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THE JOURNEY THROUGH TIME

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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...

The Violence That Helped Spark the NAACP

In August 1908, a white mob attacked Springfield, Illinois’s Black community, destroying homes and businesses and lynching two Black men. National outrage over the violence helped spur the movement that created the NAACP the following year.

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

Black Room with Bitches Brew

Date
2010
Caption
Renée Stout is best known for her multifaceted approach to art, making use of a variety of materials and media. Her innovative incorporation of storytelling, use of the alter ego, investigation into West African spiritual traditions, and allusions to popular culture form a type of environment that is both real and imaginary. Her work evokes personal as well as collective cultural memory.
The title and objects in Stout’s installation conjure phrases such as black magic, black as midnight, black as tar, and black is beautiful, and reference themes related to gender, strength, power, nourishment, poison, and creation. They also play on Miles Davis’s innovative and influential jazz album Bitches Brew, whose cover art featured similar diametrically linked themes such as light/dark, good/evil, white/black, male/female, and earth/heaven.
Description
A jar (.4) element of an installation artwork. This large glass jar is placed on the floor in front of the central panel, and attaches to the central panel by a hand worked metal chain that hooks onto the central panel on a nail below the shelf on the panel's right-hand side. The interior of the jar is painted to appear murky, as if ambiguous liquids and materials are contained within. The jar is filled with a variety of dried organic materials, including seed pods and bones. The jar is topped with a velvet lid cover, which is tied shut around the opening of the jar with a cord finished with a large tassel. The lid cover has been decorated with cutout textile fragments embroidered with metal thread, buttons, sequins, cabochons and beaded headpins. Paillettes are attached to the chain in the links closest to the jar. There is a multicolored glass bead on the final link that attaches to the main panel.
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National Museum of African American History and Culture Collection
Classification
Visual Arts
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture
Data Source
National Museum of African American History and Culture
Object number
2013.148.4
Type
assemblages (sculpture)
Restrictions & Rights
© Renée Stout
Permission required for use. Proper usage is the responsibility of the user.
Medium
mixed media: glass, metal, velvet, cloth, pods (seed component), bone, plant material, shell, sequin, paillette, plastic and paint
Dimensions
H x W (Height x circumference): 11 1/2 × 19 1/2 in. (29.2 cm)
Title
Title • Black Room with Bitches Brew
Record ID
nmaahc_2013.148.4
Museum
NMAAHC
Title Sort
BLACK ROOM WITH BITCHES BREW
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2010s
Online Media Type
Images
Online Media Rights
Limited Use

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

Black Phrenology Man

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NMAAHC

Black Room with Bitches Brew

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NMAAHC

Black Room with Bitches Brew

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NMAAHC

Black Room with Bitches Brew

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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 Supreme Court case ruled state-sponsored public-school segregation unconstitutional?

Brown v. Board of Education in 1954.