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THE JOURNEY THROUGH TIME

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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

Vara del premio No. 3: Porto Laino, Giovanni Buelvas, Manuel Casseres, Anònimo

Date
1989
Caption
A painter, printmaker, and sculptor, as well as a photographer and one of Colombia’s most celebrated contemporary artists, Ana Mercedes Hoyos focused much of her work on the Afro-Colombian community of San Basilio de Palenque. Located on the country’s Caribbean coast, across from Panama, Palenque was the first free African town in the Americas and is home to locals known as “Palenqueros,” descendants of enslaved persons who fled the area near Cartagena after a 16th century slave revolt.
Described as “an entirely Afro-Latin community,” the inhabitants have preserved a distinctive matriarchal culture and a local language derived from a mix of Kikongo (a language associated with Angola and the Congo), Spanish and Portuguese. Hoyos’ work in all media (paintings, prints, drawings, and photographs) captures the vibrant Palenque community, bringing their customs to life and offering vivid glimpses of a world, a people, and a way of life that provides a rich demonstration of the African diasporic experience in the Americas.
Description
This is a color photograph capturing four young men climbing a pole for the San Basilio de Palenque’s festivity of vara de premio (prize rod). Depicted against a white sky, the men are arranged in pairs. At the bottom, visible from the waist up, one man in a purple t-shirt clings to a second shirtless man in red shorts, who clings to the pole. Standing on their shoulders, two more men grab onto the pole, one is shirtless in black shorts and the other is in a light-colored sleeveless shirt and blue shorts. Both are barefoot. The pole extends from their outstretched hands through the top of the frame. On the verso are two inscriptions: [Vara de Premio (cucaña) 3 / 1989] at bottom left and [hos / 89] at bottom right.
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National Museum of African American History and Culture Collection
Classification
Visual Arts
Photographs and Still Images
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the artist Ana Mercedes Hoyos
Data Source
National Museum of African American History and Culture
Object number
2015.166.17
Type
chromogenic color prints
digital prints
Restrictions & Rights
© Ana Mercedes Hoyos
Permission required for use. Proper usage is the responsibility of the user.
Medium
dye and photographic gelatin on photographic paper
Dimensions
H x W: 59 1/16 × 39 3/8 in. (150 × 100 cm)
Title
Title • Vara del premio No. 3: Porto Laino, Giovanni Buelvas, Manuel Casseres, Anònimo
Record ID
nmaahc_2015.166.17
Museum
NMAAHC
Title Sort
VARA DEL PREMIO NO. 3: PORTO LAINO, GIOVANNI BUELVAS, MANUEL CASSERES, ANÒNIMO
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1980s
Geo Location
City • San Basilio de Palenque • State • Bolívar • Country • Colombia • Region • Latin America • Continent • South 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

Vara del premio No. 4: Giovanni Buelvas, Porto Laino, Anònimo, Manuel Casseres

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NMAAHC

Vara del premio No. 3: Porto Laino, Giovanni Buelvas, Manuel Casseres, Anònimo

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NMAAHC

Vara del premio No. 1: Porto Laino, Manuel Casseres

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NMAAHC

Vara del premio No. 2: Anònimo, Porto Laino, Manuel Casseres

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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.