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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...

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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NMAAHC

Revision Path: Episode 300; Hannah Beachler

Date
June 24, 2019
Description
Episode 300 of the Revision Path podcast. It consists of an interview between Hannah Beachler and host Maurice Cherry. It opens with a brief discussion about the role and importance of production design in filmmaking, before segueing into a conversation on the difference between doing a production design for Black Panther and for Moonlight. At one point, Cherry asks if accessibility is considered in the design process, citing colorblind audiences as an example. Beachler admits that she has not thought deeply about accessibility in the past but will try to think more about it in the future. She describes the “Black Panther look-book,” noting that the team visited cities in Korea, South Africa and Oakland, California, while doing production research.
At one point in the interview, Cherry notes that Beachler’s work is featured in the Smithsonian National Museum of African American History and Culture, telling her “[N]ow Black Panther is part of the culture. I mean, of course, you won an Oscar for it. Congratulations. Your work is in the Museum of African American History and Culture. That surprised me when I first went. I did not expect to see as much Black Panther when I went there.” In response to his congratulatory remark, Beachler states that she is honored: “I did my best and my best was good enough.”
Some of the other topics they discuss include, some of the past projects she has worked on, such as Creed, Fruitvale Station, Beyoncé’s Lemonade, Jay-Z and Beyoncé’s “On the Run II” tour; Afro-futurism in Beyoncé’s Lemonade; motherhood; Beachler’s history of substance abuse; as well as Beachler’s future goals, including producing a period piece and creating a production and development company. They also talk about Beachler’s relationships and interactions with, and/or admiration for, individuals such as Ava DuVernay, Ryan Coogler, Sylvester Stallone, Michael B. Jordan, Spike Lee and Ta-Nehesi Coates.
At the end of the interview, Cherry asks to wrap up and Beachler interrupts to ask if he thinks she is “intense,” to which he responds that the interview has been great. They thank each other and the episode ends with Cherry recapping the sponsors.
See more items in
National Museum of African American History and Culture Collection
Portfolio/Series
Revision Path
Classification
Time-based Media - Audio
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Maurice Cherry and Glitch, Inc.
Data Source
National Museum of African American History and Culture
Object number
2019.47.11.1
Type
sound recordings
digital media - born digital
Restrictions & Rights
© Maurice Cherry and Glitch, Inc
Permission required for use. Proper usage is the responsibility of the user.
Medium
digital
Dimensions
Duration: 1 hr., 48 min., 54 sec.
File size: 91.6 MB
Title
Title • Revision Path: Episode 300; Hannah Beachler
Record ID
nmaahc_2019.47.11.1
Museum
NMAAHC
Title Sort
REVISION PATH: EPISODE 300; HANNAH BEACHLER
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2010s
Geo Location
Country • United States • Continent • North and Central America • Country • North Korea • Continent • Asia • Country • Jamaica • Subregion • Caribbean • Continent • Africa • Country • South Africa • City • Oakland • County • Alameda County • State • California • State • Ohio
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

Costume worn by Beyoncé as Deena Jones in the film Dreamgirls

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NMAAHC

Sign from Women's March on Washington with “When you hurt me you hurt yourself"

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NMAAHC

Revision Path: Episode 300; Hannah Beachler

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NMAAHC

Latex Ball, Manhattan, NY, 2011

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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.