Local Black Heritage On The Line?

(WNJ images)

Two local stories of interest this week were the decision by Wilmington's Mayor Baker to allow the Delaware Historical Society to have control over the African-American Heritage Center of Delaware [ Afro-American group not happy with Mayor's Heritage Center with Allan Loudell's blog post] and that two 'angels' have swooped down and put together a last minute plan to save the former #107 school house in Hockessin [Group hopes to raise $201K to save Hockessin Colored School #107 ].

Both stories have uncertain endings.

The black community wants the control of the AA museum to go to city blacks and plan to fight the Mayor and take the issue to the city council [(News Journal) Esteban Parra's coverage: Wilmington's decision on where to house new African-American Heritage Center sparks debate ] while to secure the fate of Hockessin Colored School #107, the angels will still have to raise 100K in public funds.

Vying for keeping the museum on the city's East side has been poignantly covered in letters from Jim Sills, Josie Roy, Harmon Carey, Peggy Shane, John Watson and Kay Lacy ~

Black Heritage Center's location is important
I was born on Wilmington's eastside and grew up during the 1940s and 1950s. As such, I have vivid memories about Market Street. I remember not being able to have a sundae at Govato's, breakfast or lunch at Woolworth's and not being able to go in movie theaters like Loews and Queen. I have other memories about this so called "Street of Dreams" as well. Not all of them are negative but most are because I was black. Recently, I had an epiphany reflecting on the exhibit of Market Street, that the Historical Society consciously or subconsciously failed to portray one of the most defining characteristics of Market Street -- its segregationist history. Now that organization wants to operate the Black Heritage Center in the society's chosen site on Market Street and not in the black community. Where the Heritage Center is and who is involved in the decision making process matters. If the city accepts the Historical Society's proposal over that of the board led by former Mayor Jim Sills, it would represent a travesty. I appeal to the fair-minded members of the Historical Society of Delaware's Board of Directors to listen to the voice of reason and recognize the unfairness of the quest to take over the preservation of Black history and withdraw their proposal. And if they persist, City Council should reject it. Kay Lacy, New Castle

One outrageous meme has formulated around the placement of the heritage center: If we want any white people to visit and appreciate black heritage, put it on Market. If we want only blacks to visit and appreciate black heritage, put it on the East side.

FYI - the East side IS the established home of AA heritage such as the Louis Redding house and People's Settlement Association not to mention Jazz-central Clifford Brown's birthplace: (Hockessin Community News) Andre Lamar reports ~ Delaware author reflects on Wilmington’s rich jazz culture

Steven Leech’s research on Wilmington’s now-defunct jazz scene.
1. During the late 1930s, the thing that really made Wilmington a jazz city was the rise of three artists: Clifford Brown, Lem Winchester and Betty Roché, Leech Said. Brown, aka “Brownie,” was an acclaimed trumpeter who grew up on the East Side of Wilmington. Brown’s style was very impressive, since he was able to hold long notes and was skilled at improvisation. Legend has it that Dizzy Gillespie gave Brown his start, Leech said. In 1949, Gillespie was scheduled to perform at the Odd Fellows Hall on West 12th Street, but one of his musicians didn’t show up. A friend then referred Gillespie to use Brown as a replacement. Gillespie gave Brown a shot and his performance blew him away, Leech said.
“Musicians had problems keeping up with Brownie,” Leech quipped.
...3. Betty Roché grew up on East 12th Street. When singer Ivie Anderson left Duke
Ellington's band in the early 1940s, Duke was on the lookout for a good singer. He found Roché at the Savoy Ballroom in New York, Leech said. Roché also had a small role in the 1943 film “Reveille with Beverly,” which featured music legends Frank Sinatra, the Mills Brothers, Louie Armstrong and others, he said.
4. The East Side of Wilmington was a hotbed for jazz music and the Baby Grand became a premier venue for musicians. Notable musicians graced the stage at the club, including organist Jimmy Smith, singer Dinah Washington and one of the greatest trumpeters of all time, Lester Young, Leech said. Young was responsible for nicknaming singer Billie Holiday “Lady Day,” he said.
5. An urban renewal project in Wilmington during the 1960s brought the demise of the city’s jazz scene, he said. Due to the project, Leech said “the East Side of Wilmington was torn down” and temporarily became a “barren waste land.” The lack of jazz venues forced musicians and singers to get 9-5 jobs.
For Leech, all that remains of the city’s jazz scene are his fond memories of the era.
“Wilmington still hasn’t recovered,” he said. “You go there on any night of the week and look around…it’s a dead city.” To download the “Wedgehorn Manifesto” for free visit www.brokenturtle.blogspot.com.

Plus on the East side: (from this skyscrapercity blog) - the Knotty Pine restaurant at the corner of 11th and Wilson Streets. this restaurant is the oldest continuously operating black-owned restaurant in the city. Over the years, the Knotty Pine has attracted quite a few celebrities, including Ray Charles, Cab Calloway, and Lena Horne. Knotty Pine's two famous dishes are well-known mid-atlantic specialties, chitterlings and muskrat.

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