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THE JOURNEY THROUGH TIME

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Events

Moments that changed communities, movements, institutions and the nation.

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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...

Shirley Chisholm — Unbought and Unbossed

In 1968 Shirley Chisholm became the first Black woman elected to the United States Congress. In 1972 she launched a campaign for the Democratic presidential nomination, breaking another political barrier.

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

Martez, Evisu Ball, National Black Theatre Harlem, NY, 2005

Date
2005
Caption
"The balls are a celebration of black and Latino urban gay life. They were born in Harlem out of a need for black and Latino gays to have a safe space to express themselves. Balls are constructed like beauty and talent pageants. The participants work to redefine and critique gender and sexual identity through an extravagant fashion masquerade. Women and men become fluid, interchangeable points of departure and reference, disrupting the notion of a fixed and rigid gender and sexual self. My images try to show a more personal and intimate beauty, pride, dignity, courage, and grace that have been painfully challenged by mainstream society. All of this happens at night in small halls in cities all over the country. These photographs, taken in New York, Philadelphia, Richmond, and Washington, D.C., show us different views of these spaces as they are reflected in the eyes of house and ball members who perform what they wish these cities could be." – Gerard H. Gaskin
Gerard Gaskin commented on this piece stating, "One of the images in my book Legendary: Inside the House Ballroom Scene is of a subject in a bright pink skirt with polka dots and a black top. His hair is bleached and he is wearing a veil. The subject has makeup on, but the makeup does not really make him very feminine at all. The makeup, skirt, gloves, handbag, veil, hair accessories, and other objects fail to deliver either a masculine or a feminine subject. Gender performances, through clothing, posture, and makeup, actually highlight how gender is constructed. He is male and female, is a man playing at being a woman, and a man failing to perform gender."
Description
A color digital image portrait of Martez, captured at the Evisu Ball in Harlem in 2005. Martez is pictured wearing a flowing black top, a bright pink skirt with black polka dots, elbow-length black velvet gloves with multiple rings worn over top, and a fascinator and veil made of a black, netted material. Martez has cropped, bleached blonde hair, wears black lipstick and poses against a blue wall while looking directly at the camera.
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National Museum of African American History and Culture Collection
Portfolio/Series
Legendary
Classification
Photographs and Still Images
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Gerard H. Gaskin
Data Source
National Museum of African American History and Culture
Object number
2019.44.4
Type
portraits
digital images
digital media - born digital
Restrictions & Rights
© Gerard H. Gaskin
Permission required for use. Proper usage is the responsibility of the user.
Medium
digital
Dimensions
H x W: 4368 pixels × 2912 pixels
100.71 MB
Title
Title • Martez, Evisu Ball, National Black Theatre Harlem, NY, 2005
Record ID
nmaahc_2019.44.4
Museum
NMAAHC
Title Sort
MARTEZ, EVISU BALL, NATIONAL BLACK THEATRE HARLEM, NY, 2005
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2000s
Geo Location
Locale • Harlem • City • New York City • State • New York • Country • United States • Continent • North and Central America
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

Martez, Evisu Ball, National Black Theatre Harlem, NY, 2005

Date: Date

Caption

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NMAAHC

Brenda, Miss Black Trans New York 2017

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NMAAHC

Kelli, Legends Ball, Jersey City, June 1995

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NMAAHC

Justin, Unity Human Rights Ball, Manhattan, NY, November 11, 2016

Date: Date

Caption

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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 heavyweight champion was known as the “Brown Bomber”?

Joe Louis.