, .2: The silver metallic unitard has full-length sleeves and ankle-length legs, with a collarless crew neck. It is made from a silver stretch synthetic fiber. The unitard closes at the center back with a metal zipper that reaches from the lower back to the neck. There are additional zippers at each ankle and wrist. It is fully lined with an off-white stretch synthetic fabric.
Overbodice, .3: Silver metallic overbodice garment worn over the bodysuit (.2). It is made from a silver metallic synthetic fiber used on the facing and the lining sides, quilted all over in parallel lines. The overbodice wraps around the wearer's chest and shoulders and secures with hook-and-eye fasteners in the front. When worn, the garment has a leaf-shaped front panel covering the stomach, wide shoulder wings that extend beyond the wearer's body, a v-shaped back panel that covers the spine, and a horizontal crescent-shaped panel that covers the wearer's buttocks. The bottom center of the crescent-shaped back panel is sewn to a wide band of elastic, attaching the back panel to the bottom tip of the leaf-shaped front stomach panel. The garment closes with metal hook-and-eye fasteners, one hook (1) at each side of the center front neck fastens to one (1) eye at the tip of the stomach panel, one (1) hook at each top outside edge of the back crescent-shaped panel wraps around to the front side and fastens to one (1) eye at each outside edge of the stomach panel. There is a thick metal rod, bent to form around the shoulder wing and keep it stiff, sewn inside the outermost quilted layer on the proper right side only; the proper left wing has no apparent interior support.
Leg covers, .4ab: Two lower leg covers, both alike, made from silver metallic synthetic fabric. The fabric is quilted in three (3) parallel lines that run from top to bottom down the center front, surrounded by a series of quilted parallel lines oriented at an angle. The covers are angled with a longer tip at the center front on the top and bottom edges. Both are lined with the silver facing fabric, and close at the center back of the leg with Velcro sewn at the left and right outer edges of the reverse. A length of elastic tape woven with silver metallic and white thread is sewn on the reverse exterior bottom edge of each cover, with a large metal hook at the loose end that attaches to a metal eye sewn on the reverse interior bottom edge.
Topic
African American
Clothing and dress
Costume
Costume design
Design
Disco (Music)
Funk (Music)
Rhythm and blues (Music)
Rock and roll (Music)
Singers (Musicians)
Soul (Music)
See more items in
National Museum of African American History and Culture Collection
Classification
Clothing - Costume
Movement
Afrofuturism
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Nona Hendryx of Labelle
Data Source
National Museum of African American History and Culture
Object number
2014.246.3.1-.4ab
Type
main garments for the upper body
body stockings
skullcaps
overshoes
Restrictions & Rights
No Known Copyright Restrictions
Proper usage is the responsibility of the user.
Medium
Skullcap: synthetic fiber and batting
Bodysuit: synthetic fiber, metal zipper
Vest: synthetic fiber, batting, metal, and elastic
Boot Covers: synthetic fiber, batting, Velcro™, and elastic
Dimensions
H x W x D (Skullcap (flat)): 20 1/4 × 11 × 1 1/4 in. (51.4 × 27.9 × 3.2 cm)
H x W x D (Skullcap (on form)): 20 1/2 × 9 × 9 1/2 in. (52.1 × 22.9 × 24.1 cm)
H x W (Bodysuit (flat)): 55 1/2 × 29 in. (141 × 73.7 cm)
H x W x D (Bodysuit (on form)): 54 1/2 × 18 × 11 in. (138.4 × 45.7 × 27.9 cm)
H x W (Bodysuit (inseam)): 29 in. (73.7 cm)
H x W x D (Vest (flat)): 55 × 28 1/2 × 1/2 in. (139.7 × 72.4 × 1.3 cm)
H x W x D (Vest (on form)): 27 × 26 × 12 1/2 in. (68.6 × 66 × 31.8 cm)
H x W x D (Boot cover (.a, left, flat)): 23 × 8 × 1 in. (58.4 × 20.3 × 2.5 cm)
H x W x D (Boot cover (.b, right, flat)): 23 1/2 × 8 1/4 × 1 in. (59.7 × 21 × 2.5 cm)
H x W x D (Boot cover (.a, left, on form)): 23 1/2 × 4 1/2 × 7 1/2 in. (59.7 × 11.4 × 19.1 cm)
H x W x D (Boot cover (.b, right, on form)): 22 × 4 1/2 × 7 3/4 in. (55.9 × 11.4 × 19.7 cm)
Title
Object Name • Costume worn by Nona Hendryx of Labelle
Record ID
nmaahc_2014.246.3.1-.4ab
Museum
NMAAHC
Title Sort
COSTUME WORN BY NONA HENDRYX OF LABELLE
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1970s
Name
Hendryx, Nona • Labelle • LeGaspi, Larry
Topic
Design • Afrofuturism • Disco (Music) • Rock and roll (Music) • Soul (Music) • Funk (Music) • Costume • Clothing and dress • Singers (Musicians) • Rhythm and blues (Music)
Culture
African Americans
Type
main garments for the upper body • body stockings • skullcaps • overshoes
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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NMAAHC

Hot pink, black, and lime green ensemble by Emilio Pucci

Date: Date

Description

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NMAAHC

Costume worn by Nona Hendryx of Labelle

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Description

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NMAAHC

Crown molder made by Jethro Jones

Date: Date

Description

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NMAAHC

Wedge-arm sash fillister made by Cesar Chelor

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

Who was the first African-American woman millionaire in the United States?

Madam C.J. Walker