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

Black Journal: The Black Woman

Date
December 28, 1970
Description
16mm film of Episode 28 of the television show Black Journal aired on National Educational Television (NET). The episode is in black and white and begins with text flashing on the screen just before a countdown begins. The screen becomes white and the TV station’s logo appears in the top left-hand corner of the screen. In the center of the frame, [THE BLACK WOMAN] appears in black letters. The episode opens with the show’s executive producer, Tony Brown, wearing a suit and sitting in front of an image of a woman smiling. He states that, “This show will concentrate on one of the greatest institutions in the world: the black woman.”
The next scene begins with four women sitting in a semicircle. It is a panel discussion between six women: Roberta Flack, Joan K. Harris, Jean Fairfax, Vertamae Smart-Grosvenor, Bibi Amina Baraka and Marion-Etoile Watson. The women talk about black men’s historical disenfranchisement and “humiliation” within American society, the role of black women in reclaiming black men’s masculinity, and their role within the black community. At one point, Vertamae Grosvenor states that, “…if it takes…you know, at this point…you know you’ve got to walk four paces behind me baby, slowly. That might be revolution, I’ll do that. I will do anything at this point that’s needed.” Joan Harris responds by saying, “Vertamae, is that revolutionary? How revolutionary is it if one-half of us is in condescension and a kind of almost fear, saying walking ten paces behind you, saying that in order for me to ‘regain my manhood, I have to deny you your peoplehood?’ Is that revolutionary? I think we really have to explore that…” The scene continues with conversations around the Moynihan report, “cultural nationalism,” and the “myth” of the black matriarch.
The next scene begins with a performance by singer Novella Nelson. During the performance, a slideshow of different women is shown on the screen. The scene ends with a close-up shot of Novella Nelson as she sings the last words in the song. The next segment, which features poet Nikki Geovanni interviewing singer Lena Horne, begins with Giovanni reading a poem entitled “Poem for a Lady Whose Voice I like.” Nikki Giovanni admits that she wrote the poem for Lena Horne. They discuss issues ranging from Lena Horne’s success, activist Angela Davis’ arrest, as well as Lena Horne’s relationship with her late father and son. After the scene ends, a dancer performs briefly.
“Part Two” of the episode begins with the same six women that open “Part One.” At one point, Jean Fairfax interjects by stating that, “I wanna say something that some of you may disagree with, and that is, I don’t think you can just work for black children. I think the minute you start working on the problems of the black child, you find that you have to be concerned with all children. Don’t you?” She goes on by mentioning that “I don’t think that we can concentrate just on what you call the black nation so long as we exist in America, which is a society.”
There is also a section on the black church, which features the Shrine of the Black Madonna in Detroit, Michigan. Activist and poet Sonia Sanchez addresses a congregation. Other segments include: two poetry readings by a young girl, Kalia; a performance by Roberta Flack; and a dance performance by a woman dressed in all black.
See more items in
National Museum of African American History and Culture Collection
Portfolio/Series
Black Journal
Classification
Time-based Media - Moving Images
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Walter Forsberg and Paulina Suarez
Data Source
National Museum of African American History and Culture
Object number
2017.32.1.1ab
Type
sound films
color films (visual works)
16mm (photographic film size)
Restrictions & Rights
Unknown – Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
Medium
acetate film
Dimensions
Duration: 52 min.
Title
Title • Black Journal: The Black Woman
Record ID
nmaahc_2017.32.1.1ab
Museum
NMAAHC
Title Sort
BLACK JOURNAL: THE BLACK WOMAN
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1970s
Geo Location
Country • United States • Continent • North and Central America • City • Detroit • County • Wayne County • State • Michigan
Online Media Rights
Unknown - Restrictions Possible

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

Photographic print of a migrant worker, Stan Dlancey, in a bean field

Date: Date

Description

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NMAAHC

Black Journal: 26; Alice Coltrane

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NMAAHC

Black Journal: The Black Woman

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NMAAHC

Black Journal: 22; The Black G.I.

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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.