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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...

Wilmington 1898 — An American Coup

Wilmington, North Carolina once had a thriving Black middle class and an elected interracial government. In 1898 white supremacists used violence to overthrow that government, kill Black residents and drive many others from the city.

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BHP gathered finds from its connected research sources. Showing the 2 strongest Black History matches.
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NMAAHC

Maison Dorcas Women’s Singing Group

Date
2016; printed 2019
Description
A color photograph of the Maison Dorcas Women’s Singing Group, by Platon. The photograph depicts a group of women joyfully singing against a blue sky background. There are twelve visible, or partially visible, women in the photograph standing in two rows. Most of the women appear to be singing and several have their hands raised above their heads. There are seven women standing in the first row, in the foreground. The woman on the far left is wearing a red daishiki tunic top with gold embellishments at the neckline, a matching long skirt and red headscarf her hair. Both of her hands are raised in the air, she has a happy expression on her face, and her mouth is open as if singing. The woman to her right is wearing a yellow, long sleeve blouse and a pink and yellow ankle length, Ankara fabric skirt with a repeating diamond and plaid pattern. Her proper right hand is raised, her chin is lifted, and she is looking upwards and towards the left. She has a happy expression on her face and her mouth is open as if singing. To the right of her is a woman standing with her arms at her sides. She is smiling and looking upwards. She is wearing a light gray and white, short sleeve shirt and a gold and white, ankle length, Ankara fabric skirt with a repeating black and blue stripe and swirl pattern. Just left of center is a woman standing with her hands at her sides and smiling slightly as she looks upwards. She is wearing a blue, white, yellow, and green Ankara fabric dress with a rectangular patchwork pattern and a primarily blue and white headscarf. Just right of center is a woman standing with her hands resting on the side of her thighs. She is wearing a green ankle length Ankara fabric dress with a blue snake pattern with a primarily gold and black headscarf. She is looking up and Her mouth is open as if singing. To the right is Nvunanwa Zirimwaga, wearing a red Ankara fabric dress with a yellow, black, and gold concentric circular patterns overlaid with and pattern of gold bead strands. Zirimwaga is also wearing a green and pink headscarf, a white rosary, and a black crochet pouch around her neck. She is facing the viewer, her eyes are partially closed, and her mouth is open is if singing. On the far right is the seventh woman, Nabintu Bigosi. Bigosi is wearing a black Ankara fabric dress with a large white flower pattern and a brown and white head scarf. Her hands are held palms up at chest level, her head is turned towards her proper right shoulder, her eyes are closed, and her mouth is open as if singing. The women are standing on walkway paved with white, roughly circular stones. Behind them is a dark blue sky with large white clouds. The photograph has a thick white border. The edition number, [5/12], is printed in the bottom left corner. The photographer’s signature and date, [Platon 19], is handwritten in the bottom right corner. Inside the border, at the bottom center, is the photographer’s embossed mark: [PLATON ? / EDITIONED ? / PRINT ?[encircled between two bands of embossed dots]]. The back of the photograph is plain and white.
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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, Gift of Platon
Data Source
National Museum of African American History and Culture
Object number
2021.33.72
Type
pigment prints
portraits
Restrictions & Rights
© Platon
Permission required for use. Proper usage is the responsibility of the user.
Medium
pigment on paper
Dimensions
H x W (image): 15 1/4 × 21 1/2 in. (38.7 × 54.6 cm)
H x W (sheet): 20 × 24 in. (50.8 × 61 cm)
H x W (matted): 22 × 28 in. (55.9 × 71.1 cm)
Title
Title • Maison Dorcas Women’s Singing Group
Record ID
nmaahc_2021.33.72
Museum
NMAAHC
Title Sort
MAISON DORCAS WOMEN’S SINGING GROUP
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2010s
Geo Location
City • New York City • State • New York • Country • United States • Continent • North and Central America • City • Bukavu • State • Sud-Kivu • Country • Democratic Republic of the Congo • Continent • Africa
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

Nabintu Bigosi and Nvunanwa Zirimwaga

Date: Date

Description

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NMAAHC

Maison Dorcas Women’s Singing Group

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

What prosperous Tulsa district became widely known as “Black Wall Street”?

The Greenwood District.