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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

Shango's Helper

Date
1972
Caption
In 1970 artist, curator, and scholar Floyd Coleman traveled to West Africa, principally Nigeria and Ghana, where he was greatly influenced by textile and sculptural design. While there, the Yoruba people of Nigeria and Benin introduced Coleman to their traditions and spiritual beliefs. Coleman drew on his artistic training and newfound surroundings to form a cross-cultural style of painting.
Shango’s Helper is an abstract depiction of the Yoruba goddess Oya, identifiable by the color red and the saber she carries. Oya is the goddess of the Niger River, dynamism, tornadoes, and other natural powers. She is the third and favorite wife of Shango, god of thunder, fire, and lightning. Shango’s presence is visible in the double-ax icon above Oya’s head.
Description
This is an acrylic painting that depicts an abstract interpretation of a female figure. Done against a black background the shape is located primarily in the bottom left quadrant and partial top left quadrant of the painting. The bottom left features a wide swath of orange, topped with several textured shapes in shades of yellow, light brown, and grey. Shapes are clearly delineated by borders done in darker shades or alternate colors. Some shapes are patterned with narrow stripes and brush strokes. Above the figure is a grey rectangle outlined in green. Within the rectangle is a darker grey shape roughly resembling the head of an axe. There is a green horizontal line in the bottom right quadrant of the painting.
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National Museum of African American History and Culture Collection
Classification
Visual Arts
Movement
BAM (Black Arts Movement 1965-1976)
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kera and Bennie F. Johnson
Data Source
National Museum of African American History and Culture
Object number
2011.102.2
Type
acrylic paintings
Restrictions & Rights
© 1972 Floyd Coleman
Permission required for use. Proper usage is the responsibility of the user.
Medium
acrylic paint on canvas
Dimensions
H x W: 51 × 63 7/8 × 1 1/4 in. (129.5 × 162.2 × 3.2 cm)
Title
Title • Shango's Helper
Record ID
nmaahc_2011.102.2
Museum
NMAAHC
Title Sort
SHANGO'S HELPER
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1970s
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.

NMAAHC

Photograph of Jack Johnson and Kid Cutler

Date: Date

Description

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NMAAHC

Ivory kid leather gloves

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NMAAHC

Shango's Helper

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NMAAHC

Photograph of Kid 'n Play, NYC, 1988

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.