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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

Photograph of six young men posing in front of a bandstand

Date
ca. 1923
Photograph by
Description
A sepia toned photograph of six young men in western wear posing in front of a bandstand. The young man at the front of the group, Sam Colletti, is seated on the bottom step of the bandstand with his elbows resting on his knees. The man is wearing light-toned trousers, a white shirt, and a kerchief tied around his head. He also has a light-toned cloth draped over his shoulder. He holds a hat in his proper left hand and he holds an item in his proper right hand. Three other young men stand on the same step. The young man on the far left, Paul Butero, is looking in the distance towards the left edge of the photograph. His proper right hand is resting on the holster of his belt and holds a coiled rope with his proper left hand. He is wearing a dark button down shirt, medium-toned trousers, a wide brimmed hat, and a large light-toned kerchief tied around his neck. The unidentified young man next to him is wearing overalls, a button down shirt, wooly chaps, and a tall brimmed white hat. His proper right hand is resting on the grip of his gun in the holster attached to his ammunition cartridge belt. The young man on the far right, Angelo Cunico, is wearing a light-toned button down shirt, medium-toned leather trousers, a wide brimmed hat, kerchief tied around his neck, and a holster attached to his ammunition cartridge belt. He holds a pistol in his proper right hand and holds his left arm akimbo. The young man on the second step, at the center of the group, Carlo Veltri, is wearing a light-toned button down shirt and vest, dark trousers, a light-toned wide brimmed hat, and a large light-toned kerchief tied around his neck. His proper right hand is resting on the grip of his gun in the holster attached to his ammunition cartridge belt. At the back of the group is a hatless young man, Joe Cordova, who stands with his arms crossed over his chest. He is wearing a light-toned shirt and has a kerchief tied around his neck. The bandstand is white with fluted pillars. In the background on the left are trees and building. The image has a white irregular border. The back of the photo is white with eleven names written in pencil and crossed out with red pencil and overwritten with the name [James B.].
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National Museum of African American History and Culture Collection
Classification
Photographs and Still Images
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
2014.37.36.7
Type
gelatin silver prints
portraits
Restrictions & Rights
Public domain
Proper usage is the responsibility of the user.
Medium
silver and photographic gelatin on photographic paper
Dimensions
H x W: 4 × 3 1/8 in. (10.1 × 7.9 cm)
H x W (Sheet): 4 1/8 × 3 5/16 in. (10.5 × 8.4 cm)
Title
Object Name • Photograph of six young men posing in front of a bandstand
Record ID
nmaahc_2014.37.36.7
Museum
NMAAHC
Title Sort
PHOTOGRAPH OF SIX YOUNG MEN POSING IN FRONT OF A BANDSTAND
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1920s
Geo Location
County • Las Animas County • State • Colorado • Country • United States • Continent • North and Central America
Online Media Type
Images
Online Media Rights
No Known Copyright Restrictions

Media

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

Photograph of Terri Lyne Carrington and Clark Terry

Date: Date

Description

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NMAAHC

Playbill for Joe Turner's Come and Gone

Date: Date

Description

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NMAAHC

Esther M.A. Terry, Ph. D. Oral History Interview

Date: Date

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NMAAHC

Photograph of six young men posing in front of a bandstand

Date: Date

Description

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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.