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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...

Katherine Johnson — Mathematics to the Moon

Katherine Johnson’s mathematical calculations helped guide some of America’s most important early space missions while she confronted the racial and gender barriers faced by Black women in twentieth-century America.

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

Step and Screw: West End Scrap (Mentor) #12

Date
2021
Caption
Trenton Doyle Hancock grew up as a comic book fan and aspiring illustrator before studying painting, animation, and editorial cartooning. In his artwork, he creates cartoonlike characters and fantastical narratives to address serious issues of race embedded in American society. Step and Screw belongs to a series featuring Hancock’s alter ego, Torpedo Boy, along with Klansmen figures that reference the artwork of Jewish painter Philip Guston (1913–1980). Guston’s caricatured Klansmen serve as critiques of racism and antisemitism while emphasizing the white assailants’ culpability and complicity, as do Hancock’s. In this scene, Torpedo Boy is lured into a house to change a light bulb. As the narrative continues after this frame, the light comes on, and he realizes he is surrounded by Klansmen. The materiality and rawness of the irregular canvas are meant to enhance the discomfort of the story.
Description
A black and white acrylic and ink painting by Trenton Doyle Hancock. The painting has been painted on square-shaped paper collage surface, adhered to a similarly sized canvas. The painting resembles a single comic book panel with cartoonish figures outlined in white against a solid black background. Both figures are depicted in full length, standing in profile. On the left is Hancock’s character, “Torpedoboy,” in a superhero costume with a large letter T emblazoned on the chest. On the right is a robed and hooded Klansman. The conical hood fully covers the figure’s face with two solidly white eyeholes. The Klansman is holding out a lightbulb in his proper left hand as if handing it to Torpedoboy, who is looking down towards the offering. Between the two figures is a low stool.
On the verso is an inscription in graphite: [TRENTON DOYLE HANCOCK / “STEP AND SCREW” / WEST END SCRAP / (MENTOR) / #12 / 2021].
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National Museum of African American History and Culture Collection
Portfolio/Series
Exchange
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
2024.59
Type
acrylic paintings
mixed media
Restrictions & Rights
© Trenton Doyle Hancock 2024. Courtesy the Artist and James Cohan New York
Permission required for use. Proper usage is the responsibility of the user.
Medium
acrylic paint, ink, and paper collage on canvas
Dimensions
H x W x D: 30 × 30 × 1 in. (76.2 × 76.2 × 2.5 cm)
Title
Title • Step and Screw: West End Scrap (Mentor) #12
Record ID
nmaahc_2024.59
Museum
NMAAHC
Title Sort
STEP AND SCREW: WEST END SCRAP (MENTOR) #12
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2020s
Geo Location
City • Houston • County • Harris County • State • Texas • 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

Program for boxing match between Tony Doyle and Joe Frazier

Date: Date

Description

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NMAAHC

Ceramic plate from Wormley & Son catering service

Date: Date

Description

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NMAAHC

Step and Screw: West End Scrap (Mentor) #12

Date: Date

Caption

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NMAAHC

FIA license for Leonard Miller

Date: Date

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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.